Better Mixing Tips: Getting the Most from Waves Platinum Bundle

An Ideal Step Up from Gold

Following our previous article on Waves Gold, we will focus on the additional plug-ins you get when upgrading to the Platinum bundle and share some tips for using them.
Some of these plug-ins have been around for many years, but they remain easy to use and highly effective.
We will pick out several and explore both standard applications and a few less conventional uses, so read on to the end.

Let's take a closer look at each plug-in.

Better Mixing Tips: Using Waves Platinum Bundle — Video Tutorial

Selected Questions and Answers from the YouTube Video

I'm a beginner learning to mix. Do you only apply EQ to the drum bus, or do you EQ the kick, snare, hi-hat, and other individual sounds before also applying it to the bus?

We often EQ the individual sounds, carefully balance their levels, and then also apply EQ to the bus. Of course, there is no rule that says you must use EQ. When routing the drums to a bus, pay close attention to the balance between the individual kit pieces as well.

PuigTec EQP1-A/MEQ-5

First are the vintage-style PuigTec EQP1-A and MEQ-5 equalizers, which join the lineup at the Platinum level.

These meticulously model Pultec equalizers owned and maintained in top condition by renowned engineer Jack Joseph Puig, whose credits include U2, Lady Gaga, and the Rolling Stones.

Let's try them on a drum bus and a guitar bus.
Before we begin, here is a brief overview of the EQP1-A's controls.

• 1. Low-frequency section: BOOST, ATTENUATION (cut), and CPS (frequency).
• 2. High-frequency boost section: BOOST, BANDWIDTH, and KCS (frequency).
• 3. High-frequency cut section: ATTEN SEL (frequency) and ATTENUATION (cut).

Let's start processing the drum bus. Here is the audio we will use.

First, we will shape the low end of the drums with EQP1-A.

A defining feature of EQP1-A is the ability to boost and attenuate (cut) the low frequencies at the same time. You might expect the two operations to cancel each other out, but their frequency responses differ slightly, producing a distinctive effect.

Next, let's boost the high frequencies.

Use the three controls in the center. KCS sets the frequency, so we will target around 10 kHz. BANDWIDTH corresponds to Q; the left end is marked narrow, so widen it a little and apply some boost.
The response is very natural, without making the sound harsh or piercing.

EQP1-A does not handle the midrange, so let's use MEQ-5 alongside it.

The leftmost PEAK control boosts the midrange. We will target 700 Hz to help the snare cut through. This EQ also responds very smoothly.

That completes the drum-bus processing. Let's hear the result.

Can you hear how the bass has tightened up while the low end remains intact?
The hi-hat and snare also come through more clearly, giving the drums a dynamic sound with a good sense of frequency range.

Next is the guitar bus. We will focus mainly on the midrange here too, so we will use MEQ-5. Here is the audio.

We want a slightly scooped sound, so we will use the midrange DIP control to cut around 500 Hz.
Use the right-hand PEAK control to boost around 1.5 kHz, then finish by boosting around 200 Hz with the left-hand PEAK control. The response is very smooth here too.
Let's hear the result.

Reducing the frequencies that might compete with the bass has cleaned up the sound.
Boosting above and below the cut adds definition and the weight we associate with heavy rock.
You may also notice a slightly wider impression.

Renaissance Vox

Next up is Renaissance Vox.

This compressor/gate is optimized for vocals, but its standout feature is its simple interface. Compression and gating are each controlled by a single slider; all that remains is to adjust the final gain.

Let's apply Renaissance Vox to the vocals.
Here is the audio we will use. This time, we will deliberately listen in the context of the full mix.

Lowering the Comp slider applies compression and raises the gain at the same time.
Compensate by reducing the gain a little.
These few steps are enough to bring the dynamics under control. The resulting sound is very clean and natural.
Let's hear the result.

The attack remains intact, preserving the groove. Parts that previously receded into the mix are also brought into balance, making the level more consistent.

Renaissance Vox can be used on many types of tracks, not just vocals. Bass is one example.
Here, we will apply it to a DI bass track to add a suitable amount of sustain.
Here is the audio.

As with the vocals, lower the Comp slider until the dynamics have the range you want, then reduce the gain appropriately.
Let's hear the result.

The sustain after the attack has clearly changed. You can really feel the harmonic resonance in each note.

Because Renaissance Vox makes compression so straightforward, it lets you concentrate on shaping the sound.
You may need another compressor when you want precise control over transients and other details. But when you simply want to tidy up a recording while preserving its character, this can be enough. It is also useful when a track needs one final push after other processing.

Renaissance Bass

Let's give the bass a little more attention. Our next plug-in is Renaissance Bass.

Renaissance Bass emphasizes the low-frequency content of a sound by adding specific harmonics. This works on a fundamentally different principle from EQ, giving it a sound that is difficult to reproduce any other way.

This time, we will apply it to the bass amp track. Here is the audio.

Renaissance Bass is extremely simple to use: choose the frequency, then set the strength with Intensity.
A useful approach is to turn Intensity all the way down first and gradually raise it. In most cases, a small amount produces plenty of effect.
For bass, the default setting of around 80 Hz is often a sweet spot. Listen as you gradually raise Intensity.

Let's hear the result.

The bass now feels more deeply grounded, providing solid support for the entire song.
Personally, I consider Renaissance Bass a unique bass-enhancement plug-in. I use it very often on bass and kick drums.

Choosing Between L1 and L2

Next is the L series, a longstanding benchmark among limiters and maximizers.

L1 is included in Gold, while Platinum adds the L2 and L3 series.
First, let's look at choosing between L1 and L2 when using them on individual tracks or buses rather than on the master.

We will start with a synth track. Here is the audio.

The volume is a little uneven, so we will use a limiter to level it out.
Insert L1 and L2 with identical Threshold and Out Ceiling settings, as shown, and compare the results.

We have set Threshold for roughly 6–10 dB of attenuation and lowered Out Ceiling enough to avoid a drastic volume change compared with the unprocessed sound.

L1 sounds slightly distorted and seems to pump a little. L2 keeps the sound clean as it levels it out.
In this case, L2 seems more suitable. If you deliberately want some distortion, L1 could be a good choice.

Although L1 has this slightly distorted character, it can work to your advantage. Drums are one example.
Try using it on the drum bus in place of a bus compressor.

Here too, we have set Threshold to aim for an Attenuation reading of around -6 dB and lowered Out Ceiling enough to keep the perceived volume from changing too much.
Let's compare L1 and L2.

L1 gives the kick a firmer attack, and the snare seems to gain some high-frequency extension. L2 remains clean.
The right choice will depend on the song and your preferences, but remember that L1 can also be used to add this kind of coloration.

L3 UltraMaximizer

Finally, let's look at L3.

L3 UltraMaximizer uses multiband limiting internally. In addition to increasing loudness naturally, it lets you shape and color the sound by choosing a Profile.

We will apply it to the master track and first compare it with L2.

As before, we have used the same settings for both, adjusting Threshold for an Attenuation reading of around -1 to -3 dB. Out Ceiling has been lowered appropriately so that we can focus on tonal differences compared with bypass.

L2 sounds clear but adds a little fullness to the low end, giving it a weighty impression.
L3, on the other hand, seems to bring out the kick's attack and the snare's high end, without the distortion-like character of L1.

Personally, I think L3's coloration comes from its internal multiband processing, so I recommend using it in a way that makes the most of that character.
L3 UltraMaximizer's defining feature is the ability to control the type of coloration with the Profile setting.
The example you just heard used the Basic Profile preset.

For a clear result without obvious coloration, try Cozy and Warm. It sounds similar to L2, but with less low-end swelling.

For a pumping feel, try Extreme Analog or Wide Band Manual. These could suit dance-oriented tracks.

For the genre of our example, Loud and Proud may be the best fit. It has a distinctly scooped balance, yet retains a broad sense of range and seems to achieve the greatest perceived loudness.

L3 is therefore more than a simple maximizer: it also behaves like an effect that lets you add a final touch of flavor to taste.

What did you think?
As you can see, the Platinum bundle also offers a very appealing selection of plug-ins.
If you have thoroughly explored Gold and want to take your mixes one step further, this could be an ideal bundle.
If you already own it, we hope this inspires you to put these tools to work again.

Frequently Asked Questions

Q1. What are the main differences between Waves Gold and Platinum?

In addition to the plug-ins included in Gold, Platinum adds vintage-style EQs such as PuigTec EQP1-A and MEQ-5, plus specialized processors such as Renaissance Vox and Renaissance Bass. These allow more detailed mix adjustments.

Q2. Can Renaissance Vox be used on sources other than vocals?

Yes. It can be used on a variety of tracks, including bass and drums. Despite its simple interface, it can smooth out dynamics naturally while preserving the source's character.

Q3. Why boost and cut at the same time with PuigTec EQP1-A?

The frequency responses of the two operations differ slightly, so combining them produces a distinctive response that allows very natural adjustments without a piercing sound.

Q4. How does Renaissance Bass differ from EQ?

Renaissance Bass enhances the low end by adding harmonics. This is fundamentally different from EQ, which cuts or boosts frequency bands, and can produce a richer bass sound.