Introduction:
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Many people who have the Waves C1 compressor/expander/gate tend to overlook it, as Waves have so many other compressors to choose from that either look better, or have less controls to achieve the job at hand in a simpler fashion.
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C1 essentially comes in 4 different variations: Compressor/Expander (no side-chain filter), Gate/Expander (no side-chain filter), Compressor/Expander (with side-chain filter), and Compressor/Expander/Gate (with side chain filter).
For the sake of this tutorial, I will be using all variations of the plug-in, but the image below shows you the Compressor/Expander/Gate with the side chain filter, as this unit contains all the functions of the 4 variations.
The Compressor/Expander Section
Let’s start off by talking about the compressor/expander section.
What many people don’t realise about C1, is that it’s gain-control engine was designed differently to most others.
The knee, ratio and threshold
The C1 has a soft knee (which is not user definable), which stays consistent throughout the different range of ratios. It is in the ratio relationship above the knee that things start to get interesting…
For normal compression, using a fairly high-level threshold (between 0dB and -40dB), you might find that ratios of 1.1:1 – 10:1 or maybe even 20:1 are common for your day-to-day use. It is when you set the threshold lower that you start to notice the C1‘s magic. If you set the compressor threshold to about -60dB, and you start moving the ratio control down from 1:1 towards 20:1, you will see that the knee reverses itself back to a 1:1 ratio above the threshold. If you combine this phenomenon with your makeup gain (or peak referencing – explained later), you can achieve upwards expansion.
Upwards expansion allows you to have your compression take place at a level lower than maximum, leaving your louder levels untouched. In other words, the dynamic range below the threshold is being reduced by boosting the low level audio, and then compressing it via the soft knee ratio, but then evening it out to no compression at all above the threshold. The result is audio that sounds louder, but has no change in the peak levels at all.
Upwards Expansion with Make-Up Gain
Obviously, changing the threshold and ratio will affect the overall output level of your audio above the threshold, but you can use the “Peak Ref” setting to overcome the need to adjust your output gain continuously. The simplest explanation of how the “Peak Ref” mode works, is to compare it to an “auto make-up gain” function. With your make-up gain set to 0, you can now lower your threshold, and the levels below the threshold are boosted, instead of – with “Low Ref” enabled – having the levels above the threshold decrease in gain as you lower the threshold.
With “Peak Ref” enabled, and your make-up gain set to 0, you can also turn the compressor into a soft knee downwards expander by setting the ratio between 0.99:1 – 0.50:1. This isn’t as versatile as the Gate/Expander section of the plug-in, but can be useful.
C1 Achieving Downwards Expansion from the Compressor Section
Attack, Release and PDR
The attack and release envelopes behave very much like that of any other compressor/expander. The attack range is from 0.01ms to 1000ms, and the release range is from 1ms to 10000ms.
The PDR function (program dependent release) however, is not so standard. This is a very cool function that allows the release to base itself on your set release time for the longer, sustained sounds, but the shorter transients will determine the release time if your PDR amount has been set to be larger than those transients. It’s similar to the auto-release function you might find on other compressors.
The Gate/Expander Section
This section is much as you would expect it to be, but there are some cool functions which allow you to make your gate / expander have less undesirable artifacts – mainly the chatter effect.
Type, Floor, Attack and Release
The type setting allows you to change the mode between gate and expander. When in gate mode, the gain reduction below the gate open/close value is absolute until it reaches the floor value. The floor control determines how much gain reduction occurs below the threshold, and when set to -inf, there is absolute silence below the gate open/close value.
When in expander mode, the gain reduction is more gentle, and the slope is controlled by floor control. When the floor is set to -inf, it roughly represents a 1:2 ratio. You can take the floor into negative polarity settings, and at the most extreme settings achieve a soft knee gate.
C1 Expander with absolute floor
The attack and release envelopes are identical to the compressor/expander. The attack range is from 0.01ms to 1000ms, and the release range is from 1ms to 10000ms.
Gate Open, Gate Close and Hold
When the type is set to gate, there are two functions that control the level at which the gate opens and closes. These are the Gate Open, and Gate Close settings. Having two controls allows you to have the gate open and close at separate levels respectively, eliminating the “chatter” effect you get on gates that only have one threshold. In combination with the hold function, which leaves the gate open for a specified time, there is very little chance of a chattering gate. In expander mode, the gate close and hold functions have no effect.
The Filter Section
On the compressor/expander and compressor/expander/gate variations of C1, you will find an EQ Mode function which allows you to set the way that the section’s side-chain listens to the filter.
The three modes are:
- Wideband – the module or the module’s side-chain does not listen to the filter at all
- Side-chain – the module’s side-chain listens to the active (red) band
- Split – the module’s side-chain listens to the active (red) band, and the audio output is also split at the same frequency, only gating/expanding/compressing the active band – allowing for de-essing, de-thumping etc.
The active (red) band can have the filter set to one of 4 filter types:
- Low Pass
- Band Pass
- Hi Pass
- Band Reject
The frequency and Q functions can be controlled via their control boxes individually, or combined by using the cross-hairs in the graph.
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Other Functions
Lookahead
By enabling lookahead, you are allowing C1 to delay the signal by a small amount to be able to catch the initial transients that wouldn’t normally be caught on regular (analog) equipment. The delay is 340 samples regardless of sample-rate.
Monitor
Audio
By enabling this, you are listening to the final output of the C1 plug-in
Side-Chain
By enabling this, you are listening to the effect of the side-chain filter on the incoming signal from either module, whether it is in split, or side-chain mode
Passive
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By enabling this, you are listening to the un-processed signal when either module is in split mode.
Summary
So, as you can see, the Waves C1 compressor has a lot of hidden functions and can prove to be a very powerful too in your dynamics arsenal. It may be a bit overwhelming to get to know at first, but once you’ve played around with it for a while it becomes very intuitive.
Check the plug-in page out at Waves
Waves Audio is offering its dynamics processing plugin MaxxVolume for free until August 31st.
We’re in mid-August already. Although most of us are still stuck at home, far away from oceans and beaches, we can at least hear some musical waves, courtesy of Waves Audio.
Look what the sea brought in!
MaxxVolume is a volume leveler plugin developed by Waves, and it’s completely free until August 31st. Add it to your Waves user account now and keep it forever. The software is available in VST, VST3, AU, and AAX plugin formats for digital audio workstations on PC and Mac.
Waves have been offering some of their stuff for free for a while now. It started as Black Friday freebie deals, but we’re getting more and more Waves plugins for free nowadays.
It’s a great way for music producers to try the Waves software and decide if it’s a good fit for their workflow. Also, it’s an excellent way for Waves to get some new customers. If you like the free stuff, why not purchase the rest during a sale or a special deal?
After all, the 40% OFF sale in the Waves online store is going on for months now (use the coupon code MAGIC40 at checkout to get the discount). Customers receive free plugins as add-ons with every purchase over $50, and you can even get two plugins for free if you spend $90 or more.
Anyway, the latest poison from Waves is MaxxVolume, a dynamics processing tool built on technology from some of the company’s other plugins. Here’s the team at Waves have to say about it:
The very first plugin of its kind, MaxxVolume performs all essential dynamics processes in one convenient tool. Combining technologies from Waves’ acclaimed L2 Ultramaximizer™, C1 Parametric Compander, Renaissance Vox, and Renaissance Compressor, MaxxVolume is ideal for mixing and mastering as well as broadcast and post-production, perfect for voiceovers, vocals, and instrumental tracks.
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Sounds good! So, how does it work?
The middle part with the big orange bar is the leveler, which sets the overall dynamics. The compressor consists of two parts – the low level and the high level sections. These function much like a regular compressor – the low level comp brings up the quieter bits, while the high level one is responsible for reigning in loudness.
The plugin also features an auto makeup gain feature and has a fixed ratio, although I was not able to track down what exactly it is. The System Bar allows for Undo, Redo, and A/B functionality, as is standard for all Waves plugins.
MaxxVolume seems like it would be a good entry-level compressor, and hey, it’s free. Separating a standard compressor into distinct levels could be e useful learning tool for a beginner, though I’m afraid it might come off as a bit obtuse.
Regardless, it’s a free Waves plugin, and owning a bunch of these gives a bit of street cred to every budding producer, so – download away!
Free download:MaxxVolume($179 value, free download until August 31st)
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