Well, that’s exactly why I think this, and my envelope metadevice ideas, are good things… more control == easier to make the music you envision in your head… whether that music is very random sounding and hectic… or very structured and melodic in nature… maving more control over the parameters is a good thing… 
How to sidechain kick & bass in renoise?
First, make a kick.
Then, make a bass.
Compress them loud and clear.
Then send them both to same send channel with mute source on.
Then add a compressor and compress.
Volá.
The original suggestion is nice. Please add it to renoise.
I have kinda developed a method on how to simulate sidechaining in renoise. Anyone interested in an explanation?
How much?
please, tell us.
I wonder if I should bump this topic…
… oh wait, it seems I already have 
Yeah we need this.
+1
+1
Add to that a moving average of variable size (so it can react sluggish or even just slowly drift towards the average)… plus a version that responds to configurable frequencies in a configurable way… that would be, uhm, a good start. 
You mean an attack and release feature? That is just something you set on the compressor itself, and not the sidechaining send device…
+1!
i would seriously use this a lot!
oh my if this could also communicate between tracks or an array of parameters in different track dsp chains, wwjd!!!
i think this will compliment the already established idea, tho i must admit this is a somewhat briefly thought out idear, but here it is.
say we have parents and children in this one sidechain meta-device.
this would allow for the parents to turn to children and the children turn to parents. like a gender switch.
start with a parent sidechain metadevice on track 1
tracks 2 3 4 & 5 have been designated children.
so when the input comes through on track 1, tracks 2 3 4 & 5 would be fed.
now we put in some effects commands on tracks 2 & 3. which would briefly change tracks 2 & 3 to parents but only ‘after’ the input came through while they were children an we route those to 4 & 5.
so now we have input coming through track 1 controlling 2 & 3. however 4 & 5 is now being altered by the results of 2 & 3.
to allow us the use any audio input to control parameters across the Board!
No, that’s not what I meant, at least I don’t think… I mean something that influences the value that is reacted to, not something that influences how that value is reacted to.
Yeah, but surely is this is a signal being fed into a compressor for you can just adjust the threshold…
Do you mean the sensitivity of the side chain device?
Not entirely following, sorry
+1
Can be handy in many forms.
Actually, I would want attack and release on the metadevice, because effects like distortion don’t have attack and release built in… so if someone wanted the distortion to ramp up somewhat slowly when a kick hits for example, the attack and release would have to be on the metadevice 
… for that matter, I’d also want threshold and a ducking toggle on the metadevice too 
Here’s a nice photoshopped rendition of what I think this device could look like… might help you guys visualize what I’m talking about
Okay, the “signal” that is fed into the compressor is basically the “current loudness” of whatever is playing - if it’s a sine wave it’s a constant value, if it’s a drum beat it’s a bunch of peaks. Let’s say that would be “using an average of the last 0 ms”. But you could average the signal over last 200ms or the last 3 seconds or whatever before you feed it to the compressor (which obviously means that threshold, attack and release come into play after all of that).
Got it. Cheers.
Yeah that would be a lot of control, but where would you use this practically? This is not a criticism of your idea, I would just like to know what kind of situation you would use this in for use in my own music!
+1
i’m already using sidechaining in renoise but it’s kinda complicated to set it up so this could make things easier and it could generally help routing in renoise which isn’t it’s most powerfull aspect atm
Well, to change paramters slightly and subtly when something starts playing or gets louder, so that parameters aren’t so “glued” to the waveform that is used to control them. It could be neat for voice?
I guess the actual mode of using it professionally would be to try it out on stuff and see if the result is any fun 