When we got an SSL 4000 series I started frittering with the Quad Bus Compressor. Let me see if I understand correctly. Since you still have the dry signal in the mix, you don’t hear as much direct compression. Use two, maybe three bands. I’m also going to push a little in the mid-range where the snare is more prominent, so it gets a little more compression to push it out of the way. Required fields are marked *. We then need to create an aux channel within the DAW so you’ll want to create a mono aux. Ever popular in mixing for its ability to beef up drums, park a vocal, and generally add energy, it can also be put to good use in the mastering process. I'm familiar with bus compression but I'm not so familiar with parallel compression. Its input is set to Bus 1 and its output is set to Bus 2, or you can opt to deactivate the output and just send to Bus 2. For my money, the best bet is to use three channels with the following routing: Channel A is your Pre-Process channel for things like corrective EQ. In this case, I liked 50 and 80 ms attack and release times respectively, and ended up blending the compressed signal in 14 dB below the dry signal. The art of parallel compression plays a large part in how modern mixes sound so full and loud. Use similar or identical attack and release times, ratios, thresholds, etc. This allows you to harness the power of a heavily compressed vocal in a way that isn’t easily noticed. The art of parallel compression … See how far you can bring your ratio up without distortion, and you’re there! First things first, we’ll want to switch the mode to “Smooth,” which is designed to focus on the body of the signal and reduce dynamics. I heard of the "glue" concept but frankly, my mixes already seemed to glue together. Here, I’m liking 4:1. For sharper, snappier transients, an attack time anywhere in the 10–30 ms range might work. Try a compressor with an EQ’able sidechain and take out some of that low end. 21st February 2014 #4. dannydawiz ️. What Is Normalization And When Should You Use It? While I can’t give you a magic setting that will work for everything, I can share some guiding principles and show how I put them to use on a demo track. The key here is to set your attack long enough to let the transients you want to keep come through, and to set your release short enough that the compressor is back to little (or no) gain reduction by the time the next transient hits. Sounds crazy right!? What if we wanted to do the opposite though? learn how compression can help you manage subtle relationships between mix elements. Any time you use parallel processing in audio mastering, it’s important to be aware of any phase shift on the parallel channel. In this example, my goal was to add some overall tonal and spatial enhancement. Thanks guys. This time, I’m going to leave the high-pass filter all the way down at 30 Hz, just to filter out any infrasonic rumble while still enabling the compressor to latch onto those bassy kicks. Next, here it is with the above parallel compression applied. I’ll then toggle the mute state of the parallel channel, listening to ensure the change isn’t too drastic. Let’s have a listen. “Wait a minute!” I hear you say. Channel B is for your parallel compression, and in some DAWs input monitoring will need to be enabled. If you are trying to tame drums in a mix and insert compression on every channel, you’ll likely destroy all the dynamics and end up making them sound very tiny once all the other instruments are played over top of them. With the advancement of plug-ins over the last couple years and more people using parallel compression than ever before, software companies are starting to integrate a “Mix” knob within the plug-in. A dose of parallel compression on the master will pull up low-level signals and increase RMS levels, which will help your track reach pro loudness levels without destroying transient detail.
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