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Two "Secrets" to Effective Parallel Compression
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- Опубліковано 31 сер 2015
- ► Want more? Mix better than ever before with the FREE workshop, "The Top 5 Habits of Truly Great Mixers": sonicscoop.com...
Justin Colletti reveals two of the most important factors in getting great results out of the parallel compression technique, aka "New York-style compression". For a version with audio examples, see www.sonicscoop....
If you're liking Justin's instructional videos here on UA-cam and want more, you might like his new video course on mixing, called "Mixing Breakthroughs". Check it out at mixingbreakthro...
Want to hear a version of this with audio examples? Try here: ua-cam.com/video/tnKgDAImZtg/v-deo.html
If you're liking Justin's instructional videos here on SonicScoop, you might like his new video course on mixing, called
"Mixing Breakthroughs". Check it out at mixingbreakthroughs.com
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Thank you superman!
He's obviously Clark Kent, a totally different person.
Right? Pffft, everybody knows Superman doesn't wear glasses, and that guy is wearing glasses, thus not Superman....
Wait.... black frames big nose funny mustache man is actually... Superman you sneaky devil I thought you were the Monopoly guy!!!! He's better than Dana Carvy!!
I've been watching these gOD dAMN compression tutorials for a week and this is the first time I've learned something useful
Sadly this one compression technique isn't useful for compression in general. None of these parameters would be used for standard mixing.
@@tilda140 I don't understand what you mean by "standard mixing"
There is no standard mix.
Parameters are going to be wildly different for each different song, otherwise you are not doing your job.
And if a technique is useful for even one song, it is worth knowing.
@@tilda140 lol 🤣
Finally a video that actually explains how parallel compression is and does it in a way that someone who is a beginner can understand. Thank you!
boosting the high and low end... HUGE advice. thank you
Short attack. Long release. EQ before compression. Boost low end 6dbs and high end the same (semi wide Qs) with an 8-10db attenuation on compression.
what about the phase cancellation when using eq??
@@federicofernandez8785 Shouldn't be any cancellation since the signals are fully synced.
That means1) we take parallel aux (bus) track
2)put eq 6db boost low + 6db boost high
3)put compressor
4)zero attack + (auto/long) release
5)chk fader
6)see results.
@@federicofernandez8785 If you put an EQ on the compressed track, you should use a Linear EQ, I believe.
@@newguy6935 yes, that's what i'm doing.
Thanks
This was so unbelievably helpful and to the point, I'm shocked.
finally a guy who tells what will happen at the first minute of the video
Must be a miracle.
I like what you're saying about the bass and treble boost!
I wouldn't 100% stick to the fast attack time in every scenario though. I've found the using a slow attack and release when parallel compressing, particularly on kick drums, can add a really great rounded sound to the drum. It's all circumstantial though, great tips nonetheless.
I liked the "how and why" approach in this video.
Liked and subbed!
Thanks for this teaching. I applied this to my drum bus and worked wonders for my mix.
This is a great tip thanks, works great for drums for sure.
It's worth noting that lots of the guys who popularized parallel compression (such as Micheal Brauer) talk about using it largely as a tone shaping tool on vocals, splitting the vocal into multiple parallel paths with different compressors. This is largely about having a fader per type of compression and blending them to taste, and not really about aggressively controlling the top and low end. In those cases the EQ approach could be radically different, but it is still definitely "parallel compression".
+J Riley Hill Absolutely. Motown engineers did a lot of parallel processing on vocals too.
Thanks. I was always shy of parallel compression, relying on other tricks. But this really sounds like sense, and should safeguard from any unexpected results. Nice one!
This is what I've been heading towards. Thank you so much for sharing!
Man, Stephen Colbert knows his stuff with audio.
Thanks a lot dude :-) I saw this trick on a demo from bus mixing in the Behringer Wing console, but you go in detail so thanks a lot, now parallel compressions makes way more senses 🙂
Best explanation, ever. And it had no audio examples!
Learning audio engineering from Clark Kent. Rad!
lol I can’t unsee this now 😆
Very interesting... I learned something today. Thank you! I will try this on my next mix.
Another great video. Thanks, Justin!
Unfortunate use of the word "ratio" at 3:25 because that's a compression-specific term; as are the ratios 1:1 and 2:1, but you're not referring to compression at 3:25. "Balance" would have been a better term. Well-produced video. Well-explained process. Excellent editing.
Love this! Great tip!
Excellent. I understand your overview and its context. I have tried this. It is versatile and potent. Thank you sir.
Nice tip indeed, Justin! Thanks!
Love this man , so clear and made so simple
Thank you Justin
Your information is great. I love how you explain things.
Love your videos. You pretty much started me off on my compression journey about a year ago! Thanks!
Very informative!! Thanks, Justin!!
well actually it depends what you want to do. If its for more body then do this. If its more sustained then use a faster release....what he means is both these ways might destroy your transients....but, if you want more more pumping then use a slower attack, (i.e. the general rules of compression!) but that can lead to the highs not sounding very open so I almost always blend in dry signal when doing that. all types of compression work with it, and no its not the same as just dialing back the threshold or ratio..try it and use your ears. there's an advantage of transparency in ANY case, it just might be different parts of the signal it has an advantage on, whether its transients or the higher sustained sounds, for example!
Finally starting to understand how this works and why it works.
Do you recommend doing the Bass and Treble EQ boosts before the fast attack compression?
What about Parallel Compression on Vocals. How do u set your Attack and Release ???
It's the same idea.
top video, love your use of the word ‘bombast’ 🤘
Thanks! it really resolves my question!
Great vid! Will try that on the new song. 😃
One thing I know: today, Clark Kent gave me some cool tips for a dramatic improvement. Kudos!
I LOVE the advice, but a visual example would be better for new audio engineers to understand.
You want it, you got it! We do have a new version of this, with audio examples! Check it out here: www.sonicscoop.com/2016/02/02/video-advanced-compression-techniques-part-1-the-secrets-of-parallel-compression/
Good tips, thanks -- maybe you'd want to include the advice to use a linear-phase EQ for the boosts in such a context.
This is a great and well explained video on mixing. Thank you Justin!
do you eq boost before or after compression?
Man, you have really great presentation and explanation behind your 2 points. I have been guilty of not applying these 2 tips to parallel compression, crap! Thanks for this video!
Great video, Justin! Could you elaborate on the "boost the lows and highs"? What frequencies? Would the low and high on a Pultec do the trick? What kind of EQ do you like for this? Thank you man. -Russ
Did you find which frequencies? I’m left wondering
I like outside the box thinking, than what's usual
Innovative !!
5 years ago even !!
I wish I saw this then, I would have progress sooner than later
Thanks !!!
Great video! Please can you do one on the benefits of stem mastering?
I did duplicate the link on my browser in order to get a better result ;). Thanks ! Was very useful to me!
But did you raise the browser on the far left and far right?
Thanks for the simple and perfect explenation!
hi, thanks very much for this "secret", i ve improoved my recordings very much, greets from austria,Peter
Hi, thx for the tipps. One more question though, do i have to use a linear phase EQ for the boosts to avoid phase issues when using NY compression?
Great tip. Thanks
I assume you are doing your smiley face eq boosts post compression? I often do it in steps...So on the parallel, I'll cut some muddy stuff first. Smash. Then boost. Usually I'll bring the dry and parallel tracks into a summed track (mostly thinking kick and snare here) that has possibly a little limiting and/or decapitator.
i love this channel!
I have to respectfully disagree with the assertion that not taking this particular approach to parallel compression, both where the attack time and the application of a significant boost to the top and low end are concerned, is "defeating the purpose" of parallel compression. I understand that oversimplifying the explanation of various mixing techniques makes them more digestible and more appealing to people looking for some elusive "secret", but to assert that any approach other than the one you are describing is defeating the purpose of the technique itself is patently absurd.
As is the case with anything one done in the mix process, decisions are going to differ based on context - that is the whole point. Where parallel compressing any element is concerned, the approach taken to the attack, release and ratio settings should be dependent on the nature of the signal one is applying parallel compression to, it's role in the context of the mix (which is based on the subjective taste of the mixer), the problem one is trying to solve with parallel compression, and a careful considerations of the downsides where each potential choice is concerned. This is not to say that a super fast attack when applying parallel compression is never called for - sometimes it is absolutely the right solution. But sometimes it is not - it depends on the nature of the signal and what you are attempting to bring out in the sound and what you are not trying to bring further into the fore.
One of the many things that this video does not address is "What is the parallel compression being applied to?" This is important - a snare drum's contour, where attack, decay and sustain are concerned, is different from that of a kick drum or a floor tom and of course the contour of all these elements differ greatly from the contour of, say, a crash cymbal. Of course a kit submix, as well as overhead mice and rooms contain all of these elements, so one has to consider that when parallel compressing those elements. One key consideration for me personally when dealing with drums, is that, while I am generally trying to more transparently narrow the disparity between the attack and sustain of the drum or drums in question, I also want the result to be proportional enough to not come off as either a caricature of the original sound or become, as Bob Katz puts it, "wimpy loud", where the sustain of the instrument is actually louder than the initial attack. That means that sometimes, for a snare drum, for instance, I'm going to slow down the attack a little but use a very fast release, so the signal will retain it general contour, while being beefed up in all the right areas. Sometimes means that I'm going to use a super fast attack and much slower release, in a case, for example, where the attack does not need much help and the sustain doesn't need as significant a boost but just some gentle thickening, but maybe the very tail of the sound could use some re-enforcement. The point is that this is all dependent on the nature of the signal, it's role in the mix, and what problem I am trying to solve using the tool at hand (or whether to even use the tool at hand at all).
As far as boosting the top and bottom on the parallel channel, that's a matter of personal taste and what one is trying to do, but again, to characterize that as "do it this way or what's the point?" is very misleading to those truly wanting to learn and not very helpful. Why not present this tip as "Hey, if you are new to parallel compression, why not try doing it this way on this element for this reason? Here's an example of how and why I would apply parallel compression in this particular way."? It seems to me that this would be a far more productive and helpful way of framing the information provided. Sorry for the long post but I feel pretty strongly that presenting this information in the way it is presented is misleading and not helpful for those hungry to learn more about mixing.
I think he was suggesting a general rule of thumb. But I agree that there's no such thing as one rule fits all.
+Philip Dubnick By definition lets say parallel compression on a kick makes it more lowendy so, I wouldn't add low freqs there. I might add a little spark on the mid-highs and then summ up the tracks in a group tracks and then shape the frequencies more
Hi Phil. He's just making a bold statement to create controversy and make his video more viral.
Hi Phillip, thanks for the post. I'll have to disagree, for a very specific reason:
If you want to let the attack through, without adding any dynamic or tonal consistency to it, why not just use a slow attack compressor? Why bother with the parallel aspect? There is no need to use parallel compression if that is the goal! You can just use a slow attack compressor.
What parallel compression *is* uniquely able to do however, is create a more "hyped-up" second instance of of your drum bus, that has more emphasis on specific frequencies, but with a very dynamically consistent attack. (While still retaining some of the dynamics of the original performance.) This is very difficult to achieve through other methods, outside of layering with samples.
That said, do whatever works for you!
yep said it...sometimes, you compress and just reach for that blend knob. Sometimes it sounds better with slow attack time and release, but if you were to reduce the threshold or ratio you'd basically have to turn it off to get back the prescence and openness...much easier to dial it back on the blend knob.
Beautifully explained
Great explanation. Nice and clear. Thanks!
if i was gnna boost high n low with shelf filter what starting points should i start for lows n highs
thanks justin
Hi justin, i was wondering how do you deal with phase issues ? is there any advise you can give ? cause i think that phase issues are inevitable with this technique :S
Great Job!!!
Not much videos on this. Thanks a lot
Up up and away... thanks superman.
Wow that was just superr informative , thanks Justin!!
I've seen Dave Pensado, Fab Dupont, Tony Maserati and Jaquire King all do parallel compression with long attack times and cutting low and/or high frequencies. I've also seen them do what is recommended here. Stop following hard and fast rules, nothing ruins a mix faster than doing that. i.e. cutting 350Hz on kick drum just because you're told that 350 should be taken out of drums.
Great advice, thank you!!
Interesting. I've watched/read a lot about parallel compression from proponents, like Brauer and Scheps, and don't remember them saying to boost bass and treble to get the right effect
is it necessary to involve the cymbals? thanks
Fantastic tip! Thank you!!
Liked & subscribed, well explained, nice for somoone to go in depth on this technique!
Wonderful
place p comp under
Take up little energy/signal and get way more power without over boosting
1. fast attack super fast
chop off all transients. So you get super consistent steady floor. If you have a slow attack u let through more transients which acetuates them. This is counter productive
2. bass treble boost
put a big boost on the low end so you can get a nice comfy bed. Keep a mid rangey sound and you are not helping as much with your P comp.
if you dont.do this you miss the most critical benefits.Get extra power without taking up too much space.
EQ before or after the parallel compressor?
I'm not completely sure but I think you should use EQ after the compressor. There's no point in boosting low and high ends if you're going to compress the fuck out of them with a compressor.
Before compression, absolutely.
If you eq a sound after compression, you fuck up the compression, especially on the low frequencies, where kick, toms, snare body and every single note of the bass have a specific frequency.
+John Doe.
No, it's a compression on the entire bandwidth, not a multiband compression.
If you want the result to be a consistent wall of sound and adding just a little, you want it as less dynamic as possible.
BEFORE
After
Such a great trick!!! Thanks for breaking it down.
Dont get phrase about ratio. Its less than 1 or more to infinity ?
Excellent! Thank you!
watched you other video on compression too. after 7 years finally understand it.
what IS a good ratio amount for this method
maybe around 4:1 or more.
Thank you! This helps so much!
Awesome!
Can I use two different compressors for parallel compression instead of one parallel compressor?
Yes! Or you can just use one compressor and leave the main channel uncompressed if you like.
Great videos! Subscribed! But how do you boost the lows and highs? With compression or eq and if eq is involved, does it go before or after? Thank you :)
I like the idea of doing this, but what range of frequencies am I boosting in the low and high end? Approximately how much dB of gain? Should I use shelving instead of bell/peak curves? Or just try whatever works?
Does this go for spoken word?..... I tried this on vo and it really made it sound great.... It almost sounded "3d".... Without any reverb
Thnak man! just one thing, What About the relase? and I put the eq after or before compression?
would that aply for Guitars?
I appreciate the controversy in the comments, but I also appreciate the approach discussed in this vid. Isn’t the target what sound you’re looking for anyway?
What about for vocals? Am I suppose to use a super fast attack on them as well and how about the release?
Does the same apply for vocals? If so are you putting an eq on the parallel comp bus before the compressor and boosting lows and highs?
1 question. Are we applying eq first, then compression on the parallel track? Or does it even matter? And also, do you follow the same rule with things like vocals, distortion and modulation effects? Thanks in advance man.
also would you till reccomend a bass and treble boost if youre applying parallel compressionto vocals? curious becuase i know almost evry engineer does a 100 k cut.
Is this advice (specifically the low/high boost) only applicable to drums?
It works for mastering? Or it will be better for drums only?
I've said this before ... you sound just like JJ Abrams.
Nice content!
is it better to do a copy for every drum kit separate parts e.g. for kick, snare, overheads, etc. or do it in an auxiliary bus where send all the kit in a whole?
Route to a "parallel" buss, but don't use an auxiliary send
isn't parallel bus and aux send same thing.
@@seancpp Why? As an aux channel, you can control hi-hat, Overheads, etc. separately for desired effect.
an should you do para compression all st once through buss channel with all the drums.. or do each drum separately?
I dont know but i think a good idea is to make 2 return tracks with paraller comp and eq one with a low boost and the other with a high boost
And then use the high eq paraller comp for lets say hats and similar and the low eq paraller comp for the kick
I usually parallel compress the kick and snare separately, and the toms all together. I don't usually put overheads through parallel compression. I feel like I need that control over just how each is being compressed. But I'm not a pro. From what I gather, most pros send the entire drum bus to parallel compression.
@@nuynobi hey you think you can make a quick video on this? this would be soooooo helpful..?
So, you would recommend a compressor with the settings mentioned on the parallel channel, and THEN on the same channel insert an eq with, say, a high and low shelf boost for your bass drum and cymbals AFTER the compressor in the chain? That's kind of what I got from this.
Also, someone below mentioned using multiband compression in the parallel channel. I have not used one before on anything because of my ignorance for how they work specifically. But, if I assume correctly, could you just use one of these with extreme settings on the high and low bands and skip the eq altogether and achieve essentially the same results, more or less? I may just have to go in the lab and experiment! :)
As for EQ, yes, using it after compression will give you far more control whereas extreme compression can tend to defeat EQ if used after.
Also, the purpose of multiband compression is to partition the frequency ranges so that they don't influence each other, i.e., the low band won't trigger the compressor on the other bands. This is most commonly used for mastering to create a lot of presence to a mix without "pumping". I think to achieve the effect he is talking about, you might want it to pump a bit. So, although there's no wrong answer, you might yield better results on parallel compressing drums if you use a single band compressor.
Also, if you want to boost highs and lows only, try pulling down the mids with a wide Q and boosting the over-all level.
Dan Rebeiz
Thanks!!!!
Does this make sense for in the box sampled drums?
I'm using the same technique when using recorded or sampled drums and it works both great
Yes! These are strategies that can work anywhere. With sampled drums, there's a little less concern over the consistency of the attack (unless its a sampler that is trying to emulate the feel of a live drummer) so you can probably get away with slower attacks in parallel.
But in the case of really machine-like drums, you're really looking for tone and transient shaping more than dynamic control.
Great video! Is this parallel compression only used on drums/individual instruments or the full/final mix?
Thank you
thank you so much! loved this video, but i would’ve loved to see an example. Also i’m not really sure what a significant amount of boost means, what is a rough value of significant but healthy boost? I get it it depends, but an approximation? Anyway, thank you again, it really helped me !!
We've go that too!: ua-cam.com/video/tnKgDAImZtg/v-deo.html
Well.You didn't mention about the release...Fast /Med/or slow release?
Great Tips in all...Thanks :)