The #1 Parallel Compression Mistake
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- Опубліковано 27 вер 2024
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Are you making this big mistake with parallel compression? By the end of this video, you'll know why parallel compression might be hurting your mixes rather than helping, and my special technique to fix it.
Learn about parallel compression here: www.musicianon...
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#ParallelCompression #HomeStudio #HomeRecording
Dylan here. Make sure to stick around to the end of the video to see my completely unscripted meltdown that my editor decided to leave in for laughs. 😬😬😬
its a tongue twister for sure! :-)
This is such high-quality advice. Straight to the point, not too simple/beginner, not too complicated.
BTW for my FL Studio gang : you can duplicate the plugin you are using for the initial track's volume automation, put it onto the parallel compression track's insert and link the gain knob to the same initial automation!
I was looking for this! I usually add a DCA channel to any processed one that I am going to automate to avoid the pre-fader problem. So, just to make sure I get your point right. If I set the compressor output gain on the bus channel to the same automation clip created for the DCA channel fader, will that be okay?
One of the best, helpful, clear, simply explained presentations I have watched. THANK you.
No problem!
Now I can finally say I am no longer a beginner because I understood and followed every single step even though I used a totally different DAW.
if that DAW is Ableton can you explain it to me too 🤣i m already lost at min 11.30
@@cekirdekci32It isn’t Ableton. Basically, send your dry vocal AND the compressed vocal to a bus or group. Then automate the volume of the bussed/grouped signal.
@@cekirdekci32 STEP ONE: Vocal track 1 = your vocal STEP TWO: create new audio track > change audio from to "vocal track 1" and put compressor on this one STEP THREE: Select both tracks and right click to "Group" these 2 tracks and you can now automate the new GROUP track moving your vocal + vocal parallel at the same time
honestly this is a production topic that keeps me up at night because its so specific and enigmatic but also so real. Thanks for talking about it in so much detail!
Happy to help!
dude it literally does.
HA! I thought I was really smart just because I used Parallel Comp in the first place...this was pure gold
I'd argue the #1 mistake when dealing with parallel compression is actually low cutting the parallel bus which introduces nasty phase issues and results in less bass because of cancelation. A lot of people don't notice that and just mix against this problem.
never hi-pass more than the original signal feeding the compressor.
Wow I never thought of this
Dead on. EQ-ing the parallel without understanding it will introduce phasing (and that can work for you or against you). That's for sure the most common
If the track does not have tight transients, you can get away with a linear phase EQ if you need to EQ.
Mmm. Would love to see a video about this problem. Thanks for pointing out!
Andrew Scheps uses a lot of parallel compression but he doesn’t use pre fader sends in his workflow AT ALL... go watch any oh his masterclasses, all his sends are post fader.
In Reaper and Studio One professional any plugin can be routed in a parallel chain... so no problem at all. Basically he solves the issue that logic has) also I don’t see any problem in post fader sends to parallel compressor. It’s rather natural for parallel compressor to relax a bit when the dry signal goes down in volume. In parallel chains we usually want to slam the compressor really hard, mush harder than in series mode... in this case 2-3 dB doesn’t change the tone dramatically. So I don’t see any problem at all. Also I don’t see any need to feed the reverb with compressed signal... but this may be debatable.
I wanted to thank you for your explanation of compression parallel compression and volume busing. Whereas compression in and of itself can be confusing to say the least parallel compression can be even a bit more difficult to understand. And then to throw volume automation into a separate bus can completely confuse the thought process of how an instrument or vocals are processed. My mind very much wanted to get lost in this whole process but your explanation was very concise and understandable. Also a great workaround between pre and post fader. Thank you so much.
I think the term you're looking for is "group fader". I typically do automation for intelligibility/enhancement on on the track and level automation on the group fader. Since we have almost unlimited bus faders in DAWs, there's no reason NOT to bus everything before putting it into the master bus fader.
Great explanation. I just wished even more examples, but you definitely gave plenty already.
This is the best parallel comp video out there because you addressed the pre/post send issue. That’s what I’ve been looking for. Every other video just explains what para comp is, which I think most people searching it would already know. 🤘 Thanks
This has made my mixes SO much better. Thanks man
This may have saved my life, literally answered all my questions about parallel compression ect.... I can't wait to go home and play around. I had so many questions about how to balance this and this explanation was so clear!
The Studio One "splitter tool" in the insert path can get all your parallel compression, saturations and crushing done ahead of the panner and fader. You keep the "clean" signal feeding through and the split allows a parallel channel of plugins to operate on the signal then mix with the clean at the output of the splitter.
1. Just use the gain plugin at the end of each channel for volume automations? no?
2. Just use the mix knob on a sophisticated compressor plugin? no?
3. Great video anyway.
honestly I used the gain plugin again at the end of the vocal chain to make my life easier. It works
Short version: use parallell compression/processing on initial audio, then output the signal to a new aux for volume control without messing with the processing, just like with a VCA.
Yeah,... I was also thinking VCA.
An using clipgain at specific points with the vocal
and I always assumed that would turn down de sendlevel of the parallel compressor down aswell.
I am gonna check now, just to make sure :-) // a few minutes laterrr // yep - works like a charm ! :-)
God is here 🙏🏻♥️😹
you can also assign any faders to VCA masters and have even better control
LIFE SAVER!!!!
never understood WHY I had so much inconsistency in my vocal mix despite getting a nice sound!! SOOOOO COOOOOL!!!!!!!pre feder INTO a volume bus!!!
just for clarification, in logic you can copy and paste automation to another track by selecting the whole track automation and copy, select track you want to paste, then paste. Just in case someone needs that bit of info.
Killer intro, automatically a fan. You literally make this fun like watching South Park back in 07
Nice video, white talk, Logic Pro, fancy plugins, etc. You just got another subscriber! 🤘🏼
Thanks dude.
I was just working on a mix, and had this exact question.... I searched for awhile and couldn’t find a clear answer until I found this video! Thank you so much!
WOW Just migrated to Logic and is incredible to be able to access to this information, THANKS! From an Argentinean guy in Berlin. I love you guys!
Thank you, I am a newbie and didn't know I was making these mistakes! This is a great help.
I'm pleased with my own progress in mixing , I was able to intuit what your solution was going to be before you got there. I'm learning in FL , so this particular problem has some other solutions there depending on how someone wanted to go about it. But in this DAW your solution certainly made sense and I'm just proud of myself I was able to think of it when posed with the conundrum! Woo hoo! This stuff used to be like sign language to me when I was younger. Persistence is paying off. Great video!
I can appreciate your tip with extremely dynamic tracks/songs. I guess my perspective is that with a post fader send, as Andrew uses does, you have an exact copy of track A going to your parallel compressor...I prefer a post fader send myself. My 1st thought is that if you are needing to change the level of a track so much that a couple of db going to your parallel compressor is affected that much you may want to address that prior to the automation of the song, but if the song you are working on is that dynamic, extreme volume changes, this is a good way to address those obstacles and create a nice wet/dry balance between the tracks. In my experience if a vocal, specifically, is getting so lost at certain parts of a song during the automation process-which I try and leave until the end-the issue is, for me, more of a frequency thing than a level thing. Certain frequencies are stepping on the vocal causing it to not cut through and be articulate enough. another thought is that when you adjust the dry volume going into the parallel comp it can help act as an energy boost for an instrument. So if I want more snare drum for a particular part of a song and increase the level of the dry track and the send is post fader, it can give you more energy making the snare sound as though it is being hit harder... creating a dynamic that is pleasing...so many ways to do this stuff...I absolutely love it!
Great Tip (file under: makes total sense, yet I didn't even think of this until you pointed it out)!
I opted to modify your approach by creating a channel strip for my parallel comp aux and then dragging that up next to my vocal track; next I selected both the vocal track and aux in the main window and created a summing stack, which is where I did my volume automation. Worked like a charm.
Love your channel--thanks for all the great videos!
This is super super awesome never heard it like this before 🙏🏽🤝🏽
Good skills to have. In this case automating the fader solves this more easily. Plus running one clean and clear leveler/compressor into the character compressor is also easier and what most studio professionals have done going back decades.
By "Flow/Flowing" he means changing the output of the track/groups/bus to another bus (group track). Thanks man, really demystifying the parallel compression problem!
THANK YOU!! need to wrap my head around it by trying it out on Logic and do some test runs. I have been using 'post' for everything and now I get why my compressor is not working well on the bus. Total rookie mistake and thank you for explaining for us beginners. All the best to you and your family, keep safe. Your fan from Barcelona Spain!
Great break down!! Gonna give this a shot!
Would you effectively be doing the same thing if your compressor has a "mix" knob that lets you adjust how much signal is compressed and how much isn't?
Wow brilliant solution! I always create Summing Stacks and use these group Buses for each group of instruments/vocals and put all automation there as you describe (not just volume automation) because it gives me independent control of automation when I'm moving elements around - arranging and mixing at the same time - but I never thought of using them to fix this issue with parallel compression. Great idea - subscribed!
Cool!
That's the same we should do with all multi-mic, multi-source instruments like drums, bass, guitars, etc...
Thank u Man U changed my life
The reason for the busses was pretty clear. The explanation of the track cluster was pretty vague. Maybe that is because I'm not used to looking at Ableton, and he didn't explain it very well.
If we have to use a dedicated aux buss for each track for parallel comp,might as well use a compressor in the insert with a wet dry function….maybe I missed something….no offence, I’m just here to learn and this was explained really well…I understand pre and post fader very well
For everyone saying just to copy the automation data from the dry signal to the wet aux, this will still yield the same inconsistencies warned about. The reason being that the threshold of the compressor is still receiving automated signal and would (from how I understand) still be yielding varying gain reduction
Cheat sheets are amazing, thanks!
Great tutorial!
Just curious... Would it be an idea to just include both tracks, main and compressed, into a summed track stack? That way, you'd keep all the tracks together on the mixing board and, when the track stack is closed, have only one channel strip showing on the board, saving space and the trouble of having to navigate between three channel strips. Open the summed track stack, make some adjustments, then close the track stack. Wa Laaaa... Everything is together. You could then, easily automate both the main and compressed tracks using a gain plugin on the summed track.
Thank you do much for this! I think I can finally do parallel compression the way I intended now.
Yup, got me! Thanks for the tips
For some reason I feel like I'm in a scene of Sherlock Holmes when Dylan is explaining the real solution versus the one that creates another problem lol
When I used to work with Cubase, I think I achieved a similar result by creating a "group" with my relevant tracks. Then the group volume would proportionately control the output volume of all tracks routed to that group. Will try this, now that I'm on Logic
Excellent problem solving!
Really clear explanation.
Totally appreciate this reminder. Thanks all involved!
Extremely helpful. Thank you.
Thank you 😊 very nice tip for the balance! If you have Studio One you could use the splitter - a great tool for parallel compression and more ...
You just made my mixing mire easier. Thanks fir the dope vid. Never thought about the effect in my consistency with the effect off theautomation
Well done, Thanks!
Well explained. New to parallel compression and this really helped. Thank you.
Great tip! That opening "dust to dust" song makes me dread clicking on your videos though. It's like Creed mixed with Nickelback. n
Very true. Especially considering that Dylan’s voice is calm, reassuring and relaxing to listen to.
It could be worse, it could have been Maroon 5
Nice 1st World Problems you got there.
That compression cheat sheet suite is good SH*t!
Great video! This was explained so clearly and to the point. And this technique is very useful virtually in any mixing scenario
Free cheat sheets?
Sweet
God thank you for telling me what parallel compression actually is. Every video assumes I do!
Really smart way of doing parallel compression and automation!
@Musician on a Mission. OMG! So many video and technique for this P.C. ( especially vocals processing) This one made sense as I always create a sub channel for my Lead Vox, B.V. etc, which gives me the freedom of then automate, send fx, etc etc for each individual (route-signal-instruments and vocals) now this P.C. sent to the same (sub, AUX. call it as you see it :) ) can consistently have the same balance-tone. THANKS!!! :)
Ah,I don't really catch the lesson,coz,am not using such D.A.W. but, dude,I have been learning a lot,from your channel,thanks man,much love from,EAST AFRICA TANZANIA🇹🇿🎼
DOPPE WAXY this workflow works with any daw. It’s simple: send the original sound to an aux (let’s call it Parallel). Then send the original sound’s output to another aux (let’s call it Final Aux). Then send the Parallel’s output to Final Aux as well. Done. If you need to automate volume or use effects, do it on Final Aux and leave the other ones alone. Hope it helps
Very useful, thank you 👍
I get comparable results by simply adding a compressor with a dry/wet mix knob, slamming the signal, and then backing off on the 'wetness' to taste. I get parallel compression in seconds.
@MomoTheBellyDancer Not every compressor comes with a mix knob. Admittingly most of them do now but in principle you make yourself dependant on specific plugins. The tip in the video works with everything and in every DAW environment. Also, you have more control with a bus/send concept. Independent panning for example. Or more specific tasks like emulating a drum room mic.
@3ple Correct, not exactly the same. But I prefer finding a nice balance of the "hot/"cold" and simply readdressing the overall volume, versus setting up the traditional parallel routing -- just for convenience's sake.
MomoTheBellyDancer not at all. Parallel compression is not only about the compression itself, but about THE TONE OF THE ACTUAL COMPRESSOR.
Zachary Dufrene I was wondering the same... why not use a wet/dry function? Much easier. Someone said that not every compressor has a wet/dry function... in these cases, at least in Ableton, there’s a way around it :)
@@u9s0e9r good point. Modern DAWs like Reaper and Studio one professional has dry/wet function onboard
I just use pre-FX volume automation and a compressor that does dry/wet by itself. So I never even thought of these issues.
And for example, in Reaper the effects all have a wet/dry control
Well you still need to automate the volume AFTER the compressor, otherwise you still influence the level that goes into the compressor, therefore the compression amount. But indeed, using the dry/wet knob is basically parallel compression, although, I guess the downside for some would be that the knob is basically a balance between uncompressed/compressed, so by introducing the compressed signal, you decrease the volume of the uncompressed one. Many like keeping the same level as mixed, and just introduce the compressed one on top. Or even process the compressed one some more. So I guess it depends on what you want to do...
@@AlexLapugean I automate the volume before the compressor so the compressor acts more evenly. If the level needs to be structurally changed, I automate the volume after the compressor as well. The compressor I use has separate dry and wet sliders so it's exactly like parallel compression.
Cue Zephyr oh, did not see the separate dry/wet sliders in a compressor before, sure, that works, minus if you want effects on the compressed signal. But about automating volume before compressing, I am not sure. The threshold is set according to input volume, so if you lower the volume you get less compression, and vice versa. I see it being too unpredictable. But if it works for you, that’s what matters. In the end is about what your years tell you.
Great video. Thanx. It's always interesting to view one topic from very different points.
wow this was extremely helpful!! love your teaching style very easy to understand, I liked and subscribed! looking forward to more videos. 😁
Just makes perfect sense. Thanks again.
U can record the Parrallel Compressed Audio as a new audio. & Then make the gain automation.
what is about just a vca automation instead of the volume bus?
Another approach in Logic is to create a track for the bus, then put the original track and the bus track into a folder track stack, which provides a volume fader for the entire stack. You can even put summing track stacks into the folder track stack. The bussing method in this video may be the best DAW-agnostic approach, though.
akibakemono not all daws have tracks stacks. This is a tutorial about general mistakes that apply to any daw, so he’s teaching the process, not the features in Logic ;)
Like a lot! Tnx
compression sheet cheat sheet ;))
Fantastic video !!!
Thankyou
That was a brilliant explanation! Thank you!🙏💪🎶
Dope explanation
Bro this is amazing 🔥😳
How about duplicating the track, slam the duplicated track and commit (you can commit because you've still got the original). Automate to taste. Won't work so well in DAWs that don't do latency compensation.
This is gold
omg thx a lot!
Really good video! Thank you.
Or just use fabfilter's internal parallel compression?
Omg you cracked the code 😮
Can you explain if you route multiple vocals to a vocal bus how would apply reverb or delays individually ie some doubles or adlibs you want to have a specific delay but each time you change the reverb or delay for doubles or adlibs or harmonies can you use the same vocal bus and use send on track pre vocal bus?
Thanks
Nice! but if you are using a compressor with Parallel Compression option you can just play with the automations right?
In logic won’t a summing track stack accomplish the same thing without having to create sends.
RI Rock Cumberlandite was just thinking the same thing, then just automate the stack … seems a lot less hassle
Summing Track on Logic Pro X does this for you
Thank you!!
An easier way to do this is to send your vocal to a VCA. When you automate the vca volume, it will scale all your sends. Done
great tip!
Before watching this video i will say phase alignment. time to watch the video. Ok watched some of the video and i guess it was about maintaining balance and such. good points as well ofc.
You're a good teacher and communicator thanks
Glad to help!
I find it a different ways in cubase..
Where in pre fader will affect the amount of signal send, while the post fader dont
I learned something, however I disagree w/ the concept of not wanting to automate the parallel volume for vocals. The same way the song is dynamic & could use the dry vocal having some automated movement to help it sound level, the wet parallel needs that attention all the same & all the more as a secondary vocal signal there for support. Sometimes it can give too much support & other times too little.
The dance of automating those 2 knobs is important to taking your vocals to the next level. Its also why many engineers prefer to have real hardware faders to touch so they can move them at the same time while pursuing a sweet spot. I think the method used in this video works best when using parallel compression on things like drums. Great video all the same because all this time I kept overlooking the fact that turning down dry signal faders was affecting the plugins in their sends.
I probably wouldve chased my tail on this issue another 5 years before realizing how I was working against my edits unknowingly. Its a strange thing to renew one's mind to the sensitivity of thresholds. Many people forget their saturation plugins are also distorting then going weak when they arent mindful of how they too are threshold triggered & need a more steady signal to sound the same the whole time theyre in use. Another reason why mixing while high doesnt work lol(at least for 80% of the mix time if you subscribe to the 80/20 rule of thought).
thank you very great tutorial. the videos helps me alot
nice tip :-) i exactly did this mistake many times ...shame on me , but now i know better ... Thank you for this game changing Tip :-) Cheers Robbie
One thing I don't understand here is when you say at 9:12 "The workaround for this would be to automate the parallel compression signal the exact same way". I understand you aren't doing this in the end, but surely that would be the exactly same thing as leaving the Dry Bus on post fader and then just automating as normal (thus it isn't a work-around just the same as leaving it on post-fader?)
I’m not sure what you’re doing here but it looks interesting