quote:

Originally posted by Raphie Huh, lost u here, the only guy ever taking the words linear phase in his mouth here on this forum is you? with MBC just to be clear do u mean in this generic Multiband compression? (as a technique) or Vengeange MBC? (as the plugin)

Raphie, the reason he mentioned the linear phase eq in that reference, is that you were saying everything had already been covered in this topic and he was pointing out the fact that linear EQ was one important thing that hadn't.

So yes, you're right in saying he was the one talking about it, but he was tlaking about it because no one else had.

And I think the only thing anyone has been talking about is multiband compression, abreviated to MBC.

Senator Clay Davis' post just about sums up the whole thing, in that multiband compression is effectively discrete compressors being used on isolated bands so in that respect, parallel compression can be used to create a multiband compressor.

agreed SCD/Palm. excellent summary

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Just to follow up on my previous post, this is the section on parallel compression in the Ableton Live 5 Power book written by Chad Carrier, obviously some of this is Live specific

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Heres a common mixing technique employed by engineers that takes advantage of the routing explained above: Place a couple of drum parts on some track, preferably acoustic drums or percussion. Switch the track outputs to Sends Only and use the send knobs to create a mix of drums that can be monitored through the Return track. Once you achieved a nice blend, load a compressor onto the Return track and dial up some heavy compression. By Heavy i'd say probably a ratio of 10:1, attack fully counter-clockwise, and a moderate release time of 25ms. Stop playing the clips from playing and switch the original track outputs to Master. Turn the volume all the way down on the Return track and start playing the drums again. While the original tracks are playing, begin to slowly raise the volume of the Return track. The compressed drum parts will start to blend in, with the originals adding beef to the drums The reason this is so effective is that right when a transient occurs in the original drum tracks, the compressor on the Return track kicks in and cuts off the transient (due to the short attck time), leaving only the original waveform in the mix. As the original waveform fades out, the compressor opens up again, thus filling in the space between the transients. This keeps the drums sounding natural, while adding the thickness characteristic of compression. try this technique with other instruments that may need the assistance of compression while maintaining their original tone.

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