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parallel compression (pg. 2)
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| evo8 |
I think the way it was originally used was that you sent some of your drums to the Return track which had a compressor with heavy settings i.e. fast attack and release, heavy threshold
Then when say for example your snare hits, the snare signal sent to the return track activates the compressor and hits the threshold hard pulling down the volume on the return track (i.e. heavy gain reduction)
Then as the snare decays the gain reduction will come back up on the return track and bleed in after the snare - thereby you have your snare cutting through with a sorta heavy compressed distorted sound filling in afterwards
So you have all the benefits of heavy compression and still have your transients preserved
Im trying to remember this from one of Chad Carriers Ableton Live books as he wrote a little section on it in there...its something like that anyway i think |
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| J.L. |
| To be honest, I find this sort of terminology overcomplicating things. Why not just call it dry/wet of a compression FX? |
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| BECK |
because you can have compressor on both splitted signals, like for example two different compressors, settings and eq - it helps alot for punch imo! babics talk about it all the time. the point is to have them side by side, and not in serie, because having them in series will sort of way up/mess up/cancel out for each other making most of the settings useless, while here each compressor doesnt affect the other, same with the EQs. watch the levels after the summing (which i do in the spider on top, also the splitting is there) cause the signal is tripled (in the example below use of 3 splits).
heres how you could do it in Reason with triple parallel and different settings on all channels:
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| Pagan-za |
| Just remember to have the same FX chains on both channels even if they not being used, the slight delays caused by fx cause phasing issues otherwise. |
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| cristianokeller |
Pagan-za, how about turn on Latency Compensation on your DAW?
I've never experienced good results doing parallel to all the drums including kick...
The kick looses important low dynamics and goes muddy... Sounding better here if parallel is applied only to the Hat bus...
Anyone experiencing the same? |
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| Pagan-za |
Does latency compensation affect your fx chains as well? I was always under the impression it was only for asio inputs and audio clips?
Also, the kick drum going muddy is also probably a phasing issue. Even slight phasing can totally ruin bass or a kick or make things muddy.
Worst still is that its so subtle its hard to pick up sometimes.
One thing I've found that helps a kick drums though is layering it with a copy of itself thats been lowpassed so only the lower frequencies are coming through. Much easier to get them to sit together when its the exact same drum rather than trying to get different ones to work together. |
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| evo8 |
| quote: | Originally posted by cristianokeller
Pagan-za, how about turn on Latency Compensation on your DAW?
I've never experienced good results doing parallel to all the drums including kick...
The kick looses important low dynamics and goes muddy... Sounding better here if parallel is applied only to the Hat bus...
Anyone experiencing the same? |
I think the solution there would be to not parallel compress your kick at all. |
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| Raphie |
I think that parallel compression, as in splitting signal and run it through multiple processors in parallel, is really useless full stop....
think about it, splitting your full range signal in 3, processing 3 different parallel full range streams and merge them back together.
If you would divide up the frequencies, in 3 zones and process them induvidually that would make sense, but we call that multiband compression, not parallel compression. ;)
i find value in parallel compression as in blending original signal with compressed signal, to FX while preserving dynamics, or work M/S in order to work mono harder than side signal.
But above example just has no value at all in my opinion
just like doubling identical kicks, just use EQ..... |
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| Looney4Clooney |
there is a reason people do it Raphie. You can slam the drums and really bring out the transients while not loosing the overall beefiness of the group you are compressing or vice versa using compression to squash the drums killing any transients but bringing them back with the original source. Mixing 101. Every engineer does it and I would be hard pressed to find a modern album that is mixed well that doesn't. It is really hard for me to not lambast you on your incredible lack of knowledge when you speak with such authority.
the concept really can and should be used with any parameter when you want a certain effect but you don't want to loose the overall character of the source. The concept is probably invaluable with dance where you have lots of elements that will need dynamic control.
And in reply to your pm , this is why I sometimes tend to be on your case. Case in point, you hide under the veil of a mastering engineer which under normal circumstances would assume you know how to mix but you clearly lack some rather simple concepts and I would purport that your mixing is quite horrid. Combine this with the fact that you deny no opportunity to show your studio and your lovely toys you don't really know how to use makes you a tempting target. Not to mention I have a suspicion that you are polish or a pole sympathizer. You like poles I guess is the take home point. If it were printed in bullet form, it would say bullet Raphie likes big poles.
No advice is better than bad advice. Let the music do the talking or something. As long as you stop spreading misinformation i will be happy. |
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| Looney4Clooney |
| quote: | Originally posted by J.L.
To be honest, I find this sort of terminology overcomplicating things. Why not just call it dry/wet of a compression FX? |
kinda like how they call certain chords German chords, Neapolitan 6th. Just tradition as there was a point in recording history where you could clearly delineate a mix from LA, Nashville. and NYC and London I suppose. |
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| Raphie |
M4B please stop putting words in my mouth, please just read, take a deep breath, read again and only then start drafting a reply.
I mention i see use in parallel compression, i just don't see any use in processing a FULL RANGE signal in triple parallel with different settings as per example above. YES we do this with a SEGMENTED signal, but we call that MULTIBAND....
You are drawing the wrong conclusions, because you don't take the time to read responses in detail, also stop the lame pedantic opportunities to ridicule.
| quote: | Originally posted by Looney4Clooney
there is a reason people do it Raphie. You can slam the drums and really bring out the transients while not loosing the overall beefiness of the group you are compressing or vice versa using compression to squash the drums killing any transients but bringing them back with the original source. Mixing 101. Every engineer does it and I would be hard pressed to find a modern album that is mixed well that doesn't. It is really hard for me to not lambast you on your incredible lack of knowledge when you speak with such authority.
the concept really can and should be used with any parameter when you want a certain effect but you don't want to loose the overall character of the source. The concept is probably invaluable with dance where you have lots of elements that will need dynamic control.
And in reply to your pm , this is why I sometimes tend to be on your case. Case in point, you hide under the veil of a mastering engineer which under normal circumstances would assume you know how to mix but you clearly lack some rather simple concepts and I would purport that your mixing is quite horrid. Combine this with the fact that you deny no opportunity to show your studio and your lovely toys you don't really know how to use makes you a tempting target. Not to mention I have a suspicion that you are polish or a pole sympathizer. You like poles I guess is the take home point. If it were printed in bullet form, it would say bullet Raphie likes big poles.
No advice is better than bad advice. Let the music do the talking or something. As long as you stop spreading misinformation i will be happy. |
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| Looney4Clooney |
but again, even if that is what you meant, guess how people used to do multiband sidechain ? tadum. People do it and these people can safely call themselves engineers and not have half the room snicker. I don't look for opportunities, you just talk alot of nonsense about things you don't really know about. I wouldn't be so skeptical if your product showed otherwise but you don't talk the talk, certainly don't walk the walk and me, I guess I just like to call you on your . The sad part is that I haven't mixed a thing in about 6 years. I would not call myself an engineer let alone a mastering engineer even with the amateur/hobbyist superlative added and this all seems to be common knowledge to me. The kinda stuff you would find in like those mix magazines.
And i'm not angry. Just correction your mistakes. You should be thankful, I do apologize if my interjections on simple matters seem to make you look rather incompetent which might affect your mastering business. That isn't my intention or care. |
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