Never Miss an Article! Not compressing hard enough In a parallel setup, the compression is much heavier than what you would normally use as an insert effect on a track.
Getting fooled by level Parallel compression increases the level of your mix—you are adding another track of audio to your mix, after all. Conclusion There are many benefits to using parallel compression, but like all techniques, there are also pitfalls.
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Follow us. All rights reserved. Terms of Use. Privacy Policy. Do Not Sell My Information. License Agreement. Subscription Terms. Personal Data Rights Request Form. Now, in analogue console terms, the signal would be routed two directions, one of which would be hit hard by the compressor.
The original audio would then be mixed with the heavily compressed signal by ear, to taste. One of the easiest ways to add parallel compression to a track is as follows. You would make an auxiliary buss for the track you intend to parallel process.
The buss would have the dramatic compression on it, and you would blend the signals together using the Send on the original track. Simple as that! In your DAW, make a copy of the track you intend to process and put a compressor on it. Unless, of course, distortion is what you want, in which case you can really crush the signal with something like an ! Sometimes that distorted, overly compressed sound is great. Parallel compression gives the impression of control without sounding completely squashed.
If you set up a traditional analogue routing path for parallel compression in the digital realm, the signals traveling through the parallel pathways will arrive at the mix buss at slightly different times. This can create comb-filtering and phasing effects, which sound terrible. You might be left wondering why your tracks suddenly sound much worse than before trying out parallel compression! Then insert your compressor of choice on both and compress the relative signals as you see fit.
Again set up 2 sends, but this time use MSED by Voxengo to mute the side on one auxiliary track and the mid on the other. Again insert the compressors on these channels and compress as you see fit, then blend these tracks in with the original. New York-style parallel compression is a great way to get more control over your parallel compression — set up the tracks as you normally would and insert your compressor, but then insert an EQ.
With the EQ, amplify or attenuate aspects of the compression to shape the sound. You can also use this EQ pre-compression to control what gets compressed or to what extent it triggers compression. Following the same concept created by New York-style parallel compression, we can set up more unique processing — for example, maybe we insert a low-level compressor after the downward compression.
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