Parallel Compression Explained

**bigtree** · 11-02-2011, 12:41 PM

I'm demoing an A-Design HM2 Nail this month. One of the things it does OTB very well is Parallel Compression. Here is a bit on it from Ronan
http://www.youtube.com/watch?v=kQdH3AG5EiQ
While searching for more information on this, I found a video from MikeChav explaining how he does this by duplicating a track and then compressing it. He then tucks the compressed track underneath the original.
Any else have more on this, please chime in.

**BobRogers** · 11-02-2011, 04:48 PM

I don't use this technique for drum compression, but I think the concept is basically the same as using a reverb bus. On the reverb bus you have a completely wet sound, so it's easy to hear the characteristics of the sound. The sound itself is too wet, but it sounds right added back to the mix in small doses.

**bigtree** · 11-02-2011, 05:33 PM

Good comparison Bob!

Compression> HP /LPF/ Shape the thwack to blend > reverb buss.

I've never tried Parallel Compression with vocals. anyone?

**RemyRAD** · 11-03-2011, 03:14 PM

I thought this is a technique that most everybody had tried at some point? I've used parallel processing with all sorts of signal sources. For instance, either during tracking or during Mixdown I'll frequently take a vocalist assign them to 2 output busses to the multitrack. One bus goes direct, the second goes into a limiter/compressor and is printed on an adjacent track. Then these 2 tracks on Mixdown can be mixed together in varying amounts.

When only one track has been cut, one can take the output of the multitrack machine and plug that track (whether software or hardware) into a Patchable MULT. Wish to give me 1 in with 3 passive identical outputs. One goes back into the console, directly and the other goes into your limiter of choice which then gets patched into another console input. The 2 different signals are then mixed together to taste.

Sometimes I may equalize the 2 tracks slightly differently from each other? For instance, I may include a little extra presence boost on that compressed track. This can add an element of dynamic based equalization. Now I'm not talking about side chaining here. That too can be done during parallel processing. And in fact this can be a nicer way to create your own De-Essing. So if you sidechain 2000-7000 Hz, boosting with an equalizer, you can have better control over the sibilance without it getting too squashed. Reverse the phase, high and low pass filter and you will have a dynamic presence equalizer and keep things from getting too squawky.

That was only on individual tracks. When you are mastering, parallel processing with minute amounts of delay can make a mix sound bigger than life. But there are so many other techniques one can employ. Like center image downward expansion. Broader sounding stereo imaging. Central centered Mono heaping of the stereo field. It's always fun stuff.

None of this phases me unless I want it to
Mx. Remy Ann David

**chavernac** · 11-07-2011, 09:01 PM

My 2 cents,
It is pretty easy to use on drums.
It can be subtle or "less" subtle.
If you need more punch on your drums, compress the hell out of it with an open attack and tuck the new signal under the original sound.
Id you need more "boyancy", more vibe, more room, use a short release and tuck in under.

**soapfloats** · 11-07-2011, 09:59 PM

In one form or another, this is a technique I use often.

Compression, Reverb, or any effects.
I don't often use it on individual tracks, but will use it w/ group busses often.

Ex: 8 drum channels > Drum Buss > both ST buss and "Drum Compression" buss that also goes to ST buss
Or: Vocal track(s) >Vocal Buss > ST buss + Vox Verb

And so on....

I do find it useful on single mic/track sources like a vocal or bass DI.

In general, I find it is a nice technique for balancing any two elements of a source.

And I'm really interested in trying Remy's approach to a stereo track/mix...

**bigtree** · 11-08-2011, 08:26 AM

Thanks everyone, I think I have a good handle on this now. Parallel Compression sounds like its idea during the sub mix for low end punch or where a final mix could be a bit to top heavy needing some low end lift. Great for helping balance or pushing the bottom in dance music, yes? It also sounds like small doses are the way to go.

**bouldersound** · 11-08-2011, 09:28 AM

I found it useful on slap bass that was too peaky but didn't respond well to the conventional of compression and limiting I tried. The "body" of the notes was just overwhelmed by the pops and nothing I tried sounded okay. By copying the track and limiting the heck out of it to kill the peaks then mixing that track back in, I was able to fatten up the sound without killing the dynamic feel.