![]() ![]() Here you can actually use parallel compression in different ways. 2) Individual Drums - Parallel CompressionĪnother common place for parallel compression is on individual drums. There’s no law saying you can’t EQ your parallel drum buss. Lastly, it allows you to correct any unwanted tonal shift that results from the compression. If that groove compliments the feel of the record this will subtly but profoundly reinforce the movement of the record. ![]() This means you can really make the parallel signal pump, and by fine tuning the release time and using a compressor with the right release curve, you can get the drums to swell and move with the groove. Second, you can get a more extreme form of compression going. Parallel compression allows you to use lower threshold settings and really fine tune that attack time to allow for just the right amount to poke through. It’s difficult to beef up the sustain of the drums without also rounding out the attack, particularly on a group buss. But let’s look at the reasoning behind it.įirst and foremost, in regular compression, the whole of a signal is affected. 1) Drum Buss - Parallel CompressionĪ common place people use parallel compression is a drum buss. At this point I think some people just do it because that’s what engineers do. Let’s look at some common parallel processing situations and examine some possibilities. You can also customize the effect by using conjunctive processing - compressing, EQ’ing, distorting, adding a touch of reverb - whatever. You can distort the living bejeezus out of a tuba, but as long as the dry:parallel ratio is something like 90:10 it can still work really well. I also view it as a way to be more versatile or extreme with effects. I like to view parallel processing as a way to isolate and fine tune an effect, and then blend it back into the signal as needed. Parallel processing on its most literal level means making a mult/duplicate of a sound source, processing the duplicate in an independent way, and balancing/blending the duplicate in with the original. In the ever-forward quest of getting folks to think about music, I’d like to re-exam parallel processing. My growth as an engineer doesn’t come from building a catalogue of techniques, it comes from broadening my musical awareness and refining my sense of feel and emotion. I decide what I want and then use techniques or experiments to get that result. ![]() When I write articles and make tutorials, I want to really focus on being “process oriented.”įor me, mixing isn’t about techniques and signal chains, but about a thought process. ![]()
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