Graham and David Vignola Have been instrumental in helping me achieve mixes I am no longer ashamed of. This particular parallel mix trick has brought my back up guitars and keyboards right up close and full sounding. This is especially true in backing my lead vocals. I have struggled with balancing lead vocals and back up instruments together for some years now. This method is absolutely the best thing I have learned in years and has brought an end to the "Vocals sit in the mix" problem. Thank you Graham.
Have to say that this is enormously well explained. Somehow you manage to cover many perspectives of the same thing, so instead of having to watch this 4 times, 2 is enough. Great job!
Hi Graham; I'm Nezron, and I just wanted to tell you thank you. You have been the very best virtual Mentor to me. I've being following your Channel silently for just over two years and your material has helped me to develop and gain so much information and experience in a really short space of time. I just needed to say Thank You! I Appreciate Your Guidance...
This is the second time I watch this video. First time was about 9 months ago, maybe some more. I felt I needed to refreshed on Matt's story after pursuing an entrepreneurial endeavour for 9 months while seeing I was getting nowhere. Thank you both Graham and Matt for this interview. It is indeed a catalyst for at least a bunch of us to try out new things with the right mindset.
Bro you are my favorite protools channel. I have had home studios for years and now finally lease a spot run a great quality recording studio. It seems like all your videos are exactly what I'm looking for when I'm looking for a solution. Plus your not annoying like most people with these protools channels. Keep it up! Love the advice! -Matt B Strong Sound Studio
Been producing Hard Dance (I hate the word EDM!) for over 16 years now and this trick is something that I will use in every mix from now on! I've tried it and I love it! I have watched something with Andrew Scheps talking about this I think but I never tried it. Thank you soo much for sharing this! :)
When used IN MODERATION this is a great process that will improve the overall fullness of your mixes. Again - use in moderation, but a great processing move. Graham - KEEP IT COMING! U R da man!
I will experiment with this, but I'm so taken by the great movement and dynamics it introduces, I'll end up playimg with it before I've even finished tracking , let alone mixing. Thanks for sharing
Thank you for sharing this tip, I just tried in one of my mixes and it sounds awesome! Once the vocal is singing in the centre it gets full attention, however when it doesn't all the sides come up and take the front row. Almost works as a automatic automation. One suggestion: not being a hater, but bypassing the compressor on the parallel mix track will give you a better understanding of the effect by maintaing the same level. The blueface sounded best to me as well because of its low mids. Thanks Graham @recordingrevolution
Only done NY comp on drums so far but I'm definitely gonna try this one out, it gives a lot more to the other parts in the mix. Awesome! Also, nice tune \m/
Oh my gosh I love this. Graham you always hit on the one thing that people seem to forget, which is that this is music. Lately you've been posting stuff about being very musical. The movement and dynamic this adds is beautiful. I don't love this song tbh, but I'm definitely going to give this a shot on my recent mixes.
Andrew actually uses two unlinked compressors on his rear bus, one for the L and one for the R channels respectively. Andrew doesn't like it when a compressor clamps down on the whole signal so that's a big part of this technique. Also i don't think that he's routing the rear bus to the 2-bus, the rear bus acts as a secondary 2-bus and the parameters on his 1176 are a bit different. Still you got great results, but i wouldn't exactly call this a copy of the Andrew Scheps rear bus technique. Thanks for a great video! :)
This is a great technique. I've been doing parallel compression on my mix buss for a while similar to this. I don't recall where I learned it from (maybe from Scheps' own videos somewhere), but I always go with a blend of -20 dB or thereabouts usually because I like the compressed sound, but not overtly compressed.
hi, thank you for video! I usually make a parallel compression in the following way: firstly very big compression on the parallel bus ( I use VC 76 and compress with apprx -15 or even -20 dB reduction). Then I use puigtec eq - in comparison with defaults I boost low and high freq on 6-7 db, change bandwidth to ~5 and change high freq to 10hz or 12hz, as in most cases i do not like 3hz. It is named New York compression as I know, and it is awesome. Now I understand that apart from vocal I can send also some instruments! thank you!
Thanks so much for this trick I can't wait to try this out. I might need to re-watch this video a few times to really apply the knowledge. Love your channel Graham!
That's a really neat technique Graham! Thanks for sharing. Andrew Schepps is fantastic and it's great to see and hear how this simple move adds so much to the overall character of the mix. I'm gonna go try it now! :) have a great day :)
That's awesome. I learned a similar technique when I was at BerkleeMusic (now Berklee Online) called the Fat Track. I was taught to send anything that needed more parallel compression to add weight throughout and/or as needed. The difference is you and Scheps are not sending any drums. I understand this almost-sidechain effect you're creating here though. The other difference is you seem to be raising the level above your main mix while I have been keeping it "behind" the main level just to add solidity. Additionally you've reminded me to use the FMP function which I may have just forgotten. Well, now I have more tricks. Thanks.
Pretty nice trick! Also you can use side chains to mask different instruments and let leads stand out a bit. Also creates this effect that you’ve been talking about (like when the rap comes in everything hides and so on). But this method is interesting, definitely gonna develop this trick in my mixes!
Your video is very educational! A really easy way to understand the Scheps's parallel technique. I've watched some of Andrew videos but didn't undertood it quite well. Now I'll try! Thanks, Graham! :D PS: Oh, and I got to know the Adrew's work through you. Double Thanks! ;)
Hey Graham, why not AB by bypassing the compressor instead of muting the channel itself. That way you can get a much better picture of what this Trick actually contributes to the song.
i just tried this technique along with the low end trick...after having my sends and all that I just tried to reach on the VU meter the -3, so then while blending the parallel comp I tried to make them reach zero, I'm using the same VU meter as you for just 8!!! let's listen what I got
Just tried this and Wow.. tons of movement and dynamics. Definitely added life. One note.. be very careful with how much of the "P-Mix" you fade in with the original. If done right it sounds fantastic!
In the future I think it would be really helpful to have level matched versions of the before and after. My hearing isn't developed enough to hear through the gain change.
Great technique. I've always had trouble with parallel compression and recently on Pensado's Place Mike Dean said he never does anything in parallel and hearing that made me completely write it off. But after this ill try it again. And I like the content of that song. Sounds like truth
BEP: It's simply a mix/workflow technique that's an option - it's either a preference, or it's not. We all have our own individual preferences and "tricks" for mixing...There's no rule that says you "must use" parallel processing ( PP), as long as you know HOW to use it, should the situation arise where you are asked to use it. (I'm not inferring that you don't know how. ;) ). Some cookers swear by it ( Andrew Scheps), whereas others may prefer to not use it ( as you mentioned, Mike Dean), but they are both great engineers - albeit of different styles - so using it, (or not using it) doesn't make one guy "right" and the other guy "wrong". It may not work for you and for what you do, whereas others may happen to prefer the method for what they do. Personally, I happen to like using PP for gain reduction - and while I don't "always" use it - it all depends on what I'm working on at the time - in general, it works well for what I do. PP is nothing new, though... I was taught parallel processing 37 years ago by an experienced head engineer, while working a session as his AE, (back when we were ALL still working on actual consoles, LOL), so it's definitely been around for a long time now... but it's not like it's something you HAVE to do. it's just an alternate mix method that is available to you. That said, if you are getting mixes that you currently like without using parallel processing, then you should continue to use your current workflow. The sound of the final mix is all that really matters, right? And if you and your clients are happy with your mixes, then you shouldn't change your method(s). Just sayin'. ;)
Great mix. Discovered this since ive discovered parallel compresion. Ive experimenting and discovered this on my self. But nice vid. I did a few thing from this vid
I loved this process. However, I have a question. When the mixing process is done, and you´re about to start with mastering, how mastering will affect to the entire mix, including the parallel mix you just did? Just a regular question. Graham, you´re the best.
A question comes to my mind after watching this : I was wondering about the routing. This "P Mix" track is routed to the mixbus but Andrew Scheps' "Rear bus" trick is based off of his console. Now on his console (unless I understand it wrong) his rear bus is a second master fader. Wich I believe is routed to the main outs. So in this video, the "P Mix" track being routed to the mixbus is also affected by whatever processing is going on in the mixbus. Is it because of different workflow or signal path ITB as opposed to OTB or is it something to consider ??
8 лет назад+2
+Ozcan AG Excellent question...I'm thinking the same...Hoppe for an answer.
+Ozcan AG Definitely something to consider. I guess it kind of just depends, which is basically the most common answer regarding any technique ;) Because, yes. Routing an additional compressed signal of everything but your drums will affect how the drums are processed through the master bus. So, it's probably preference. You could route your whole mix to your stereo bus, process it, and then have the "P Mix" hit the master in parallel with the stereo bus (likely with a limiter so you don't end up clipping), or you could do like is shown here and run the P Mix into the stereo bus as well. Far as I'm concerned, just use your ears, another common answer ;) I've never used this technique, so I'm going to have to experiment a fair amount to see what I like. But yeah, if @recordingrevolution feels like chiming in on his thoughts on this, that'd be awesome! Cheers!
+Ozcan AG remember he uses top down mixing, so the fx chain on his master bus is the first thing he tweaks after initial levels and pan. so adding another parallel FX bus to that routing into the master bus really does not make much difference because everything from the beginning was analyzed under the sound of the mix bus fx. The level of the aux track is what matters I would think. I'm sure that on the console the output of the rear bus was mixed with the main out to be processed and summed.
it works great has it is done in the video, just by using my ears, using logical reflexion ¨to me¨ the ¨P Mix¨is a copy of the rest so it work as good in the mix buss, and that´s why you have a fader to blend to taste
Awesome use of parallel compression! Question: is there a reason that you put sends on all the individual tracks (sans drums) rather than just on the busses in yellow (marked BASS, INST, VOX, RAP)? Would that have given you the same effect, with a bit less work? Or am I missing something? Also, what do you have on that SUBMIX track? There's no fx on it. Can't figure out what you're using it for... Also also, I just signed up for your mailing list. These videos are GREAT!
+Reed B It looks like there's other processing on those busses that he doesn't want to affect the signals being sent to the P-mix buss, so he sends their individual signals directly to the P-mix buss.
+Will Robinson Really? I don't see any plugins on those busses. But maybe you're right, maybe he wants to send the signal prior to any volume edits he does from the yellow busses.
+Reed B He does so because if you change the volume levels on the busses and have your sends on them in post-fader mode, the balance will change on your parallel comp bus too which might not be bad in itself but it can be nice to have something set and forget about it. I use submix to put everything that would be on the master fader so that when I reference with pro tracks, they are not affected by any treatment. I'm guessing it's the same for Graham.
Great breakdown of his method. Question for you Graham, are you routing to the Submix then into Mix Buss for referencing purposes? Or do you use the fader of Submix to control the volume going into your mixbuss?
Great trick this Parallel mix trick, but, what if using parallel compression on the bass track already - would you still add the bass to this also, or keep away with drums {that have parallel comp on too} ?
I dunno about you guys but over here I hear a Crackling distortion (right side of my headphones) on every hit of the Snare, Sound pretty cranked (Hot), By the way why doesn't the Song/Band get any credit? I'd like to know who they are, and it's a form of respect for the artists.
I've always done this with stems in subgroups and treating the stems in a very similar way, but never really thought of trying parallel compression instead. It's a great idea to not suck the life out of the track which I've def fallen victim to. I'm curious what is going on with the drums in particular to keep them up front and forward in the mix, especially after more gain is introduced to the rest of the track via the parallel buss trick?
Hey Gram, the CLA-76 always gives a very harsh tone on the mid highs of the mix (specially the vocal "t's" and some "s's". Does this happen to you too or am I tripping? This process is great, but I get a bit concerned about this extra harshness during mastering. Any insights about this?
I have to try this. Would it be useful to ride that parallel comp fader? Perhaps turning it up in different parts of the song to make them sound more in your face but more gentler sections turning it down?
Ok, I've watched a lot of tutorials like this, but I was never impressed this much by the ACTUAL mix ever before. This is very well done
Graham and David Vignola Have been instrumental in helping me achieve mixes I am no longer ashamed of. This particular parallel mix trick has brought my back up guitars and keyboards right up close and full sounding. This is especially true in backing my lead vocals. I have struggled with balancing lead vocals and back up instruments together for some years now. This method is absolutely the best thing I have learned in years and has brought an end to the "Vocals sit in the mix" problem. Thank you Graham.
You keep dropping these awesome tips, which when implemented make my previous songs sound so boring. This speeds my learning tenfold, thank you :)
This method is really helpful for preserving a good clean mix for me
Have to say that this is enormously well explained. Somehow you manage to cover many perspectives of the same thing, so instead of having to watch this 4 times, 2 is enough. Great job!
Hi Graham; I'm Nezron, and I just wanted to tell you thank you. You have been the very best virtual Mentor to me. I've being following your Channel silently for just over two years and your material has helped me to develop and gain so much information and experience in a really short space of time. I just needed to say Thank You! I Appreciate Your Guidance...
This is the second time I watch this video. First time was about 9 months ago, maybe some more. I felt I needed to refreshed on Matt's story after pursuing an entrepreneurial endeavour for 9 months while seeing I was getting nowhere. Thank you both Graham and Matt for this interview. It is indeed a catalyst for at least a bunch of us to try out new things with the right mindset.
instaBlaster...
Man Eminem sure has had a huge impact on the rap world. That line is said much the same style he uses. Another good video
This bought out the vocals in my mixes so much. It's like night and day! Thank you!!!
Bro you are my favorite protools channel. I have had home studios for years and now finally lease a spot run a great quality recording studio. It seems like all your videos are exactly what I'm looking for when I'm looking for a solution. Plus your not annoying like most people with these protools channels. Keep it up! Love the advice!
-Matt B
Strong Sound Studio
Been producing Hard Dance (I hate the word EDM!) for over 16 years now and this trick is something that I will use in every mix from now on! I've tried it and I love it! I have watched something with Andrew Scheps talking about this I think but I never tried it. Thank you soo much for sharing this! :)
i like the little tricks you share on your mailing list, theyre good reads
Thanks Graham, this helped me. Have tried this on drums in the past as well. this is cool, thanks.
When used IN MODERATION this is a great process that will improve the overall fullness of your mixes. Again - use in moderation, but a great processing move. Graham - KEEP IT COMING! U R da man!
Amazing! thanks for this. This allowed me to remove like 30 effects from my mix and consolidate everything.
I'm going to do this from now on!! Thanks for sharing!
I will experiment with this, but I'm so taken by the great movement and dynamics it introduces, I'll end up playimg with it before I've even finished tracking , let alone mixing. Thanks for sharing
Thank you for sharing this tip, I just tried in one of my mixes and it sounds awesome! Once the vocal is singing in the centre it gets full attention, however when it doesn't all the sides come up and take the front row. Almost works as a automatic automation.
One suggestion: not being a hater, but bypassing the compressor on the parallel mix track will give you a better understanding of the effect by maintaing the same level. The blueface sounded best to me as well because of its low mids.
Thanks Graham @recordingrevolution
This is freaking brilliant. I'm always stunned by the stuff you share!
Hands down best mixing tutorials on youtube. Thank you :)
Love this. Yet another thing I can abuse but used carefully, it's a great tool.
Very cool! It self rides the dynamics leaving the drums alone. Must use it next time I do a mix. Thank you!
Just wanted to say Thank You for sharing your knowledge and expertise.
Only done NY comp on drums so far but I'm definitely gonna try this one out, it gives a lot more to the other parts in the mix. Awesome! Also, nice tune \m/
Dude...thank you. I am so glad I came across this because this is what I wanted to learn being an indie recording artist.
Very very very useful and helpful and thankful for the video cause for once I understand . These videos are for single quick lesson on topic.
Dude. Best trick in the book.
Oh my gosh I love this. Graham you always hit on the one thing that people seem to forget, which is that this is music. Lately you've been posting stuff about being very musical. The movement and dynamic this adds is beautiful. I don't love this song tbh, but I'm definitely going to give this a shot on my recent mixes.
It's like a super precise and complicated automation. I love this. Good stuff man. Good stuff.
This looks almost like a mastering technique, great trick! Thanks for the video.
Andrew actually uses two unlinked compressors on his rear bus, one for the L and one for the R channels respectively. Andrew doesn't like it when a compressor clamps down on the whole signal so that's a big part of this technique. Also i don't think that he's routing the rear bus to the 2-bus, the rear bus acts as a secondary 2-bus and the parameters on his 1176 are a bit different. Still you got great results, but i wouldn't exactly call this a copy of the Andrew Scheps rear bus technique. Thanks for a great video! :)
This is a great technique. I've been doing parallel compression on my mix buss for a while similar to this. I don't recall where I learned it from (maybe from Scheps' own videos somewhere), but I always go with a blend of -20 dB or thereabouts usually because I like the compressed sound, but not overtly compressed.
Thanks! Best explanation so far.
hi, thank you for video! I usually make a parallel compression in the following way: firstly very big compression on the parallel bus ( I use VC 76 and compress with apprx -15 or even -20 dB reduction). Then I use puigtec eq - in comparison with defaults I boost low and high freq on 6-7 db, change bandwidth to ~5 and change high freq to 10hz or 12hz, as in most cases i do not like 3hz. It is named New York compression as I know, and it is awesome. Now I understand that apart from vocal I can send also some instruments! thank you!
Awesome video graham! Im proud to be your subscriber!:)
Thanks so much for this trick I can't wait to try this out. I might need to re-watch this video a few times to really apply the knowledge. Love your channel Graham!
That's a really neat technique Graham! Thanks for sharing. Andrew Schepps is fantastic and it's great to see and hear how this simple move adds so much to the overall character of the mix. I'm gonna go try it now! :) have a great day :)
That's awesome. I learned a similar technique when I was at BerkleeMusic (now Berklee Online) called the Fat Track. I was taught to send anything that needed more parallel compression to add weight throughout and/or as needed. The difference is you and Scheps are not sending any drums. I understand this almost-sidechain effect you're creating here though. The other difference is you seem to be raising the level above your main mix while I have been keeping it "behind" the main level just to add solidity. Additionally you've reminded me to use the FMP function which I may have just forgotten. Well, now I have more tricks. Thanks.
Pretty nice trick! Also you can use side chains to mask different instruments and let leads stand out a bit. Also creates this effect that you’ve been talking about (like when the rap comes in everything hides and so on). But this method is interesting, definitely gonna develop this trick in my mixes!
Your video is very educational! A really easy way to understand the Scheps's parallel technique. I've watched some of Andrew videos but didn't undertood it quite well. Now I'll try! Thanks, Graham! :D
PS: Oh, and I got to know the Adrew's work through you. Double Thanks! ;)
Hey Graham, why not AB by bypassing the compressor instead of muting the channel itself. That way you can get a much better picture of what this Trick actually contributes to the song.
i just tried this technique along with the low end trick...after having my sends and all that I just tried to reach on the VU meter the -3, so then while blending the parallel comp I tried to make them reach zero, I'm using the same VU meter as you for just 8!!! let's listen what I got
I'm trying this tonight ! I Feel what this can do for a mix ! Great tip Sir !💯✌🏼️🙏🏻😉
Just tried this and Wow.. tons of movement and dynamics. Definitely added life. One note.. be very careful with how much of the "P-Mix" you fade in with the original. If done right it sounds fantastic!
Wow, can't wait to try this. Thanks, Graham!! All your videos are really helpful :)
a ton of value in this tip!
Hey Graham, great trick! Be awesome to hear a leveled AB of with and without the P mix! That would really point out how cool this trick is! Best!
Very usable trick. Thanks for sharing
Graham... In vain I have struggled it will not do, you must allow me to tell you how ardently I admire and love you!
EXCELLENT!!! also ADDS PERSPECTIVE and Dimension!!!!
Never knew Low Pro was a rapper, but he does make some pretty nice camera bags. . .
Love that song by Joe Gilder
Wow dude that's amazing and God bless you ❤👽😀👽👽❤
In the future I think it would be really helpful to have level matched versions of the before and after. My hearing isn't developed enough to hear through the gain change.
I'm so trying this! Thanks Graham and Andrew.
makes sense, great tip. Thanks !
great. will test it. thanx for sharing..love your videos.
Great technique. I've always had trouble with parallel compression and recently on Pensado's Place Mike Dean said he never does anything in parallel and hearing that made me completely write it off. But after this ill try it again.
And I like the content of that song. Sounds like truth
BEP: It's simply a mix/workflow technique that's an option - it's either a preference, or it's not. We all have our own individual preferences and "tricks" for mixing...There's no rule that says you "must use" parallel processing ( PP), as long as you know HOW to use it, should the situation arise where you are asked to use it.
(I'm not inferring that you don't know how. ;) ).
Some cookers swear by it ( Andrew Scheps), whereas others may prefer to not use it ( as you mentioned, Mike Dean), but they are both great engineers - albeit of different styles - so using it, (or not using it) doesn't make one guy "right" and the other guy "wrong". It may not work for you and for what you do, whereas others may happen to prefer the method for what they do. Personally, I happen to like using PP for gain reduction - and while I don't "always" use it - it all depends on what I'm working on at the time - in general, it works well for what I do.
PP is nothing new, though... I was taught parallel processing 37 years ago by an experienced head engineer, while working a session as his AE, (back when we were ALL still working on actual consoles, LOL), so it's definitely been around for a long time now... but it's not like it's something you HAVE to do. it's just an alternate mix method that is available to you. That said, if you are getting mixes that you currently like without using parallel processing, then you should continue to use your current workflow. The sound of the final mix is all that really matters, right? And if you and your clients are happy with your mixes, then you shouldn't change your method(s). Just sayin'. ;)
Oh, sweet! Another gem :) Can't WAIT to try this out! Thank you, sir!
Great mix. Discovered this since ive discovered parallel compresion. Ive experimenting and discovered this on my self. But nice vid. I did a few thing from this vid
Great tip, thanks!
I loved this process. However, I have a question.
When the mixing process is done, and you´re about to start with mastering, how mastering will affect to the entire mix, including the parallel mix you just did?
Just a regular question.
Graham, you´re the best.
amazing! that's my favourite trick you've shared! thank you so much!!
This is crazy! I got really excited to try it next time.
Graham,....this is extremely helpful,.... plus,.. that song is a killer track ! :)
A question comes to my mind after watching this : I was wondering about the routing. This "P Mix" track is routed to the mixbus but Andrew Scheps' "Rear bus" trick is based off of his console. Now on his console (unless I understand it wrong) his rear bus is a second master fader. Wich I believe is routed to the main outs. So in this video, the "P Mix" track being routed to the mixbus is also affected by whatever processing is going on in the mixbus. Is it because of different workflow or signal path ITB as opposed to OTB or is it something to consider ??
+Ozcan AG Excellent question...I'm thinking the same...Hoppe for an answer.
+Ozcan AG Definitely something to consider. I guess it kind of just depends, which is basically the most common answer regarding any technique ;) Because, yes. Routing an additional compressed signal of everything but your drums will affect how the drums are processed through the master bus. So, it's probably preference. You could route your whole mix to your stereo bus, process it, and then have the "P Mix" hit the master in parallel with the stereo bus (likely with a limiter so you don't end up clipping), or you could do like is shown here and run the P Mix into the stereo bus as well. Far as I'm concerned, just use your ears, another common answer ;) I've never used this technique, so I'm going to have to experiment a fair amount to see what I like. But yeah, if @recordingrevolution feels like chiming in on his thoughts on this, that'd be awesome! Cheers!
+Ozcan AG remember he uses top down mixing, so the fx chain on his master bus is the first thing he tweaks after initial levels and pan. so adding another parallel FX bus to that routing into the master bus really does not make much difference because everything from the beginning was analyzed under the sound of the mix bus fx. The level of the aux track is what matters I would think.
I'm sure that on the console the output of the rear bus was mixed with the main out to be processed and summed.
+Ozcan AG Andrew Scheps' "Rear Buss" goes straight to the 2 buss.
it works great has it is done in the video, just by using my ears, using logical reflexion ¨to me¨ the ¨P Mix¨is a copy of the rest so it work as good in the mix buss, and that´s why you have a fader to blend to taste
Dope trick. Rapper sounds like Kenny powers.
great trick! will use it defo!
Just started using parallel processing much more. Still struggling with muddiness but pretty sure it has more to do with my room than anything else
It’s a recording problem
Really good Graham .. that's cool !!
AWESOME TECHNIQUE . Thank you!
I'll definitely try this out - Thanks!
Awesome use of parallel compression! Question: is there a reason that you put sends on all the individual tracks (sans drums) rather than just on the busses in yellow (marked BASS, INST, VOX, RAP)? Would that have given you the same effect, with a bit less work? Or am I missing something?
Also, what do you have on that SUBMIX track? There's no fx on it. Can't figure out what you're using it for...
Also also, I just signed up for your mailing list. These videos are GREAT!
+Reed B It looks like there's other processing on those busses that he doesn't want to affect the signals being sent to the P-mix buss, so he sends their individual signals directly to the P-mix buss.
+Will Robinson Really? I don't see any plugins on those busses. But maybe you're right, maybe he wants to send the signal prior to any volume edits he does from the yellow busses.
+Reed B He does so because if you change the volume levels on the busses and have your sends on them in post-fader mode, the balance will change on your parallel comp bus too which might not be bad in itself but it can be nice to have something set and forget about it. I use submix to put everything that would be on the master fader so that when I reference with pro tracks, they are not affected by any treatment. I'm guessing it's the same for Graham.
Love this! Fresh idea
Awesome Song
Works wonders!
Great tip! Definitely gonna spread the word on this one!
It's plain brilliant. Thank you!
simple... BUT AWESOME!
Great breakdown of his method. Question for you Graham, are you routing to the Submix then into Mix Buss for referencing purposes? Or do you use the fader of Submix to control the volume going into your mixbuss?
thats brilliant !
Thanks Graham!!!!!
Nice One, Thanks for the share. I usually do it via a buss per track. I think I will give this a try.
this isn't about the actual topic of the video but that verse was really nice
Help the artist and write their name and song in the description!
The artist is Joe Gilder, a close friend of Graham
Depending on what it does to your BussComp it can be interesting, but then again I wouldn't jeopardize my BussComp (which is a whole thing by itself)
Graham, have you tried it with the pans switched/flipped so that the movement or energy of the parallel mix is on the opposite sides of the main mix?
Great trick this Parallel mix trick, but, what if using parallel compression on the bass track already - would you still add the bass to this also, or keep away with drums {that have parallel comp on too} ?
Nigel Alker I'd keep away from that. It would just dub the effect.
I dunno about you guys but over here I hear a Crackling distortion (right side of my headphones) on every hit of the Snare, Sound pretty cranked (Hot),
By the way why doesn't the Song/Band get any credit? I'd like to know who they are, and it's a form of respect for the artists.
I've always done this with stems in subgroups and treating the stems in a very similar way, but never really thought of trying parallel compression instead. It's a great idea to not suck the life out of the track which I've def fallen victim to.
I'm curious what is going on with the drums in particular to keep them up front and forward in the mix, especially after more gain is introduced to the rest of the track via the parallel buss trick?
Cool trick.
no more searchin for that full body sound thanks!
Is that Joe G on that track?! Dang! Mix is sounding good!
Nice! Thanks!
Very interesting. Thanks, Graham!
Awesome!
Hey Gram, the CLA-76 always gives a very harsh tone on the mid highs of the mix (specially the vocal "t's" and some "s's". Does this happen to you too or am I tripping? This process is great, but I get a bit concerned about this extra harshness during mastering. Any insights about this?
yeah i just heard this also those S are harsh to me
You can add a deesser to the parallel track
Can you do some stuff on older and newer Country Music.
Please, thanks.
I have to try this. Would it be useful to ride that parallel comp fader? Perhaps turning it up in different parts of the song to make them sound more in your face but more gentler sections turning it down?
wow it actually works well
Thank U Sir 👊