Two "Secrets" to Effective Parallel Compression
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- Опубликовано: 31 авг 2015
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Justin Colletti reveals two of the most important factors in getting great results out of the parallel compression technique, aka "New York-style compression". For a version with audio examples, see www.sonicscoop.com/2016/02/02/...
If you're liking Justin's instructional videos here on RUclips and want more, you might like his new video course on mixing, called "Mixing Breakthroughs". Check it out at mixingbreakthroughs.com/ 
Видеоклипы
![MURDER DRONES Series Finale [TRAILER]](http://i.ytimg.com/vi/p6mhC5Iatns/mqdefault.jpg)
Want to hear a version of this with audio examples? Try here: ruclips.net/video/tnKgDAImZtg/видео.html
If you're liking Justin's instructional videos here on SonicScoop, you might like his new video course on mixing, called
"Mixing Breakthroughs". Check it out at mixingbreakthroughs.com
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Thank you superman!
He's obviously Clark Kent, a totally different person.
Right? Pffft, everybody knows Superman doesn't wear glasses, and that guy is wearing glasses, thus not Superman....
Wait.... black frames big nose funny mustache man is actually... Superman you sneaky devil I thought you were the Monopoly guy!!!! He's better than Dana Carvy!!
Finally a video that actually explains how parallel compression is and does it in a way that someone who is a beginner can understand. Thank you!
I've been watching these gOD dAMN compression tutorials for a week and this is the first time I've learned something useful
Sadly this one compression technique isn't useful for compression in general. None of these parameters would be used for standard mixing.
@@tilda140 I don't understand what you mean by "standard mixing"
There is no standard mix.
Parameters are going to be wildly different for each different song, otherwise you are not doing your job.
And if a technique is useful for even one song, it is worth knowing.
@@tilda140 lol 🤣
This was so unbelievably helpful and to the point, I'm shocked.
boosting the high and low end... HUGE advice. thank you
finally a guy who tells what will happen at the first minute of the video
Must be a miracle.
Man, Stephen Colbert knows his stuff with audio.
Another great video. Thanks, Justin!
I liked the "how and why" approach in this video.
Liked and subbed!
Short attack. Long release. EQ before compression. Boost low end 6dbs and high end the same (semi wide Qs) with an 8-10db attenuation on compression.
what about the phase cancellation when using eq??
@@federicofernandez8785 Shouldn't be any cancellation since the signals are fully synced.
That means1) we take parallel aux (bus) track
2)put eq 6db boost low + 6db boost high
3)put compressor
4)zero attack + (auto/long) release
5)chk fader
6)see results.
@@federicofernandez8785 If you put an EQ on the compressed track, you should use a Linear EQ, I believe.
@@newguy6935 yes, that's what i'm doing.
Thanks
Learning audio engineering from Clark Kent. Rad!
lol I can’t unsee this now 😆
Love this! Great tip!
Love your videos. You pretty much started me off on my compression journey about a year ago! Thanks!
Thanks. I was always shy of parallel compression, relying on other tricks. But this really sounds like sense, and should safeguard from any unexpected results. Nice one!
This is what I've been heading towards. Thank you so much for sharing!
Thanks for this teaching. I applied this to my drum bus and worked wonders for my mix.
Your information is great. I love how you explain things.
Love this man , so clear and made so simple
Such a great trick!!! Thanks for breaking it down.
This is a great and well explained video on mixing. Thank you Justin!
Very informative!! Thanks, Justin!!
Nice tip indeed, Justin! Thanks!
Very interesting... I learned something today. Thank you! I will try this on my next mix.
Excellent. I understand your overview and its context. I have tried this. It is versatile and potent. Thank you sir.
Thanks for the simple and perfect explenation!
Best explanation, ever. And it had no audio examples!
i love this channel!
Thanks! it really resolves my question!
Wow that was just superr informative , thanks Justin!!
Great Job!!!
Great explanation. Nice and clear. Thanks!
I like what you're saying about the bass and treble boost!
I wouldn't 100% stick to the fast attack time in every scenario though. I've found the using a slow attack and release when parallel compressing, particularly on kick drums, can add a really great rounded sound to the drum. It's all circumstantial though, great tips nonetheless.
Thank you! This helps so much!
Thank you Justin
top video, love your use of the word ‘bombast’ 🤘
Man, you have really great presentation and explanation behind your 2 points. I have been guilty of not applying these 2 tips to parallel compression, crap! Thanks for this video!
Liked & subscribed, well explained, nice for somoone to go in depth on this technique!
Fantastic tip! Thank you!!
Great vid! Will try that on the new song. 😃
Finally starting to understand how this works and why it works.
Thanks a lot dude :-) I saw this trick on a demo from bus mixing in the Behringer Wing console, but you go in detail so thanks a lot, now parallel compressions makes way more senses 🙂
Great Video. Thank you for your Tips :)
Excellent! Thank you!
Great advice, thank you!!
Beautifully explained
Great tip. Thanks
This is a great tip thanks, works great for drums for sure.
It's worth noting that lots of the guys who popularized parallel compression (such as Micheal Brauer) talk about using it largely as a tone shaping tool on vocals, splitting the vocal into multiple parallel paths with different compressors. This is largely about having a fader per type of compression and blending them to taste, and not really about aggressively controlling the top and low end. In those cases the EQ approach could be radically different, but it is still definitely "parallel compression".
+J Riley Hill Absolutely. Motown engineers did a lot of parallel processing on vocals too.
hi, thanks very much for this "secret", i ve improoved my recordings very much, greets from austria,Peter
One thing I know: today, Clark Kent gave me some cool tips for a dramatic improvement. Kudos!
I like the concept…☮🔥
I like outside the box thinking, than what's usual
Innovative !!
5 years ago even !!
I wish I saw this then, I would have progress sooner than later
Thanks !!!
I did duplicate the link on my browser in order to get a better result ;). Thanks ! Was very useful to me!
But did you raise the browser on the far left and far right?
Great video! Please can you do one on the benefits of stem mastering?
I've said this before ... you sound just like JJ Abrams.
Nice content!
Good tips, thanks -- maybe you'd want to include the advice to use a linear-phase EQ for the boosts in such a context.
Awesome!
thanks justin
Not much videos on this. Thanks a lot
Unfortunate use of the word "ratio" at 3:25 because that's a compression-specific term; as are the ratios 1:1 and 2:1, but you're not referring to compression at 3:25. "Balance" would have been a better term. Well-produced video. Well-explained process. Excellent editing.
I LOVE the advice, but a visual example would be better for new audio engineers to understand.
You want it, you got it! We do have a new version of this, with audio examples! Check it out here: www.sonicscoop.com/2016/02/02/video-advanced-compression-techniques-part-1-the-secrets-of-parallel-compression/
verrrrrrryhelpful. thanks!
watched you other video on compression too. after 7 years finally understand it.
Wonderful
I like the way you said that! I get it!
Thank you
Well.You didn't mention about the release...Fast /Med/or slow release?
Great Tips in all...Thanks :)
Great video! Is this parallel compression only used on drums/individual instruments or the full/final mix?
thanks!
Great videos! Subscribed! But how do you boost the lows and highs? With compression or eq and if eq is involved, does it go before or after? Thank you :)
Interesting. I've watched/read a lot about parallel compression from proponents, like Brauer and Scheps, and don't remember them saying to boost bass and treble to get the right effect
thank you so much! loved this video, but i would’ve loved to see an example. Also i’m not really sure what a significant amount of boost means, what is a rough value of significant but healthy boost? I get it it depends, but an approximation? Anyway, thank you again, it really helped me !!
We've go that too!: ruclips.net/video/tnKgDAImZtg/видео.html
Up up and away... thanks superman.
well actually it depends what you want to do. If its for more body then do this. If its more sustained then use a faster release....what he means is both these ways might destroy your transients....but, if you want more more pumping then use a slower attack, (i.e. the general rules of compression!) but that can lead to the highs not sounding very open so I almost always blend in dry signal when doing that. all types of compression work with it, and no its not the same as just dialing back the threshold or ratio..try it and use your ears. there's an advantage of transparency in ANY case, it just might be different parts of the signal it has an advantage on, whether its transients or the higher sustained sounds, for example!
Hi, thx for the tipps. One more question though, do i have to use a linear phase EQ for the boosts to avoid phase issues when using NY compression?
Do you recommend doing the Bass and Treble EQ boosts before the fast attack compression?
Great video, Justin! Could you elaborate on the "boost the lows and highs"? What frequencies? Would the low and high on a Pultec do the trick? What kind of EQ do you like for this? Thank you man. -Russ
Did you find which frequencies? I’m left wondering
I assume you are doing your smiley face eq boosts post compression? I often do it in steps...So on the parallel, I'll cut some muddy stuff first. Smash. Then boost. Usually I'll bring the dry and parallel tracks into a summed track (mostly thinking kick and snare here) that has possibly a little limiting and/or decapitator.
DUDEEEEEE
Does the same apply for vocals? If so are you putting an eq on the parallel comp bus before the compressor and boosting lows and highs?
Hi justin, i was wondering how do you deal with phase issues ? is there any advise you can give ? cause i think that phase issues are inevitable with this technique :S
What about for vocals? Am I suppose to use a super fast attack on them as well and how about the release?
I like the idea of doing this, but what range of frequencies am I boosting in the low and high end? Approximately how much dB of gain? Should I use shelving instead of bell/peak curves? Or just try whatever works?
Thnak man! just one thing, What About the relase? and I put the eq after or before compression?
Fatter and brighter with the same RMS.... Interesting!! Thank You!!
+Eber Nakamura Gomes I believe the RMS would go higher, but not the peak level.
+K GB oh!!! you'r right!!! I got it wrongly... Thanks man!!!! By the way...this tip is amazing!!!!
Does this go for spoken word?..... I tried this on vo and it really made it sound great.... It almost sounded "3d".... Without any reverb
What about Parallel Compression on Vocals. How do u set your Attack and Release ???
It's the same idea.
if i was gnna boost high n low with shelf filter what starting points should i start for lows n highs
Is this advice (specifically the low/high boost) only applicable to drums?
do you eq boost before or after compression?
place p comp under
Take up little energy/signal and get way more power without over boosting
1. fast attack super fast
chop off all transients. So you get super consistent steady floor. If you have a slow attack u let through more transients which acetuates them. This is counter productive
2. bass treble boost
put a big boost on the low end so you can get a nice comfy bed. Keep a mid rangey sound and you are not helping as much with your P comp.
if you dont.do this you miss the most critical benefits.Get extra power without taking up too much space.
1 question. Are we applying eq first, then compression on the parallel track? Or does it even matter? And also, do you follow the same rule with things like vocals, distortion and modulation effects? Thanks in advance man.
Very good tip. I'd like to add that when using parallel compression on full mixes or even on subgroups, other than hitting every thing real hard it's crucial to adjust the release and Levels to feel. It's really easy to screw things up in the process and change feel, which is mostly killing feel at the same time.
also would you till reccomend a bass and treble boost if youre applying parallel compressionto vocals? curious becuase i know almost evry engineer does a 100 k cut.
I've seen Dave Pensado, Fab Dupont, Tony Maserati and Jaquire King all do parallel compression with long attack times and cutting low and/or high frequencies. I've also seen them do what is recommended here. Stop following hard and fast rules, nothing ruins a mix faster than doing that. i.e. cutting 350Hz on kick drum just because you're told that 350 should be taken out of drums.
I appreciate the controversy in the comments, but I also appreciate the approach discussed in this vid. Isn’t the target what sound you’re looking for anyway?
So, you would recommend a compressor with the settings mentioned on the parallel channel, and THEN on the same channel insert an eq with, say, a high and low shelf boost for your bass drum and cymbals AFTER the compressor in the chain? That's kind of what I got from this.
Also, someone below mentioned using multiband compression in the parallel channel. I have not used one before on anything because of my ignorance for how they work specifically. But, if I assume correctly, could you just use one of these with extreme settings on the high and low bands and skip the eq altogether and achieve essentially the same results, more or less? I may just have to go in the lab and experiment! :)
As for EQ, yes, using it after compression will give you far more control whereas extreme compression can tend to defeat EQ if used after.
Also, the purpose of multiband compression is to partition the frequency ranges so that they don't influence each other, i.e., the low band won't trigger the compressor on the other bands. This is most commonly used for mastering to create a lot of presence to a mix without "pumping". I think to achieve the effect he is talking about, you might want it to pump a bit. So, although there's no wrong answer, you might yield better results on parallel compressing drums if you use a single band compressor.
Also, if you want to boost highs and lows only, try pulling down the mids with a wide Q and boosting the over-all level.
Dan Rebeiz
Thanks!!!!
Is that eq boost b4 or after the compression?
an should you do para compression all st once through buss channel with all the drums.. or do each drum separately?
I dont know but i think a good idea is to make 2 return tracks with paraller comp and eq one with a low boost and the other with a high boost
And then use the high eq paraller comp for lets say hats and similar and the low eq paraller comp for the kick
I usually parallel compress the kick and snare separately, and the toms all together. I don't usually put overheads through parallel compression. I feel like I need that control over just how each is being compressed. But I'm not a pro. From what I gather, most pros send the entire drum bus to parallel compression.
@@nuynobi hey you think you can make a quick video on this? this would be soooooo helpful..?
It works for mastering? Or it will be better for drums only?