Mixing With Parallel Compression
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- Опубликовано: 25 июн 2023
- Here is how to parallel compress. Try this in FL Studio, Pro Tools, Ableton, Logic, Cubase, or any other DAW. I'm using the CLA-76 by Waves Audio.
#flstudio #mixingandmastering #mastering #protools #ableton #cubase 
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I've never seen so many hate comments on a video that's literally just describing how to use parallel comp. Keep doing what you're doing bro, don't listen to the hate
People these days hate themselves and take it out on anyone... keep up these vids mate, we need these tips 👏❤
It's not "being a hater" saying "hey that's a pretty inefficient and messy way to do that"
Because it's a description without an explanation. Jerry has a habit of doing this. The entire video describes HOW to do X without ever addressing WHY you're doing it, or WHAT it is that you're doing. I'm not familiar with parallel compression and this video does not help me understand. No hatred just constructive criticism
@@KevinTheCardigan There’s only so much you can explain in 60 seconds. This is supposed to be a quick way of figuring out how to do something, not an in-depth lesson about why.
I can point out about 4 flaws in what he’s doing… not hate but if you are going to teach people how to do things I think there should be a standard that you are held to..
I think the wording "create a copy", "copy the kick drum" has confused alot of people, but yes you are sending the original signal from one track to another track simultaneously (which is noticeable when you click on the "kick" track as it's got the green cable at the bottom of the track connected to the "kick copy") so you can add a compressor to one and I guess in this sense you can call this copying, however sends are called sends for a reason. It's not an aux, not a bus. It's a send. For those confused and getting worked up over the semantics, he doesn't mean literally copy and paste the kick and then route that to a seperate mixer track. That would be counterproductive and messy.
Alot of people have really gone to town on this. Lol.
The idea is simply to have the clean/dry signal mixxed in with a dirty/wet signal. There's many ways to do this, I just mentioned one. 🤣
Use the mix knob if you wish but be aware that anything else you add to a chain before or after the compression will drastically affect the outcome.
you'll want as much control as you can, if you want to cut out some low frequencies out of the compressed signal you can do it with it sent to another mixer track without affecting the original signal. Maybe you want to add a reverb so, you wouldn't wanna use this on the one mixer track you're relying on a "mix" knob for all your levels in the chain.
Parallel compression is Great for beefing up drums and vocals, and when sent to another track you have all the control over the compressed only signal.
*Edit*
I've now seen a couple of videos you've made and you explain things so good, I don't know what the issue with half these comments are. Lol.
Make a bus, and then add the compressor. It doesn’t matter if you use the output knob, the mix knob, or the fader to blend in the sound, no matter who tells you what to do.
Lets be alittle pragmatic here, using your suggestion that one must make a buss. You want to mix heavily compressed copy of a sound with a non compressed one. You could use plugins designed for parallel compression in the same mixer insert and use mix knob to blend the two signals.
As long as the parallel compression plugin is functionallu performing parallel compression then a new buss or copy insert is unnecessary.
@@bigbillrecords bus is for "brauerizing"!
@@bigbillrecords True I guess its preference but when I use busses things are easier to work with and my mixes are better :)
@@bigbillrecordsI believe the bus option may be better on your cpu
Would be great if you do before and after on these
its been 3 years since i started to learn how to mix and master and try to learn parallel compression, and today is the day i finally understand this technique in under a minute! thanks man!
There’s a million ways to parallel process. Along with using the dry/mix controls on the compressor, you could create your own presets for different sounds, or use a stock preset, and send it to a bus and use your ears to gauge how much of the signal you want to sent to the compressor, especially if you know your settings. That’s another subtle way to layer a sound and create a richer tone or thicken a tinny sound.
True. Except, some compresssors will mess you big time if theyre functionally incapable of parallel compression.
@@bigbillrecords I’ve always been wary of that. I play it by ear. If it sounds right, I don’t question it too much. Subtle processing leads to a richer sound; unless, one purposefully wants to induce distortion to decimate audio. It can be done in a delightful, interesting way. Like hardcore industrial (korn, slipknot, NIN) or even yeezus era Kanye West.
Don’t forget. The CLA-76 is a compressor with different settings
Every compressor has different settings!
What a dumb comment
Thanks for sharing!
I learned to mix on an analog console and it wasn't in the studio, it was FOH to a main PA and 4 monitor mixes. Only way to parallel compress was to patch a compressor on an insert point assign it to a bus with another compressor inserted there. Or to do it the way you're doing it was to split the signal from the snake using a Y splitter into two channels on the console.
nice video! i’ve gotten some good luck with playing around with release times too
20:1 is crazy but to be fair, ott exists
Now I get it! 😅
Thanks
NYC
or you can use UAD's version and turn the little "mix" knob
Plugin alliance mc77 is a cleaner sounding 1176 plugin IMO
People hating on this video should try doing what they think is right outside the box. Do it on a real analog console, patch bays and a rack full of comps and come tell me later.
Be careful to have the attack too quick on ur kicks yall. It can kill the body as lower frequencies take longer to develop. If ur kick is more clicky/high frequency. Than a quick attack would work better
Thanks for sharing
If you find yourself wanting to use parallel compression, check your source sounds. Parallel compression rarely makes sounds better, just louder and dull.
👍🙏❤
I’m not trying to pick flys here but it would of been nice for some audio showing the difference even if only for a few seconds.
It’s just tough to explain everything and also show an example with RUclips shorts because of the 60s time limit.
@@mixwithjerry yeh that’s true forgot about the 60 second time limit, it’s might just be just me and how I’ve found my brain works better, for example….when I hear the audio change as mentioned and hear and notice the difference I will remember it.
20:1 is no longer compression, that acts more like a limiter
limiting is also a type of compression
is making a different bus necessary? wouldn't it be easier to just set the mix knob on the compressor to whatever you want?
this is a technique dating back to the days where engineering was actually hard and everything was analog, the name explains exactly what the technique is. parallel compression requires two different compressors compressing the same signal. thats the whole point behind parallel compression: that you get the sound of two separate compressors on one track so you can control the sound better
no it wouldnt work by mixing in the sound of one compressor into the mix because you need two compressors individually impacting your track
You can use a Baby audio NY instead of all thus process 👌
Not available for download anymore. It’s worth pointing out that there is value in having the duplicate copy on its own track though because you can EQ and process it by itself with other plugins.
Jesus, yall complain so damn much. If your way is so much better than his, then go post your own demonstration video about mixing music you created, instead of telling people how to mix THEIR OWN track.
Hello sir, should we do this parallel compression to the individual sounds like this only or we can do this to the entire Drum buss or Vocal bus as well?
really cool to not let us hear an audio example at all
It’s tough to teach something in detail and also show examples with only the 60s time limit of RUclips shorts
That’s why you do part 1 & 2 etc
@rimixbyricomusiq why don't you just bring up a session and try for yourself
Damn everyone is just waiting for everyone else to do it for them, lazy
@@mixwithjerryit is brother but you gotta get us a peek at the sound love your channel to death btw keep doing your thing
At least be kind when providing feedback. Video Creator doesn't owe us anything for us to demand something in a mean tone. I agree with your comment too mate. @@Notinserviceij
Can I bus all my drums to the same channel for the compression?
Definitely! A lot of people parallel compress their whole drum bus.
What's the difference between the "20:1" and "All"?
when you mean copy do you mean another kick with its signal or just link the original to another signal ?
Here he made a copy of the actual kick sample. So it’s the same kick sample just duplicated.
Most of the time, for parallel processing, you probably want to make a copy of the track you want to process by using a bus/aux track (PRE FADER!!). You tend to save CPU if you use parallel processing on multiple sources. Occasionally, there may be very subtle latency issues between the source and parallel, but this can be fixed by using the "delay audio/track" in the track settings per track, using a sample delay plugin, or even a plugin like InPhase by Waves (let's you compare two tracks for phasing, then +or- delay one or both tracks, and even include simple HP/LP filters or band notches to slightly change EQ which would otherwise be identical).
Isn’t easier to just use dry/wet knob instead of copying the whole channel?
That’s what I too always ask myself, like isn’t that in itself parallel anything? I mean you don’t have volume control of both but I think it should be the same.
I believe it is the same, I’ve seen many videos explaining that it’s essentially the same thing. I guess if it sounds good, go for it
Most the time it is the same thing, it just what suits you best. People tend to use parallel compression on different channel to get as much control as they can. Also duplicating kick like this makes 0 sense. You should just route signal from the kick. In this example it's no big deal, but when you have a ton of effects on the sound itself, duplicating is not the best option
@@whynot9963 you say I should just route the signal from the kick… isn’t that what I demonstrate? The original kick drum is sending a copy of the signal to another mixer track where the compressor is. If you have a lot of effects on the original kick then you can use the fruity send plugin to send out the copy before the plugins, but this isn’t an FL studio routing tutorial.
@@mixwithjerryno youve made a copy of the original track
Whenever I process a track in parallel and blend the signals I get phasing.
Side chain to this track (only) , if you need doubling you need to invert phase on one of the 2 saounds
I prefer (sends only ) so a Percussionist producer like me we are actually a psychosis apes when the phase incidents show its face 😈 😅😂😂
Maybe you already know , but i needed to pass what I know as a curious heavy learner musician maybe ..
Greetings from Damascus Syria ,
@@hadihrekespercussions5512 Awesome, thank you! I hadn’t thought of that. My regards to you and the people of Syria.
@@hadihrekespercussions5512LMAO what 😂😂
Dude, you dont invert the phase ever, you don't blend sub frequencies ever. Dont listen to him 😂
Is it like a compressor-send Effect? What you say Sounds like that but i dont know nothing 😂
If you bring the original level down as you show, the compressor will react with less intensity and therefore compress less signal.
The plugins are pre-fader in FL Studio. The volume fader comes after the plugins.
@@mixwithjerrywhat? volume fader definitely comes before the plugins of its routed track (the video shows the routing)
@@rea9lizer sorry I thought he was talking about the volume fader for the parallel compressed mixer track, which comes after the plugins loaded on that mixer track. If you adjust the volume fader of the original kick then yes it will affect the compression on the other mixer track. So use the fruity send plugin on the original track to send out the copy of the kick drum which will be pre-fader this not affecting the copy when you make adjustments to the volume fader of the original.
Adding compressor only on copy channel will cause phase offset and Will sound abnormal..
Add the same compressor with settings to original channel and turn the mix knob of mixer slot to zero..
I used this check out some of my beats
Why use a fast attack? I can understand on vocals, but on drums it makes no sense. You use parallel compression to have lots of attack on the kick snare and toms, you should use a medium to slow attack (30 ms for example on the SSL Bus Comp)
The point of parallel compression in my mind is to blend a copy of audio that retains most, if not all, of the dynamics with another copy that is squashed through compression to remove dynamics. If you don’t use a fast attack on the parallel version, you allow the transient to pass through the compressor and only the sustain gets compressed which further increases the dynamics. You’re essentially increasing the difference between peak and sustain on the parallel version. The transient will stick out even more. The transient should come from the original audio in my opinion. I don’t use parallel compression to emphasize attack. I use it to beef up the sound by essentially increasing the sustain and not the attack. That is achieved by squishing down the peaks and making a big flat block of audio to blend in with the original that already has peaks.
@@mixwithjerry ah ok if it works for you, that’s good. I almost only use parallel compression on drums to have more punch but without having them pumpy and without having the cymbals washy.
@@alessandrosummer Yeah I hear you. I’ve seen it done with fast and slow attacks. I guess it really depends on the sound you’re going for and what drum elements you’re sending to the drum parallel bus.
@@mixwithjerry yeah I never needed more sustain from the drums, but almost always needed more punch - sometimes I mixed it pretty loud in aggressive songs. As for vocals - I put the compressor on the track, but I can see parallel compression being useful in mellow songs like singer-songwriter and folk songs.
Isn’t 1 the fastest attack and 7 the slowest on this CLA 76?
no, cla-76 uses different settings
...or just use the mix knob at the bottom
Less control
I like this technique. But why should one go through this process if they can use saturation to achieve a fuller sound?
A compressor will also control the peaks and reduce the dynamic range 👌
@@sonnywinnebago753 thank you
Fast attack...? And turning the knob to the right.... Lol
Fast attack and fast release on 1176 compressors are achieved with the knob turned all the way to the right.
So you're sending the output of the "Kick" to both the parallel and the master? Can I put an EQ on "Kick"? Thanks
Sometimes using a mix knob will duck the dry vocal
20:1 is limiting
Go lower if you’d like
nope limiting is everything over 100
@@niko1622 20:1 is soft limiting
Nah
- Leslie Braithwaite
Why nah?
Why not jus put it on the original kick and use mix to adjust
Easier volume control of the 2 and also you can apply other plugin processing to the parallel compressed kick without it affecting the original kick.
@@mixwithjerry now that's a way to get wild phasing problems
Output knob and fader it's not the same thing
Never said they’re the same thing? I said you can utilize either to blend in the amount that you want.
You must be trolling
10-20 dBFS of GR is too much, the compressor is going to start behaving as a limiter more than a compresor at that point
I don’t want any peaks at all. The point of parallel compression is to have only the sustain so you can bring up the sustain, not the peaks.
@@mixwithjerry too much gain reduction ends up destroyin the transients, 3-4 dBFS is enough for reducing the peaks maybe 2-3 dBFS more for bringing up the rest unless the sound isnt properly recorded (anyways the send is after the insert's plugins so those peaks should be tamed before it goes out to the ny comp), but 20 dBFS is too much the sound is gonna be crispy and not in a good way, you gonna lose some punch and bottom end and have a boost on the midrange. I hardly doubt that u can see any famous successful mixing/mastering engineer applying digital compression like theres no tomorrow😂 maybe with some analog equipment and I still finding hard to think of a situation where it could be needed
@@ruinajoven Again, the paralleled version is NOT meant to bring out the transient. I’m purposely crushing the transient so only the body is left. The original copy doesn’t even have compression on it so I’m not sure what you’re talking about as far as the peaks already being handled. I think you’re just all around overthinking this. Watch Grammy winning engineers on Mix With The Masters absolutely crush their parallel copy and maybe you’d see that nobody is following whatever rules you think you have to follow.
@@mixwithjerry Ive been watching that channel for years and they do not squash the signal with DIGITAL compression as you are doing, maybe with some analog VCA or Fet compressors maybe (and still not that common, I just rewatched their ny comp videos to make sure, just saw one on a Urei 1176, a Fet analog one as I said), but thats not working with digital compression.
You saw em doing that on a Urei 1176 or on a Teletronix LA2A and you thought it works the same on digital audio but what you are doing is misinforming people and make them have some big ass artifacts on their mix without knowing why.
Yeah the parallel is NOT meant to keep the transients or bring em out on the mix but what it is even less meant is for destroying the sound, what its meant for is to bring things frontwards in the mix without making it sound different that is what you are doing with all that gain reduction that is altering the sound and making it be different as it was.
@@ruinajoven Jaycen Joshua has multiple Mix With The Masters videos using the MV2 by waves to squash the parallel. So everything you just spewed about nobody using plugins is just wrong.
Bro, isn't there a knob right next to the plugin that's specifically for parallel processing?? Why are you duplicating?
Dont copy, my god, use the sends!
If you look at the mixer you will see that sends were used to create the copy…
hmm, yeah, or you just use the "mix" knob, that is found in 99% of comps nowadays
Using the mix knob doesn’t allow you to further process the parallel compressed audio by itself. Most people will add EQ, Saturation, and other plugins after the compressor. You wouldn’t be able to do that if you just used the mix knob because every plugin loaded after the compressor would then be affecting both the wet and dry signal. Separating the signals gives you more control.
@@mixwithjerry excellent point ! i withdraw :)
man just choose a good kick sample
Yall realise there’s a mix knob for a reason ????????
Bro, there is a mix-knob wtf you creatin an extra channel
This is so bad wtf 😂
😂
20:1 is limiting not compressing. Dial it back
Limiting is compression by definition. You can go lower though. I like 20:1 especially on the 1176.
Yall doing too much just for some beats when its unmixed beats being sold to artists without extra mix and mastering shit…
We’re not just mixing beats on this channel.
There ARE artists like me, though, who do their own mixing and mastering as well as instrumental production.
Unmixed beats don’t hit as clean and therefore don’t make as much of a good impression as mixed beats. Artists generally only use “unmixed” beats from producers they work closely with and those beats do eventually get mixed using more precise techniques such as NY compression, automation, saturation etc… but I guess that’s doing too much