Use it on my Drum Bus. Used to do it via the send from the Bus channel, but now use Waves Studio rack directly on the Drum bus, and use the parallel feature on that to smash it to within an inch of it's life 😂
Kudos to you Warren. I have found that very few people in this industry have time to spend teaching others. The amount of time you spend educating, assisting and critiquing both home engineers through to seasoned pros is truly amazing. Your videos are described with context rather than just jumping in and going straight into the technique without any explanation of what the process is actually achieving.
This is so true. I love receiving some of the history lessons behind the discussed techniques so I feel in touch with how it used to be, how it is now, advantages and disadvantages, and just so much more knowledge that actually gets INTEGRATED! Knowledge presented with this much scope of understanding is so rare, and that's why we love what you do Warren!
Warren is my go-to for learning new things (new to me), as well as interviews and fascinating reminiscing. Give me him and Beato and I’m pretty well set.
Yeah, I fell in love with that blend knob when I switched to Reaper. Super fast to add parallel processing, even just to see (hear) if it's better or not. Love how that knob can be automated too.
@@TheLastMoomin Just wanted to Thankyou mate for your original post, it's been a life changer. Iv'e used reaper for a few years without knowing this and already my latest mix sounds way more pro sounding, Fabfilter Pro C2 works a treat. Cheers again!
I had only ever really done this with drums before very recent times. I was always nervous about destroying a sound beyond repair. I've learned, mostly thanks to you, to be more confident with messing with the sound. I'm now loving how this works when I use it on spread out guitars.
13:38 "Parallel, schmarallel" I love it when Warren goes all borscht belt. Thus far, the only thing I've dared trying parallel compression on is vocals. Maybe it's because I'm a singer, but I feel most comfortable with mixing vocals than any other part of the song. The phrase, "It sounds like it was mixed by the vocalist," probably applies to me.
I love how even though you have many years of experience, you are so willing to just play around with effects. I learned about parallel compression quite recently before this but now i'm going to try and use it wherever possible😂.
This is the first video, where i did actually undertood the concept behind parrallel compression. very good example on the drums vocals and guitars . thank you Warren!
Warren, this is one of my favourite things about your channel. You've got all the perspective and experience that comes from having been a producer in the days before everything was digital. But you're forward-thinking enough to bring these ideas into the present day and use them to complement modern methods. It brings a whole different dynamic that you don't get with basic "use-these-settings-on-this-plugin" tutorials.
3 года назад+1
Oh I just love 8:57! This is the face of a man who really enjoys his work! Never change, Warren!
Yup yup this is awesome! I love how the parallel compressed drums wrap around the hand claps and excite the entire rhythm mix. The more I play with parallel techniques, the more ways I find to use them. One of my recent favorites, is applying leakage everywhere. Trying to get that perfectly seated lead vocal to *just* pop without losing the mix energy? At the last, open a parallel bus from the LVox to Main and crack it open like 5%> and that Lead Vocal will breathe! Last week I mixed PLAPs awesome multis for "Ain't No Sunshine," and put big noisy preamps on all my channels, then used the Studio One mix FX to add leakage, noise and console gain to all my sub busses. Funny thing about console shortcomings... they sound very rock and roll! Thanks Warren, you're the best! ❤❤
Worth saying btw, I have the bx_4000E and had no idea it had that much color until I heard you push it into the red with max compression. Note to self: push the limits, plugins don't break. 😂
Parallel stuff just sounds fantastic to me. I'm still in school and have only done a few mixes, but so far I've done parallel compression on drums and then on an entire mix.
Hahaha...., when you started to copy those drum tracks and added the compression, I thought "DON'T DO IT, YOU'RE RUINING IT!!!" And then I heard the result and I thought this was soooooo great!!! Thanks again!
Warren's SIGNATURE TRICK: 1, duplicate the original track; 2, trash it. 3, blend it back along with the original track and have it sit underneath the original track. :) I do have a question that I'd like to ask. When you do P-Comporession, will you send the FX tracks (eg, reverb, delay) to the parallel bus as well? Thanks for your time, Warren.
I use parallel Compression all the time, especially on the drums (It's literally half my Drum Sound), however I only add the close mics to it which avoids alot of cymbal splash. will definitely try the Guitar Trick. Thanks for the Great Video
Always on live drums and anything else that could use some filling out. I'm a massive fan of Soundtoys Decapitator and to a lesser degree Slates FG-Stress to perform crushing duties. As an analogue baby I'm also a huge fan of the BX 4000E which gets used almost across the board, so it's good to hear you like it too.
My crazy parallel trick is to drive a pre to distortion, and flip the polarity. Mix with unprocessed sound. I grab the eq and do opposite day eq🤣. Discovered it by accident of course. Surprisingly cool and useable. My fav is a low headroom Ross 8x2 mixer. The pres on it are insane and musical when driven. Auto flips the polarity too.
Here's a trick: use parallel on the duplicated tracks per Warren's description (very nice way of doing this by the way, fewer effects busses) and ALSO send the entire mix to a "rear" compressor. I use a modified ART Pro VLA II for the rear compressor. Have to control it, but can get massive!
Something I like to do to get a more analog sound is using a tape emulation plugin (with a good flutter control - I use air windows totape6). I put it on a track and adjust it to my liking, then duplicate it. Then I pan the two tracks left and right and mess with the flutter on both tracks. It really works on anything: drums, guitars, vocals, single tracks, busses, etc. I find it really makes things sound a lot more like they were recorded to tape.
Thanks Warren. I do use this almost every mix, however, was good to see how much of it you use and for a kind of a different reason I was using it for. I think I have been too heavy-handed and will try using it differently because I think I have been using it to eq in a way, rather than discreetly boosting transients for movement.
Warren, I have been wondering what you think of analog summing. I recently had some big decisions to make in terms of budget for upgrades. I was considering investing in a summing mixer. I went back and forth on it, listening to shoot-outs and hearing what the gear-heads had to say. I finally went so far as to reach out to David Botrill to inquire about how he mixed Lateralus for Tool. Of course he informed me that it was all analog anyways, so summing wasn't an issue. He also told me that now he does everything in the box, and really had no opinion on analog summing, one way or the other. Since David's productions are to me, the gold standard, I decided to invest the bulk of my funds into improving my "box". Switched to Mac with Luna as my DAW, added UAD interface (Apollo x4), purchased the Neve Summing plug-in (which is really amazing and makes an immediate noticeable difference in depth, stereo definition, and headroom), bought the Softube Console system (both pieces), loaded up on UA, Waves, and iZotope plugins, and sunk the rest into building a modular synth rig around three Moog units (Matriarch, DFAM, and Mother 32). I am very very happy with all of this, but I was considering investing in a 500 series setup with a Cranborne unit that also serves as an ADAT and summing mixer. I need ADAT in order to utilize the full I/O capabilities of the Apollo x4, but I'm having trouble deciding if I should go the extra mile for the 500 series analog options, which will get pricey as I go. So I guess the analog summing question is the key decider for me.
Your wisdom is invaluable Sir. Thank you for sharing. Even though I'm still saving for a computer to run my DAW through I do enjoy that I am learning and growing in the meantime.
Along with parallel compression, I like to use parallel reverb and parallel delay or both, I would amp up the reverb untill it starts to sound washed out, and then I'd feed that channel alongside the original or I'll use a compressor and squash the hell out of the reverb or delay, I like to use distortion with delays and reverbs.
This is amazing, adds so much energy and life to the track..... though we often discuss destructing stuff and really make things punch, fizz, crack, etc. For that great rock or pop feel. It'd be really, really be interested to know how you balance the subtleties of stereo reverb, delay and compression on sparse or subtle mixes, such as jazz, acoustic or soul type stuff. 😁 As always, thanks and it's amazing, cheers Warren!!
Soloed, that drum bus double compressed sounds magnificent...mixed in with the rest of the track, it is filling up the middle and removing the space and dimension you had there. I'd parallel the Kick and that magnificent snare...but leave the rest of the kit further back in the mix. Maybe also strip out a few notches to make even more space for the vocal...or maybe subtly duck the parallel compression...maybe even sidechaining the duck with the PEQ notches. But...that's just me ;)
Thank you Warren. I had to check myself to not get side chaining mixed up with parallel compression because my mind tried to wander that way. So I'm making this note to go back and study both again. Having a crazy time getting internet service and wifi signal lately, and the one computer I was able to use as a hotspot workaround now seems to need to be factory reset. As usual I'm gonna have to be my own technician, and probably download an ISO file over grocery store wifi. Too bad my exorbitant ISP doesn't pay me. Seems to be a running theme. Only one in town. I might as well get with the program. 🧳
Hi Warren, I missed this one whe you originally posted it, but its my favourite to date. Just the other day I was wondering how to bring out the Kick and Snare. .....and here we are. Perfect.
I've never used parallel compression before but will need to try these tricks of the trade. I need to figure out the routing in my DAW as it's very different than Pro Tools.
I usually just run the whole mix through my Nakamichi CR-7 cassette deck and that usually takes care of what's missing in protools and it's a lot more musical sounding than plug-ins
I like to use parallel saturation, I often find I can use saturation on more tracks if it’s parallel. Because using it directly on an instrument can often sound over the top or destructive!
@@Producelikeapro Depends on the song ,,, and the instrument! but I do it a lot !! I have learned a lot with you! Thanks for the time and patience to explain!
Your video was interrupted by a UAD promo... usually the sound of promotions is huge... well this time your demo was way above ! 😂👍🏻 Anyway thanks for these very known, basic... but insanely useful tricks
Thanks for that video. Came on a great moment for me to test it on a mix that i feel is good but needs that extra punch I will try these parallels on a set of percussion since the music has no drums, just a lot of djembes congas timbales and shakers
I don't always use parallels with compression. I use the technique for just about anything I can conjure up to get the sound that excites me if the material calls for it (DIs, re-amps, saturation/distortion, radical EQ, dynamics processing, effects, etc. As far as compression goes though, I often use it on the drum bus but typically only on certain drums, OHs, or ambients depending on the song. Occasionally, I'll used it on the entire drum mix. Otherwise, I use it on any other track or bus if needed to provide the "parallel" crush blend. I rarely use it on the 2bus. I have other goodies for that I usually like more...namely tape emulations, sat/dist, etc. I've also been liking the Black Box HG-2 and the VSM-3 or SaturatorV2 from Brainworx or the SDDR from Klanghelm. In any case, parallel blending of any sort is definitely a very useful technique to shape audio.
Hey warren, I would like to know what is your workflow for using parallel comp? Do you just mix the whole levels and stuff first and then start adding parallel stuff or do you add parallel comp while mixing?
Hey Warren I have been busy writing my first songs and this little video was perfect to get my thinking head back on. Some fantastic tips and as a drummer loved the smashed snare. Being a Reaper/Waves user it would be great if you could do a parallel version within the video with for example the waves equivalent of your pro tools plugins. It is a struggle sometimes to put into practice what you have done. ps Now a lifetime member of the Academy, cheers from the Arts end of the World!
Great video as usual Warren! I'm so going to try that vocal comp trick and try for some different tape type sounds. I'd always wondered how that was done in the studio ;)
Awesome tips! I've never actually tried parallel compression on vocals, though I have chained compressors in series, which can sound very smooth, but obviously way different. I like when a compressor has a mix button so you can instantly hear the parallel compression, and possibly save some CPU cycles if you're hitting the ceiling :-)
I recorded a song with the dreaded "new light gauge acoustic strings" syndrome. I just parallel crushed it and it made a huge difference. Much better sounding and sits much better in the track. Haven't had any luck with parallel compression on drums yet but will keep at it til I decide what I like and don't like. I worked so hard to get clean and clear drum sounds, the gritty/dirty approach doesn't appeal to me at all at this point. (Subject to change to be sure.) Will tackle vocals when I can sing again (farmer's haying the fields, yucky...) and try some of this on vocals.
The grit is not for making the drums sound dirty, but to add some harmonics to them. In the end you will not distinguish clearly the distorted drums, they will just blend and add fatness to your sound.
@@amaynez Probably not the best choice of words but I wasn't sure how to explain it. I do like what "normal" compression and tape emulation do to the drums, a lot in fact. I just haven't had one of those "A-ha!" moments yet with the drums. The acoustic was instantly apparent that parallel compression was working on that particular track but it was more a matter of not being happy with the initial sound in the first place. I'm super happy with the drum sounds I'm currently getting and with doing it with minimal mics and processing, so that'll make it more of an uphill battle to see the improvements. That's probably how I should've explained it all in the first place. :) The kit is Ludwig maple shells with Remo heads (meticulously tuned) and Zildjian A Custom cymbals, all my favorites, so I'm off to a great start for what I'm looking for. Only thing lacking there is that it's me, not Neil Peart or Roger Taylor "bangin' on the bongos like a chimpanzee..."!
cool stuff...if nothing else it gets my wheels spinning about things I might try...and I will try about anything...I just love sound and recording...thanks
I was mixing a song where the drums were recorded to an stereo track (already mixed down), but still with some careful parallel compression and distorsion I was able to get them to sound great, of course having only the kick and snare would have been great. On another song, I was struggling with an acoustic guitar, I will try out using parallel processing and see if I can get it to sit well in the mix.
Is this what Max Martin calls a wall of sound? I loved this video. Some really good examples of how to fatten up a track. I guess I can apply this to electronic dance and pop music too? Or not? Best reg from Oslo, Norway ❤️👍👏
Great stuff! Thank you. Would you ever use the smashed drum sound with more mellow genres, like folk rock, Americana, singer songwriter? Or are these genres too "dainty" for this?
How do you use parallel compression in your mixes?
I try to use on every mix, but never works for me
drum bus. mastering. maybe kick.
Drum close mics, and sometimes vocals
I annihilate drums 😁
Use it on my Drum Bus. Used to do it via the send from the Bus channel, but now use Waves Studio rack directly on the Drum bus, and use the parallel feature on that to smash it to within an inch of it's life 😂
You said "it's ugly in a really cool way." That's how my wife introduced me to her family. Great video as always!
Haha That sounds familiar!
Ha ha you made my day XD
:-D
@@ZOgrameMusic haha indeed!
@@vegardyrnes1793 Yes!
Kudos to you Warren. I have found that very few people in this industry have time to spend teaching others. The amount of time you spend educating, assisting and critiquing both home engineers through to seasoned pros is truly amazing. Your videos are described with context rather than just jumping in and going straight into the technique without any explanation of what the process is actually achieving.
That is very kind of you Dave! Thanks ever so much for your very kind words my friend!!
This is so true. I love receiving some of the history lessons behind the discussed techniques so I feel in touch with how it used to be, how it is now, advantages and disadvantages, and just so much more knowledge that actually gets INTEGRATED! Knowledge presented with this much scope of understanding is so rare, and that's why we love what you do Warren!
23 minutes of gold information
Thanks ever so much!
Warren is my go-to for learning new things (new to me), as well as interviews and fascinating reminiscing. Give me him and Beato and I’m pretty well set.
Wow! Thanks ever so much!
Reaper has a mix button on every plug in, parallel everything!
Seriously? This alone might be enough to get me to switch over...
@@JamieClark That was the deal for me too, and don't forget "ReaInsert" plugin, with it you can use any outboard gear as a plugin.
Yeah, I fell in love with that blend knob when I switched to Reaper. Super fast to add parallel processing, even just to see (hear) if it's better or not. Love how that knob can be automated too.
@@JamieClark Yea, it doesn't work on a couple of plug ins (weird phasing issue) but 90% 👍
@@TheLastMoomin Just wanted to Thankyou mate for your original post, it's been a life changer. Iv'e used reaper for a few years without knowing this and already my latest mix sounds way more pro sounding, Fabfilter Pro C2 works a treat. Cheers again!
The third parallel really cranked everything up!
I had only ever really done this with drums before very recent times. I was always nervous about destroying a sound beyond repair. I've learned, mostly thanks to you, to be more confident with messing with the sound. I'm now loving how this works when I use it on spread out guitars.
Thanks ever so much Bobby! I really appreciate it! Glad to be able to help!
It’s digital, “Save As” is your friend!
13:38 "Parallel, schmarallel" I love it when Warren goes all borscht belt.
Thus far, the only thing I've dared trying parallel compression on is vocals. Maybe it's because I'm a singer, but I feel most comfortable with mixing vocals than any other part of the song. The phrase, "It sounds like it was mixed by the vocalist," probably applies to me.
I love how even though you have many years of experience, you are so willing to just play around with effects. I learned about parallel compression quite recently before this but now i'm going to try and use it wherever possible😂.
This is the first video, where i did actually undertood the concept behind parrallel compression. very good example on the drums vocals and guitars . thank you Warren!
That's wonderful to hear Mario!
I love Andrew Schep’s rear buss parallel compression method!
Wonderful! Yes, I first learned that from Dave Jerden who used in it the late ‘70s and early ‘80s
Warren, this is one of my favourite things about your channel. You've got all the perspective and experience that comes from having been a producer in the days before everything was digital. But you're forward-thinking enough to bring these ideas into the present day and use them to complement modern methods. It brings a whole different dynamic that you don't get with basic "use-these-settings-on-this-plugin" tutorials.
Oh I just love 8:57!
This is the face of a man who really enjoys his work! Never change, Warren!
Also: "Parallel Schmarallel"
Thanks ever so much! Yes! I love what I do!!
Yup yup this is awesome! I love how the parallel compressed drums wrap around the hand claps and excite the entire rhythm mix.
The more I play with parallel techniques, the more ways I find to use them. One of my recent favorites, is applying leakage everywhere. Trying to get that perfectly seated lead vocal to *just* pop without losing the mix energy? At the last, open a parallel bus from the LVox to Main and crack it open like 5%> and that Lead Vocal will breathe!
Last week I mixed PLAPs awesome multis for "Ain't No Sunshine," and put big noisy preamps on all my channels, then used the Studio One mix FX to add leakage, noise and console gain to all my sub busses. Funny thing about console shortcomings... they sound very rock and roll!
Thanks Warren, you're the best! ❤❤
Worth saying btw, I have the bx_4000E and had no idea it had that much color until I heard you push it into the red with max compression. Note to self: push the limits, plugins don't break. 😂
Parallel stuff just sounds fantastic to me. I'm still in school and have only done a few mixes, but so far I've done parallel compression on drums and then on an entire mix.
That's wonderful to hear! Thanks ever so much for sharing!
That’s a powerful drum mix! It almost overpowers the rest of the mix at 200-400
Upwards compression in a drum parallel bus to leave transients alone but bring up the room sound and sustain
Marvellous Ivan!
@@Producelikeapro thank you :)
Great idea.
Miking an (unplugged) electric guitar to add extra oomph to an acoustic guitar track?? Brilliant!
Yes, I love that technique!
I am stealing this idea for a tracking session later today. Cool idea!! Thanks WH!
Hahaha...., when you started to copy those drum tracks and added the compression, I thought "DON'T DO IT, YOU'RE RUINING IT!!!" And then I heard the result and I thought this was soooooo great!!! Thanks again!
Wow! Parallel Schmarallel working marvelously well!!
Warren's SIGNATURE TRICK: 1, duplicate the original track; 2, trash it. 3, blend it back along with the original track and have it sit underneath the original track. :) I do have a question that I'd like to ask. When you do P-Comporession, will you send the FX tracks (eg, reverb, delay) to the parallel bus as well? Thanks for your time, Warren.
This’ll be great for me as I have SOME analog gear to help give me a nice warm sound, but I’m still using digital processing for everything.
It worked and my drums are as punchy as Mike Tyson now :D This video becomes my remedy. Thank you so much, Warren.
I use parallel Compression all the time, especially on the drums (It's literally half my Drum Sound), however I only add the close mics to it which avoids alot of cymbal splash. will definitely try the Guitar Trick. Thanks for the Great Video
Whatever you do, never give up. Aspire to be the best.
I’m totally going to start using parallel compression
Always on live drums and anything else that could use some filling out. I'm a massive fan of Soundtoys Decapitator and to a lesser degree Slates FG-Stress to perform crushing duties. As an analogue baby I'm also a huge fan of the BX 4000E which gets used almost across the board, so it's good to hear you like it too.
Ringing is the fun factor fitting the anthem song perfectly
Wow thanks for explaining parallel comp with this example
Thanks ever so much
My crazy parallel trick is to drive a pre to distortion, and flip the polarity. Mix with unprocessed sound. I grab the eq and do opposite day eq🤣. Discovered it by accident of course. Surprisingly cool and useable. My fav is a low headroom Ross 8x2 mixer. The pres on it are insane and musical when driven. Auto flips the polarity too.
Here's a trick: use parallel on the duplicated tracks per Warren's description (very nice way of doing this by the way, fewer effects busses) and ALSO send the entire mix to a "rear" compressor. I use a modified ART Pro VLA II for the rear compressor. Have to control it, but can get massive!
Something I like to do to get a more analog sound is using a tape emulation plugin (with a good flutter control - I use air windows totape6). I put it on a track and adjust it to my liking, then duplicate it. Then I pan the two tracks left and right and mess with the flutter on both tracks. It really works on anything: drums, guitars, vocals, single tracks, busses, etc. I find it really makes things sound a lot more like they were recorded to tape.
Thanks Warren. I do use this almost every mix, however, was good to see how much of it you use and for a kind of a different reason I was using it for. I think I have been too heavy-handed and will try using it differently because I think I have been using it to eq in a way, rather than discreetly boosting transients for movement.
Thanks again Warren. I have learnt so much from you over the past three years. I enjoy all of your excellent tutorials and interviews.
Warren, I have been wondering what you think of analog summing. I recently had some big decisions to make in terms of budget for upgrades. I was considering investing in a summing mixer. I went back and forth on it, listening to shoot-outs and hearing what the gear-heads had to say. I finally went so far as to reach out to David Botrill to inquire about how he mixed Lateralus for Tool. Of course he informed me that it was all analog anyways, so summing wasn't an issue. He also told me that now he does everything in the box, and really had no opinion on analog summing, one way or the other. Since David's productions are to me, the gold standard, I decided to invest the bulk of my funds into improving my "box". Switched to Mac with Luna as my DAW, added UAD interface (Apollo x4), purchased the Neve Summing plug-in (which is really amazing and makes an immediate noticeable difference in depth, stereo definition, and headroom), bought the Softube Console system (both pieces), loaded up on UA, Waves, and iZotope plugins, and sunk the rest into building a modular synth rig around three Moog units (Matriarch, DFAM, and Mother 32). I am very very happy with all of this, but I was considering investing in a 500 series setup with a Cranborne unit that also serves as an ADAT and summing mixer. I need ADAT in order to utilize the full I/O capabilities of the Apollo x4, but I'm having trouble deciding if I should go the extra mile for the 500 series analog options, which will get pricey as I go. So I guess the analog summing question is the key decider for me.
Your wisdom is invaluable Sir. Thank you for sharing. Even though I'm still saving for a computer to run my DAW through I do enjoy that I am learning and growing in the meantime.
Great Video! thank you for sharing your crafty methods on this !
Glad that you givin tips in getting those good old days Bob Clearmountain drum sound. Thanks Warren! 😎
Clearmountain has some plugins with apogee. Seem pretty cool.
Thanks ever so much Ricky!!
@@JJblunden Yes! Clearmoutain's Domain is wonderful!
Along with parallel compression, I like to use parallel reverb and parallel delay or both, I would amp up the reverb untill it starts to sound washed out, and then I'd feed that channel alongside the original or I'll use a compressor and squash the hell out of the reverb or delay, I like to use distortion with delays and reverbs.
It is pleasant to watch your videos. You seem a good person, that likes to share knowledge.
Thanks ever so much!!
Great sound mixing the Tele’s with the acoustic 🎸🎼🎧👍🏻
Thanks ever so much Ryan!!
@@Producelikeapro Yeah, that was really a very creative way to make the acoustic part stand out without overpowering, impressive.
@@amaynez thanks ever so much!
This is amazing, adds so much energy and life to the track..... though we often discuss destructing stuff and really make things punch, fizz, crack, etc. For that great rock or pop feel. It'd be really, really be interested to know how you balance the subtleties of stereo reverb, delay and compression on sparse or subtle mixes, such as jazz, acoustic or soul type stuff. 😁 As always, thanks and it's amazing, cheers Warren!!
Soloed, that drum bus double compressed sounds magnificent...mixed in with the rest of the track, it is filling up the middle and removing the space and dimension you had there. I'd parallel the Kick and that magnificent snare...but leave the rest of the kit further back in the mix. Maybe also strip out a few notches to make even more space for the vocal...or maybe subtly duck the parallel compression...maybe even sidechaining the duck with the PEQ notches. But...that's just me ;)
Outstanding demo! Thanks Warren!
Thank you so much for sharing such a useful tips!
Glad it was helpful!
Warren this is sounding marvelous!!!!! Energetic and Ugly
Fantastic
Wonderful tips Warren thank you so much.
This song sounds sooo good!Love the melody🙏
Thank you Warren. I had to check myself to not get side chaining mixed up with parallel compression because my mind tried to wander that way. So I'm making this note to go back and study both again. Having a crazy time getting internet service and wifi signal lately, and the one computer I was able to use as a hotspot workaround now seems to need to be factory reset. As usual I'm gonna have to be my own technician, and probably download an ISO file over grocery store wifi. Too bad my exorbitant ISP doesn't pay me. Seems to be a running theme. Only one in town. I might as well get with the program. 🧳
I absolutely love this track! I just bought it on iTunes. I think it might be my favourite song of all time:)). Nice job Warren!
Wow! Thanks ever so much David!!
Great video Warren. I do love using this on aggressive drums. Crushing with the SSL comp and then hitting it with the Decapitator.
for those who haven't signed up on the email list, YOU NEED TO. Trust me.
That's very kind of you my friend!!
Thanks Warren, for making things so easy to understand !
As always good stuff Warren!! Thank you!
Wonderful video and tips! Thank you!
Love it. Love your passion. New to recording and I have heard of Parallel compression, but have never used it. I will use it in my next recording
It is great video. Thank You Warren ! You are the best !
This is so cool!!! I can´t wait to use it on my drum recordings, thank you so much, Warren!
Thanks ever so much Julian! I really appreciate it!
Using that SansAmp adds some awesome grit to the snare reverb. Love it. :D
Fantastic
Really awesome video! Thank you so much Warren!
Hi Warren, I missed this one whe you originally posted it, but its my favourite to date. Just the other day I was wondering how to bring out the Kick and Snare. .....and here we are. Perfect.
That snare sounds awesome!
Great trick Warren I hope you can show us this trick on e-drums one time.
I've never used parallel compression before but will need to try these tricks of the trade. I need to figure out the routing in my DAW as it's very different than Pro Tools.
22:20 * Lights flicker *
me: damn so much energy in the mix, the lights can't stand it. Great job as always, Warren!
Thanks ever so much Arthur!!
The Telecaster trick is pretty clever.
Awesome Warren, Love P-Comp. Been using it for awhile now. Sometimes just a little goes a long way.
Wow like the tele trick you did...
Thanks ever so much
I usually just run the whole mix through my Nakamichi CR-7 cassette deck and that usually takes care of what's missing in protools and it's a lot more musical sounding than plug-ins
This is great teaching. Thank you.
thanks warren for sharing your insight on this love it
I like to use parallel saturation, I often find I can use saturation on more tracks if it’s parallel. Because using it directly on an instrument can often sound over the top or destructive!
Gracias maestro !
very interesting, as always!
Adiós 👋
greetings from Belgium
Thanks ever so much my friend
@@Producelikeapro Depends on the song ,,, and the instrument! but I do it a lot !! I have learned a lot with you! Thanks for the time and patience to explain!
Your video was interrupted by a UAD promo...
usually the sound of promotions is huge... well this time your demo was way above ! 😂👍🏻
Anyway thanks for these very known, basic... but insanely useful tricks
Thanks for that video. Came on a great moment for me to test it on a mix that i feel is good but needs that extra punch
I will try these parallels on a set of percussion since the music has no drums, just a lot of djembes congas timbales and shakers
Super useful. Pretty sure parallel is everywhere melodic death metal.
eye opening, thanks warren!!
I don't always use parallels with compression. I use the technique for just about anything I can conjure up to get the sound that excites me if the material calls for it (DIs, re-amps, saturation/distortion, radical EQ, dynamics processing, effects, etc. As far as compression goes though, I often use it on the drum bus but typically only on certain drums, OHs, or ambients depending on the song. Occasionally, I'll used it on the entire drum mix. Otherwise, I use it on any other track or bus if needed to provide the "parallel" crush blend. I rarely use it on the 2bus. I have other goodies for that I usually like more...namely tape emulations, sat/dist, etc. I've also been liking the Black Box HG-2 and the VSM-3 or SaturatorV2 from Brainworx or the SDDR from Klanghelm. In any case, parallel blending of any sort is definitely a very useful technique to shape audio.
Amazing video Warren. This is so cool. Directly going to try it in my session and see what I can get out of it :-) Thanks so much
Hey warren, I would like to know what is your workflow for using parallel comp?
Do you just mix the whole levels and stuff first and then start adding parallel stuff or do you add parallel comp while mixing?
Wow. Ear opener, totally. Thanks, it is really inspiring. Can´t wait ´till my home studio is up and running. Thnx and stay safe. :-)
Excellent, I will try it, thanks!
I never even knew that Impact plugin was in here 😂 thanks! I need to dig around more thoroughly
Good lessons, thank you Warren.
Upwards comp on rcomp. Hidden gem.
I put RC20 and sometimes doubling effects in parallel :)
Thanks, Warren! I finally get it!! 💯👍
6:21 Your compression ratio is actually 20:1 instead of 4:1, you're zooming in on your release time.
Hey Warren I have been busy writing my first songs and this little video was perfect to get my thinking head back on. Some fantastic tips and as a drummer loved the smashed snare. Being a Reaper/Waves user it would be great if you could do a parallel version within the video with for example the waves equivalent of your pro tools plugins. It is a struggle sometimes to put into practice what you have done. ps Now a lifetime member of the Academy, cheers from the Arts end of the World!
Watren my mind is starting to melt with information overload and I fear for the safety of my next mix. Thanks for another great vid. :)
Thanks ever so much!
@@Producelikeapro I must apologize Warren for misspelling your name, I only just noticed :(
@@13opacus haha I've had worse! Haha
Great video as usual Warren! I'm so going to try that vocal comp trick and try for some different tape type sounds. I'd always wondered how that was done in the studio ;)
Awesome tips! I've never actually tried parallel compression on vocals, though I have chained compressors in series, which can sound very smooth, but obviously way different. I like when a compressor has a mix button so you can instantly hear the parallel compression, and possibly save some CPU cycles if you're hitting the ceiling :-)
This was super valuable!!
Drums sound amazing! I recently remembered you said you live in LC I’m on Mount Olympus over looking lookout mtn road! Neighbors 👍🏼
I recorded a song with the dreaded "new light gauge acoustic strings" syndrome. I just parallel crushed it and it made a huge difference. Much better sounding and sits much better in the track. Haven't had any luck with parallel compression on drums yet but will keep at it til I decide what I like and don't like. I worked so hard to get clean and clear drum sounds, the gritty/dirty approach doesn't appeal to me at all at this point. (Subject to change to be sure.) Will tackle vocals when I can sing again (farmer's haying the fields, yucky...) and try some of this on vocals.
The grit is not for making the drums sound dirty, but to add some harmonics to them. In the end you will not distinguish clearly the distorted drums, they will just blend and add fatness to your sound.
@@amaynez Probably not the best choice of words but I wasn't sure how to explain it. I do like what "normal" compression and tape emulation do to the drums, a lot in fact. I just haven't had one of those "A-ha!" moments yet with the drums. The acoustic was instantly apparent that parallel compression was working on that particular track but it was more a matter of not being happy with the initial sound in the first place. I'm super happy with the drum sounds I'm currently getting and with doing it with minimal mics and processing, so that'll make it more of an uphill battle to see the improvements. That's probably how I should've explained it all in the first place. :)
The kit is Ludwig maple shells with Remo heads (meticulously tuned) and Zildjian A Custom cymbals, all my favorites, so I'm off to a great start for what I'm looking for. Only thing lacking there is that it's me, not Neil Peart or Roger Taylor "bangin' on the bongos like a chimpanzee..."!
cool stuff...if nothing else it gets my wheels spinning about things I might try...and I will try about anything...I just love sound and recording...thanks
I was mixing a song where the drums were recorded to an stereo track (already mixed down), but still with some careful parallel compression and distorsion I was able to get them to sound great, of course having only the kick and snare would have been great. On another song, I was struggling with an acoustic guitar, I will try out using parallel processing and see if I can get it to sit well in the mix.
Is this what Max Martin calls a wall of sound? I loved this video. Some really good examples of how to fatten up a track. I guess I can apply this to electronic dance and pop music too? Or not? Best reg from Oslo, Norway ❤️👍👏
of course you can, you can apply this technique to everyone genre of music.
Great stuff! Thank you. Would you ever use the smashed drum sound with more mellow genres, like folk rock, Americana, singer songwriter? Or are these genres too "dainty" for this?