Parallel Compression on the Whole Mix - the ‘Rear Buss’ Technique
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- Опубликовано: 29 авг 2017
- Learn Andrew Scheps’ signature technique of parallel compression on a ‘rear’ buss in order to add energy to a mix.Watch mixing tips from Andrew Scheps himself: waves.com/tag/andrew-scheps. Also visit recordingrevolution.com
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Don't forget the whole purpose is to keep the ORIG transients...so, on the Blended Parallel use FAST Attack settings. Most guys forget and use the setting to preserve transients. You want to wipe em off the compressed ball and then tuck it up under, bring the level up slowly ...to fatten it up. It's like the opposite of what they usuall do. You want the parallel side to be the Mid/Fat, the bulk, and the Orig to be the High w/ Transients. You get more in the end this way. Hard to Explain. Yes, On the Dual Mono! You can also go LCR like Andrew also does. - Gilroy
yes yes yes YESSSSS !!!!
do you have a video on this ?
Yes, I think so too...but Andrew uses UAD 1176AE with the slowest attack value, the attack knob at 7 o'clock (in the 1176 the values are reversed)....there's a reason for this??? Thanks
So fast attack on the new blended parallel track and slow on the stereo comp? Any combo you’d use?
@@AlbanEmiri fast is slowest with the 1176
I must have said it before about you but it's important. Thé gréât thing about you is that you never assume that your audience is only people who know certain things. So you explain everything. Even if I know somethings, I don't mind your explanation because you never know. Sometimes my take on something might be wrong because I coukd have forgotten or got the wrong idea from the start. After watching a video of yours, knowledge is reinforced in my mind. Keep doing videos this way. It is what puts you in a special place for learning. And your ego is minimal. Your goal is to learn and share your knowledge. I will always go back to your videos to clarify and strengthen my knowledge. I bought your basic video set awhile ago(at least a year) and keep watching them every so often to make sure I am clear on basic concepts. Those videos are worth gold. Thanks again for everything.
Ah I was doing this in my session last night and wasn’t sure what exactly I was doing but loved the result. Great video, now I can move forward a little more confidently.
Just tried it, it really works well and thickens up the mix nicely thanks Graham!
This was good. He didn’t ramble on as he does all the time. Good information. He went straight to the point.
Just barely discovered the one knob and vitamin plugins and it has changed everything I knew about my mix downs
Woooo! Congrats for the mix, it's sound amazingly fat & present! Nice technics, I'll try this out on the futur! Thanks for sharing!
An awesome vid yet again Graham!!! Kudos!!!
This is a really really cool trick, leave it to the old-timers who always had to find workarounds or just straight up try things with their consoles... just tried this on a metal mix and it really added a nice extra dimension. I used the SSL as well and I did find that the stereo version of the plug-in had a strange phasey sound, so I used the multi-mono version of the plug-in and that did it. And you can also un-check the FMP button to shape sounds differently if you want. I decided the snare could use a little extra snap so I added in a little bit of my room snare sound to the rear bus as well. So many options, this is really going to be great for my workflow going forward. Thanks Graham.
Great tip and very well explained - thank you, Graham.
This ‘rear buss’ technique is so good to be aware of. It’s a versatile approach ... for example ... one doesn’t always have to heavily compress the original mix buss to attain ‘streaming volume’ target.
Amazing technique and video! At last... learning something new!
Incredibly helpful and informative instruction! 🙏🏽
You're a Master Graham! Thank you.
I think we should start calling this the Scheps Bus! Awesome trick!
Wow, this is a fantastic tip! can't wait to try it
Been using this trick to master an album that was sent to me. A good solution to material that was mixed too loud but has great tone. I was able to “fill in” the low and high mids this way using a band-pass parametric EQ (250-2500kHz) or whatever fit the bill for the song, and then the UAD SSL on the return fader. Typically 6-8dB of reduction but automated and gainstaged very carefully, some phase issues may come into play when the return fader is adding too much level into the stereo buss. I was typically at about -33 to-29 on that return fader
Awesome buddy! What an amazing tool to use. Thanks
You're subtly pitching these catchy songs in these videos Graham , I love it :)
Also a nice trick for live foh, i was doing that a long time ago a bit out of necessity and also taste. In a event /live hall i had a very nice soundcraft series5 analogue console and only 4ch of compressor and also to put them to each different insert i had to hang out of the balcony or climb a ladder, so i used them in group channels, 2 parallel or only the group and 2 for a stereo parallel mix compression. Some times the band was playing hard but it was eating time for the people (weddings, tourist events etc) so i used the compressed mix (with high pass cause i had low end energy from the monitors) to be gently but also hearing everything and then when i had more crowd or it was dancing time i had the compressed(using other eq than before) to boost the more dymamic clean signal, so different use through the night
Nice real world example 👍
Good video, Graham, thanks. It definitely adds something but it's a fine line to dipping in the mud, lol. But I am definitely going to try it out. Still perfecting my personal mix templates. Probably a lifelong work in progress.
Great Graham, I love the ssl comp, thanks for this trick!!!...The more tricks the better, the better playing the better...:) Drummergreets from The Netherlands, Jeroen Simons, Independent, ex-Epica.
So what is this in simple terms bro? How do you achieve this the simplest way of explaining ?
WOW, this is amazing!!!
wow, great trick here..thanks again man!
when parallel processing in general and especially in this case, do you generally eq the compressed signal to avoid build or cancellation of certain frequencies with the unprocessed track/mix?
Great tip thank you, I get the idea. Now I need to experiment in logic X bless up
Great video man, thanks!
i do this with the listen mic compressor on my SSL six. i did it originally just trying to squeeze as much as i could out of the unit, so was trying to make do and found it really added fatness and punch. only difference is that i mostly send drums to to it, then just add a small amount of synths to that channel. it makes the synths duck around the kick/snare so you get the whole mix to pump and the trick is to then play syncopated parts between the drums and synths so that each instrument hits super hard when it gets slammed with the compressor. i also play around with EQ on this channel and find that this channel becomes my "glue channel" and then i have a separate send for reverb so i can quickly balance space vs. groove and glue
Cool trick and cool song! I gotta try this on some of our songs!
I was on to the phase issues before I used this, I set Fabfilter Q2 before the compression and set it to linear phase high.
this is insane thanks a bunch.
I've been doing that for a while now, it works good
I had the pleasure of attending Andrew's seminar this year at Mix With The Masters and can confirm his extensive use of this technique. The only difference I can note is that Andrew uses a UAD 1176 AE in dual mono mode for his rear bus - dual mono is really the important part. You can set your sends to FMP but if the compressor isn't dual mono, it will have zero effect because information panned on one side will effect that on the other - this is inherent with any stereo compressor. Andrew uses very few, if any, group auxes for instruments. A lot of the sends to the rear bus come right off the instrument tracks themselves and sometimes certain tracks aren't sent at all. Based on Andrew's reasoning, whether or not certain instruments get sent to the rear bus depends on how much interaction between them is desired.
" - this is inherent with any stereo compressor" , you mean in Linked mode ..
giordash thinking about getting that Brathwaithe series from them, is it worth it?
@@michaelcake3186 Yes! "Stereo" implying that the detectors are linked. Most stereo compressor plugins default to being linked. Will accept the late reply award too lol.
@@MrArtVein Their videos are among some of the best resources online. I highly recommend all their content. And the seminars!
How would you do this in pre sonus studio one? Cheers
thanks a lot for sharing this technique....was wondering if you would still use bus compression if you were using this technique on a mix
Not that different from what CLA described (in a Pensado interview if I remember correctly): send everything except for drums and bass to a bus (I call it ALL-B&D) and compress that. He described it as "let the song mix itself". The main difference is you're applying parallel compression to that bus. The other difference is that you're including the bass as well.
the difference is incredible
Nice Trick, I'm about to try it right now
How is this different from compression we used during mastering a track ??
Hey Graham just curious with your routing thing in protools.Can you please explain what master fader 2 is about?Thanx for a really good tutorial.
Is there a way you can show the routing? I'm just getting into pro tools from logic for educational purposes and I'm still We at with signal flow.
Nice! I also like side chain compression also on the instrument buss being triggered by the lead vox.
U got a link that demonstrates that?
great tutorial!
Is there Method to use this when mixing vocals to an allready mastered beat?
Would we get the same effect by putting a compressor over the master bus, and using the blend knob on the compressor to balance between wet and dry signals?
Been doing this on every mix since I saw a Scheps tutorial. Use the CLA 1176 Blue.
Heard that A/B difference even with my little tablet speaker. Not just a gain increase happening there. The entire mix sounds more glued together.
Hey! What song is that? Also, great video! I've been doing this in a different way but this one is better. Thanks!
Do you have this on at the beginning of your mix so you can hear it right away while making your mix choices? Or do you get a overall mix first, then turn on the parallel compression? I'd imagine if you had it on right away, it would affect your moves/decisions with dynamics
Would you use regular bus compression on top of this, or does this replace that?
Great video. Thanks for sharing. What is the name of the mixer fader controller you are using?
what's the difference between the ssl g channel strip compressor and the ssl g master bus compressor?
i want to ask about the drums so if the drums are excluded from that parallel compression aux of overall instruments do they or you will create their own parallel compression aux or there's no need?
Curious if this would work in this scenario....let's say I bounce a song that has compression/ eq/ and limiter on the master fader....then I bring that track back into pro tools and create a send on the imported track to an aux where I would do the parallel compression. Would this defeat the purpose bc I already have compression and limiting on the original or would it still add some thickness?
When applying the chosen bus compressor, should I make the dry signal 0? Seems in the spirit of this exercise.
Very nice technique.
Why do you have 2 Master Faders, One of them has Mix Bus as the output and the other has channel 1 & 2 as the output ?
What is that effect starting at 1'25''? Thanks
Great video!
Is anyone would know how to do this on FL STUDIO?
It works fine thx. But why are no FX sends in this track?
Hi Graham great video man, i wanna know if i cant place ny heart on the parallel channel instead of a compressor please?
Is this something the should be done prior to mastering? I'm mixing an album and I feel like I'm getting some decent mixes before I go to master them, but they still end up feeling just a bit flat. I have a couple plugins like the L3-Multimaximizer that seem to help, but I think plugins like that are more for final mastering than just getting a good mix in the first place.
Any suggestions?
What monitor controller's are those ? Thanks in advance...
Great video Graham, one of your best!
Can you use this technique if all instruments and vocals are Bussed and instead of sending all separate channels to the parallel buss, you send the busses to the parallel buss ?
cool track! and cool techique
Does anyone know why you specifically want to exclude the drums?
Thank you!
If you already have a parallel compression chain on your vocals would it be right to still use this technique?
Is it better to ny comp certain tracks or just ny the entire song? Ive tried both, but cannot make up my mind. Lately I just been ny main elements. What you guys think?
is there a reason why you didn't send the group of the tracks instead of sending every single track ?
thnks
Anywhere I can get this song?
Can anyone tell me which of these might be optimal and why?:
1. Routing rear buss back to a main mix bus/master where all other buses also end up so they all then get processed again at final stage (e.g. light glue compression on master track)
2. Having a mix bus or 'premaster' where I do my light glue compression/master processing which then goes to master channel. The rear buss does not get sent to the premaster but goes separately direct to master where there is no additional processing
I intended to setup no. 1 but accidentally routed 2 since I already had the premaster routing setup. It sounded good so I'm wondering if there's anything wrong with that? I suppose the rear buss doesn't get that final bit of glue with everything else but since its level is lower anyway, I doubt it would be getting compressed further by the 2bus compressor anyway?!
Thoughts appreciated!
I like distortion on vocals. It would be cool make video about distortion effect on vocals.
Why are the drums excluded in rear buss compression?
Thank you so much !!!
So parallell comp is most for making too thin stuff a little fatter?
How would you achieve this on FL STUDIO?
I dont use pro tools
Best video ever. This have been the biggest step forward ever!
Wow thank you!!
can you use an external buss comp?
What is the reasoning behind not having the drums in too? Is it then just louder?
so it's basically doubling everything?
Please speak to Lu on purchasing equipment? Also on meeting me connecting everything on other things? With Compass towards mixing?
Thank you. Is there any problem caused by the little amount of delay added by the compressor in the rear bus? Any phasing or I should simply don't think about it?
Turn on delay compensation & make sure your cpa can handle it
Why do you send all the instrument busses separately instead of just sending once from the overall mix bus (minus drums)?
That’s awesome thanks a lot
Thank you!!
So basically thats just like putting that comp straight to main bus, except you can level its output from volume slider?
Won't this throw the drum balance off with the rest of the mix? You're fattening up (making louder) everything but the drums. Obviously, listening and going from there is the best solution, but I'm curious, since I haven't done this yet, does it affect drum balance, or does it just stay sitting well? Thanks in advance.
One thing to note (for Logic, at least) is that creating a bus track will automatically be mono. Make sure you change that to stereo if you want it to match your panning
Hank Fontaine Shouldn’t the buss track treating the parallel compression be a Mono track to begin with?
Done this on drums before but not the mix. Any reason you did this using sends on each individual track rather than the groups for guitar, vox, bass etc. Assuming you had a group for everything?
Also could you use parallel compression on the drums at the same time as this by having a second one... advantages/disadvantages?
Marlon, I was wondering why he wasn't using the sends from his groups as well, would seem to simplify things.
Is it what modern plugins just call MIX? Like FabFilter ones
is there a reason why the drums are left out of this?
Brilliant🎉
juat curios why exclude drums from this mix when doing the parralel compression?
Especially in Andrew Scheps case, he's very particular with the punch and bounce of his drums. So if you add parallel compression to the drums, it squashes any punch that you would want out of the percussions.. In fact, the parallel compression is meant to offset the strength of the instruments, as Scheps mix is so drum-centric.
I find it's a good way to think about the mix. Get your kick and snare in the right place, pick a couple of central instruments, and chain your vocal correctly, then let the rest of the instruments eb and flow with the mix via the parallel comp.
Brilliant.
Does the master fader have compression on it too? I didn’t hear him mention it
Yeah, it does have a BUS as well, compressing the main fader
A question tho: What is the reason for not including the drums in the p. compression? You should do it seperately with a new york parallel or stg like that?
the drums would pretty much always trigger the compressor is my thinking. Most likely would result in a squashed sound.
does this almost work like a multi band compressor on the master buss? separate the frequencies????
Chuy Maldonado different strokes for different folks I suppose.