In-the-Box Mixing: Parallel Drum Compression - Warren Huart: Produce Like A Pro
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- Опубликовано: 13 июн 2016
- Warren explains some tricks he uses on drums when mixing entirely in the box.
Produce Like A Pro is a website which features great tips to help the beginning recordist make incredible sounding home recordings on a budget. 
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Thanks for taking the time to do what you do Warren. Most interesting videos on RUclips.
Thanks very much for your extremely kind words!! Have a marvellous time recording and mixing, many thanks Warren
Warren, love your videos! So simplistic, educational, and you have a great attitude, keep it up!
I Love This video, With not having a Console in my Studio, But Running my Mixes into a D-Box. Adding Parallel Compression To my Bass and Drums have added that Grip to my Mixes. Thanks Warren!!!!!!!!!!!
Hi friends, in this video I open up my in-the-box mix of "Love Me I'm Rich" that is featured in my new course at Pro Mix Academy and show my parallel drum compression. Parallel drum compression is a great way to add energy and life to your drums and, in this mix, it really helped me get the drum sound I was going for! Doing this completely in the box was also a great learning experience for me. It was quite a challenge to get this mix to a place where I was happy and felt it was in the same level as my original SSL mix. Please check it out and let me know what you think, have a marvellous time recording and mixing, many thanks Warren
fantastic video once again !!!
Hi Darlene, thanks very much!! Have a marvellous time recording and mixing, many thanks Warren
Remarkable! It’s a gift! Big, huge THANK YOU, WARREN!
Another great video Warren, thanks. I love how you are giving really great practical tips that I can go and apply myself right away (the parallel compression technique in this instance) but you also manage to get me thinking at a much more general level too about my "ethos" or "approach". You've really helped me to make a fundamental decision that my approach will be to spend much more time tracking, using good old fashioned pre's, channel strips and mics and committing as much as possible at the time of the tracking to the DAW. Then do as little mixing as possible, ALL in the box. I feel like, now that I've made that decision, I'm spending all of my energy on writing, arranging and making music rather than worrying about mixing!! I owe you a pint :)
Thanks very much!! I'm really glad you enjoy the videos! Thanks very much for the kind words!! Have a marvellous time recording and mixing, many thanks Warren
Joe Chiccarelli's favorite for parallel compression is the Chandler Zener Limiter. I tried all the comp's I have, and this one is now my favorite as well. As for the potential phasing issues when using multiple busses - always use Linear Phase EQ's (according to Andrew Scheps and Science), and as you highlighted, less is more. Another great video. Thanks again.
Great explanations! It's cool to be able to see you transition, you rock! Thanks Warren!
Thanks very much!! I really appreciate it! Have a marvellous time recording and mixing, many thanks Warren
I really enjoy spending time in pre production lately. It seems like mixing in Logic has freed up production time in a way that allows me the slack to sink my teeth into the front end. The studio experience isn't dead, it is alive and kicking. Making an event of tracking has become the new focus. Creating an inspirational atmosphere to capture a performance is like an adventure, and moving into the box for post production makes the start-to-finish process a pleasurable experience. I love my outboard gear and it sounds great when we use it on the front end while tracking. Then, when mixing in logic on a big screen with some badass control monitors is always being compared to flying in a spaceship and the like. We are in the future and it is great,.. and these DAWS sound amazing! We are truly blessed with some wickedly cool technology.
Hi Frederick, agreed Pre Pro is where it is at!! The more pre pro the better! You really can bring a song to life that way, let the musicians perform to their best on the studio because they are playing their parts with confidence!! Have a marvellous time recording and mixing, many thanks Warren
great video Warren ! thank you so much . loved the one mixing bass too!
Hi Allan, thanks very much for your extremely kind words!! You Rock!! Have a marvellous time recording and mixing, many thanks Warren
everytime I think I have stuff figured out, I watch a video like this and realize I have no idea what I am doing... it can get frustrating lol
Aw shucks A Voice Of Your Own, we are ALL always learning! I have nothing figured out! Beware the experts!! I am juts ;earning like you my friend! Have a marvellous time recording and mixing, many thanks Warren
thanks Warren, you're great.
Aw shucks thanks very much! Have a marvellous time recording and mixing, many thanks Warren
@@Producelikeapro Oh, come on, Warren. I know you're being modest, but honestly, if you were just learning(ie. an amateur), your channel would be called Produce Like A Beginner.
Great video as always, thanks Warren!
Thanks very much!! You Rock!! Have a marvellous time recording and mixing, many thanks Warren
Great episode! ..thanks again Warren.
I'm so glad that I picked up this course. There's so much info in it, that taking notes has become a necessity. I'm only a third of the way through a detailed (note-taking) viewing ...it's a veritable gold mine. The fact that you have been mixing/summing through the SSL for all of these years, and now doing it ITB for this course means I get to see inside the thought process of the decisions you made in order to make the track the way you wanted it. So I feel I'm watching a real-time transformation in progress..haha.. Bonus 'pseudo' mastering process for level matching commercial releases is a nice touch as well. I'd say your "scratching the surface" turned out very well..
Interesting that you say you'll be following all the others that are now mixing ITB. I don't know if you normally track with the SSL, but if you do, do you think you'll keep the SSL for tracking purposes? Or do you think you'll be able to get what you want using your various pres that you have? Cheers.
Hi Steve, aw shucks thanks very much for the extremely kind words! Glad you got the course and are enjoying it!! I'm not planning on getting rid of the SSL quite yet! Haha Have a marvellous time recording and mixing, many thanks Warren
Warren.... As always Excellent, on the music I'm working on I have found pushing into a Fairchild plugin and trident A range channel for the saturation, it just works for my ears! Many thanks!!
Hi Matthew, thanks for your very kind words!! That sounds like a great combination of plug ins! Have a marvellous time recording and mixing, many thanks Warren
You're really inspiring, Warren. Cheers!
Wow!! Thank you ever so much!! I really appreciate it!! Have a marvellous time recording and mixing, many thanks Warren
Hi Warren, thanks for this video! For parallel compression on drums, I love to use a compressor plugin with a dry/wet mix control as an insert on the drum buss. Same effect, but all neat and tidy on one buss. Saves me some sanity on big mixes!
Yes I love that many compressors do that now!! Wonderful effect!! Have a marvellous time recording and mixing, many thanks Warren
My favorite kind of compression, mostly on high-transient instruments like drums.
Hi Warren, as ever thank you for the marvelous videos you put out. Since this is on the topic of parallel processing, I wanted to ask: do you use a bus for reverb and other time based effects for drums or straight on the seperate tracks? Thanks again!
Thanks for the video, Warren. I am using Boz Digital Manic Compressor to do a lot of my parallel compression duties. I think it rocks big time. And gets you up and running with it quickly. I would be interested to know whether you use any tools dedicated to parallel compression like the Manic Compressor, Schepp's Parallel Particles etc. Or do you rock old school only (as much as anything digital can be "old school", lol) with standard compressors and eq? Thanks
Thanks for the great video! Let me ask you something i have not clear: Are you sending the whole kit to the SUB and CRSH channels or just some pieces of the kit? Thanks in advance! Have a good day!
Love all your videos, but mostly I watch studio tours. those are the best ones! keep it up man, hopefully you do more studio tours! maybe scheps? maybe someone who do more synth related music? :) Cheers!
More studio tours coming soon!! Have a marvellous time recording and mixing, many thanks Warren
I know I'm late but have you considered using saturation on your paralel conpression track? I tried that a few days ago and it sounds so great!
Thank you Sir!
Hi Anthony, you're welcome! Have a marvellous time recording and mixing, many thanks Warren
Hi Warren, I send both my dry drum BUS and compressed drum BUS to a master drum BUS where I use a massive passive for final eq.... sometime I do a spike stent thing where I use the MP and eq into the Compressor on the parallel which can add nice depth... but yeah sometimes if I get crazy it can just sounds weird
That's a great technique Steve! Have a marvellous time recording and mixing, many thanks Warren
I have yet to see any video about parallel compression where someone explains how to align it with gain staging. Would be super helpful for novices like myself. If you or anyone have any links to such a video I’d greatly appreciate it...of course if YOU make a video that’d be even better but I realize that making videos can be time consuming. Anyway. I’d appreciate any guidance. Thanks for the great content as always.
Sorry guys, I borrowed Warren’s comb just before he started recording this !!!! Lolololol
Found it!!1 THanks again warren!! Stay golden pony boy!!!
Thanks! Hahaha
Your tutorial is great as allways :) I have a question about something Dave Pensado said some time ago. He talked about how he uses to have issue with phase when he works with parallel compression and the parallel compression is done with an outboard gear. He said that when the parallel track leave the DAW to go into the hardware compressor and then it return inside the DAW, there is a delay caused by the audio going through a physical path. Because of this, the parallel track is delayed in respect to the original track in the DAW, and this causes phase issues. Do you think this little delay is relevant or it could be ignored? How do you manage it? Do you print the parallel track to see how much delay it is introduced and you compensate it with a plugin? Thank you in advance!
Great question! If you do go out of the box there is some delay to the signal and it causes phase issues. With delay compensation in Pro Tools these issues should be addressed in-the-box. When in doubt I am sure to use the same plug ins on each stereo auxiliary. Have a marvellous time recording and mixing, many thanks Warren
HI, great video and great glam hair.
Haha thanks! Have a marvellous time recording and mixing, many thanks Warren
Great video! Thanks for sharing this technique.
I have an TC G-Major that I use to spice up the drum sound from my Alesis SR-16. I don't have any fancy compression plugins, but the TC compressor is good enough, and I can use it to add room and the pitch shifter in there really fattens the sound. Two stereo tracks, one with the dry SR-16 and one with the really wet TC is great. When I get to the chorus and I need more oomph I turn up the TC track.
Which brings me to my question: Do you do this parallel processing with other signals too? How about guitars? Is there any advantage doing this for guitars?
Great question! Yes I do parallel compression on vocals, guitars and keys all the time!! Have a marvellous time recording and mixing, many thanks Warren
Warren,
Thank you for clearing up the fact that Andrew and others are recording thru great gear. Because some of their ITB video don't mention this. So for all you young engineer mixing ITB still requires some outboard gear to get great recordings. I will never sell my gear because I know what digital sounds likes and analog sounds like; and I like both. But I may not buy anymore Eq's or Compressors. I will continue to buy great mic pre's and mics. Thanks, sounds good.
Great point and post Charles.. :)
HI Charles, yes, Andrew confirmed to me this year at AES that with the kind of quality he gets to mix and the kind of analog simulation plug ins out there he doesn't need to sum at all! Have a marvellous time recording and mixing, many thanks Warren
Hi Steve, yes I agree 100%! Have a marvellous time recording and mixing, many thanks Warren
Hi Warren, could you do something very similar for Vocals? Thanks for your awesome videos I love them!
Yes you can do something very similar indeed!! Have a marvellous time recording and mixing, many thanks Warren
my template has NEW YORK bus and DRUMS bus... at first i mix the drums on their own and then i just send a bit of the kick and snare to the NEW YORK bus, which ofcourse is heavily compressed - at the end of the mix, the two buses always end up being KICK/SNARE bus and OVERHEAD/ROOM buses. Not that this is a bad thing, but i definitely integrate parallel compression into my mixing from quite early on
That sounds like a fantastic system!!
Hi Warren, love your channel, i have learned a lot from you so thanks! I have a question regarding mastering, but not about the tweking process. if you master a song, do you provide a ISRC and UPC codes? and do you use a program for DDP imaging?
Would love a video about this subject because i think there is lots of people like me who don´t really have the correct info about this. Im going to audioschool this fall and im just trying to soak up as much information as possible. Hope the question make any sence.
//Cheers from Sweden
Hi Kasper in Sweden! I don;t use a program to do that, but I know you can get codes generated and some of the digital distributors I use do that for you! Have a marvellous time recording and mixing, many thanks Warren
nice video, nice explanation, I've listened to the mix and I think there's something about the snare EQing on the "ghost notes" that is pushing too much on the high mid range.... what did you do there? It feels like I might be listening to that range of frequencies on the reverb. The samples come up only on the hard hit? Because it sounds different. But the overall sounds really nice.
Hi Gu, thanks for your comment, the EQ and sample balances are the same for the snare (they are all bussed together) so any difference is in the performance of the drummer. Have a marvellous time recording and mixing, many thanks Warren
Great technic sir Warren! I love to use iZotope Trash 2 in the parallel drum chain. It adds energy and compression plus some extra harmonics! What do you think about it?
Fantastic!! Excited to try the iZotope! Have a marvellous time recording and mixing, many thanks Warren
definitely your best hair ever warren!
Haha thanks for noticing!! Hah Have a marvellous time recording and mixing, many thanks Warren
Hi Warren instead of duplicating the stereo drum buss could you instead create a stereo aux prefader copy as a send? That’s what I always do, but if there’s a benefit to duplicating it instead I’ll do that.
Are you sending the entire drum set to the parallel bus including hats and overheads, or is it just kick snare and toms?
Hi Warren, great video as always. I seems like you've had some greater data loss during your career. From 11:58 to 12:45 you hit command-S about six times without having done anything. I can relate. :)
Cheers
Robert
Haha exactly! I do that all the time!! Apple S! Have a marvellous time recording and mixing, many thanks Warren
I do the same thing, can't even fight it : )
Hi Ivan, haha agreed! I'm glad we do it by default!! Have a marvellous time recording and mixing, many thanks Warren
Hi Warren. Maybe you can explain me one thing about the parallel compression: do you route all the tracks in two drums busses, so you have the first bus as a "dry" one and the second is the "wet"... or do you first mix your drums and then "bounce" the drum mix in one track and then apply the NYC compression on this outbounced track? (I hope you understand what I mean) :D
p.s. thank you so much for your videos. Greetings from Germany
Hi there in Germany! I don't often do that extreme EQ to my parallel bus and often I'll only send the kick snare and maybe the overheads to it. Ultimately I would experiment on each song, because the recording quality can really effect what I use in the parallel bus. I hope that helps? Have a marvellous time recording and mixing, many thanks Warren
Klark teknik eq (pultec style) in the rack ?
What do think about the Avid "Maxim" plug in?
I do use occasionally! Have a marvellous time recording and mixing, many thanks Warren
Hi Warren. Typically how much of the compressed track do you blend into the original let's say for a pop tune? Is there a fairly standard ratio in DB or is it always different and you just have to use your ears to determine how much you want?
Hi Derek, that's such a HUGE question! I don't have a formula for that, it really depends on the song! Have a marvellous time recording and mixing, many thanks Warren
I figured but doesn't hurt to ask :-)
Hi Derek, of course! Great question though! Have a marvellous time recording and mixing, many thanks Warren
These videos are so informative! I would love for you to critique one of my mixes I did using a Presonus 1818VSL interface and logic pro! I can send you or anybody who reads this and wants to hear the link
Thanks very much! So glad you enjoy the videos! Have a marvellous time recording and mixing, many thanks Warren
What the green D.O.S. screen to your left
Got here late but, anynway... I hear a very loud resonance/ringing from the snare... do you hear it?
i have one question that i could never understand the day I discovered brickwall limiting. If you have a brickwalled signal and after you use a hi pass filter to cut some of the lows why does the signal get louder and not brickwalled anymore? Are the low frequencies phase canceling in a way to keep the signal brickwalled?
I believe it's that lower frequencies have higher energy so they trigger the limiter sooner. When you HP then that allows the higher frequencies to trigger the limiter thus bringing up the entire spectrum above the HP point. And also because of how we hear frequencies the low cut frequencies don't add much to the perceived volume but the limiter doesn't see the signal that way (it sees in absolute db level).Warren, correct me if I'm wrong plz.
L. Scott Music
Talking about High pass filter after brickwall limiting. Not before. For example if you brickwalled a song at 0db threshold then put a hp pass after it the signal will go over 0db and become louder in the process.
Ah got you now. Hmm, I don' know the answer to that.
Great question Blood Lord! The low frequencies take such amount of energy that they are probably the major part of the signal, one removed the dynamics return! Have a marvellous time recording and mixing, many thanks Warren
Produce Like A Pro
I just messed around a bit with the best linear Eq's i have. Using a High pass on lows with highest quality linear EQ settings and sharpest cut (96db) makes the signal stay brickwalled. Using a low pass on the highs with the same settings makes the signal a tiny bit louder so linear EQ isn't perfect on extreme high frequencies. It has to do with phase changes a regular EQ does when using a hp or lp that makes it louder when used after being brickwalled. Linear EQ's don't have that effect on lows but it does a tiny bit on highs. So you can high pass a signal after heavy brick wall limiting cleaning up lows without the gain raising if you use a really good linear EQ on highest quality settings. lol I should have remembered about the phase changes regular EQ has.
Edit: You should try it out and see. I used Fabfilter pro Q2 in my test, it has regular and linear Eq settings all in one.
I've seen some tutorials that advocate using heavy amounts of bass and treble boost on the parallel track. I'm interested to know your thoughts on that.
Same question here.....
That sort of applies to PROPER, old school 'New York City compression', where the drums (or just the snare and bass drums) AND bass guitar are being sent to an auxillary buss and compressed quite heavily (but not necessarily 'crushed'), then having some 100Hz and 10kHz added before being folded back in to the mix to really beef up the rhythm section.
As Warren alluded to, EQing in parallel WILL cause a phase shift. But that phase shift MIGHT be sonically pleasing. So that's why a shelf boost at the top and bottom is is 'safer' than bell boosts - because it's less likely to cause cancellation and, as such, UNpleasing phase shifts.
Interesting. Thanks for the clarification Keiron.
Does everyone reading this agree?Lets see a show of hands (no, not being sarcastic, I have a real interest in what people think about this) Thanks again. :)
Thanks Keiron... As far as I understand, almost every parallel process cause phase issues right? But its the final sound that matters....Anyway when you use "New York Style" compression whats more common: Subtractive or additive eq
Hi Will, I don't personally do that, as Keiron is saying below it cam eat issues. But as he also said you have to listen! The tutorial that look at the files are nonsense! All that matters is what does it sound like? When in doubt try it and see how it sounds! Have a marvellous time recording and mixing, many thanks Warren
You had auto release on r comp
Is it intentional that you have the dither turned on on those L2's..?
CMD S .. go on. You know you want to. :)
Haha on the list!
how come when i try adding fx in parallel with Pro Tools it causes phase cancellation?
Are you using delay compensation? Have a marvellous time recording and mixing, many thanks Warren
New hair style? But seriously,great video as usual!
Thanks Kingston!! Have a marvellous time recording and mixing, many thanks Warren
So are you saying, you are selling your gear?
Yes Charles!! One millyon dollars! Have a marvellous time recording and mixing, many thanks Warren
How are YOU doing, Warren?
how many rooms in your studio and what size each please
Great question! There are two main rooms, one control room and one live room and a machine/bathroom. The control room is about 16.5 x19 feet and the live is smaller 16x 11.2, live room is 11ft high and control is about 8.5ft. Have a marvellous time recording and mixing, many thanks Warren
Nice. I appreciate the fact that you produce such amazing music with ample yet limited space. It inspires me greatly. I went from having 3 descent sized rooms 2 were 12x16 1 was around 19x24 to 1 room that is 10'6x10'.(moved to a different state) lets just say i have some challenges. but with challenges comes the chance to do some good recordings. thanks for all you do Warren!!!!
Great stuff! Yes I make records in any way I can!! I really appreciate your kind words!! Have a marvellous time recording and mixing, many thanks Warren
RIP OTB
after i mix drums i send the entire drums to a single bus for a way to add lo-fi.
kick is sent to 2 buses.
snare is sent to 2 buses.
all room mics are a single bus.
overheads are a single bus.
drum mix compression gets a single bus.
etc.
by the end of it i have at least 10 buses extra for drums just adding in that bit more needed spark.
all in box, on a potato emachines running win7.
it's like trying to play a ps4 game on a ps1, but still worth it because i must create.
Funny, I was just looking at the API "The Box" but maybe there isn't a strong reason for such a thing.Still, there is a sort of cold practicality to ITB but it lacks a certain "sexiness" of a consol. ------Thank god for guitars. They try to make guitar playing ITB but it's a ways off I think. Plus, we may only be allowed one wife but we can have a bunch of guitars! Does that make us polyguitargamists?
Hi Loren, I strongly believe a small console with great mics pres and EQs is still a great investment for tracking! Have a marvellous time recording and mixing, many thanks Warren
Well, The Box (API) seems to be really centered around 16 summing channels as it only has four inputs for tracking. Four really good inputs but... you could get that with really good rack pre's and some channel strips for a lot less than $15k I think. Still, a console, I read, is an instrument. Anyway, perchance to dream.
Hi Loren, I see, yes financially it's not the biggest bargain! Have a marvellous time recording and mixing, many thanks Warren
Sorry Warren, gotta bust on you for the bedhead! Great vid though!
I don't think bed head is possible as Warren doesn't sleep. :-)
lol i noticed that too.
Good call!
Haha Jerry, yes busted! I don't think I slept at all that night! Haha Have a marvellous time recording and mixing, many thanks Warren
Haha you got me Loren! Have a marvellous time recording and mixing, many thanks Warren
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