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NY/Parallel Compression - Questions
I've been trying to implement this technique but I don't think I'm getting the results I'm looking for. I record instrumental rock, hip hop and funk, and I want my drums as aggressive as possible.
There may be variations of this technique, but I'll list what I do in case there's a problem with my set up:
Secondly, any time I'm approaching the sound I'm looking for, I'm clipping the master. In order not to clip the master, I lower the sends or original track faders. My worry is that I'm not pushing the compressor. Although I'm able to make-up 5-7db of gain, should I worry that the output of the compressor/aux tracks are not near 0db? If it makes a difference, I'm using either samples or drum machines for my drums. Anyone have a better variation of parallel compression? Anyone have an alternative to parallel compression?
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PTLE 8.0.5, Digi 002 Rack iMac 3.06Hz Intel Core 2 Duo w/8GB RAM, OS 10.6.8 Glyph GT050Q Drives |
#2
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Re: NY/Parallel Compression - Questions
I've done this with good results, but your setup seems a bit confusing and I've never had level problems. I do this:
When I include the bass in the mix, it tends to reduce the low-end definition for me, but it probably depends on the song arrangement.
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MacBook Pro Core Duo 1.83 2 Gig RAM OS X 10.4.8 002R/PTLE 7.3.1 |
#3
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Re: NY/Parallel Compression - Questions
Thanks for the quick reaponse!
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Both your aux tracks are bussed to the same inputs? You didn't say, but I assume you're disabling the compressor on one of the aux tracks since you refer to it as uncompressed. Are your sends to both aux tracks post or pre? I've seen it done that way, but what's the theory behind the low & hi shelf? I guess to control the extreme lows and highs after compression. I usually only send the kick and snare, but maybe I'll try sending the entire kit. Do you think that helps glue things together? Ohhhhhhh! You're controllig the compressed signal with the aux fader. I've been doing it with the sends, and had the compressed aux track fader at unity. That could be problem #1. Are your sends to both aux tracks at unity? Are you sending the original tracks, uncompressed aux and compressed aux all to the master? What do you mean by "link the 2 tracks"? And how are you doing that?
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PTLE 8.0.5, Digi 002 Rack iMac 3.06Hz Intel Core 2 Duo w/8GB RAM, OS 10.6.8 Glyph GT050Q Drives |
#4
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Re: NY/Parallel Compression - Questions
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balance of the two signals. Quote:
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[/QUOTE] Create a mix a group (Cmd-G I think). Then you can adjust the level of your "mastered" drum mix easily, while maintaining the balance between compressed and dry signals.
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MacBook Pro Core Duo 1.83 2 Gig RAM OS X 10.4.8 002R/PTLE 7.3.1 |
#5
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Re: NY/Parallel Compression - Questions
I wonder if both my aux tracks use the same 2 buses. This is part of my templates, so I haven't paid much attention to that since I set it up. I'll have to double check that this evening.
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PTLE 8.0.5, Digi 002 Rack iMac 3.06Hz Intel Core 2 Duo w/8GB RAM, OS 10.6.8 Glyph GT050Q Drives |
#6
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Re: NY/Parallel Compression - Questions
I do it pretty much like davetron does.
First I get a good drum mix going, compressors & EQ's on individual drums if neccesary, reverb\fx sends on each track so I can have control over the amount of verb on each drum. Once I have a good overall drum sound I assign the output of every drum track to Bus 1-2 (for example), which pulls them out of the master stereo bus, and setup two stereo aux tracks to receive input from Bus 1-2. This is effectively sending Post Fader signals to the two aux tracks since I believe it's the actual aux sends that can be set at Pre\Post Fader, not the buses (correct me if i'm wrong)(which is good because I want to preserve the mix that I already did). Once I have this setup I use the two aux faders to control my blend. Usually I just leave one aux track with no plugins and the other has a compressor smashing the hell out of the signal. Blend to taste. The only time I put a compressor on the clean aux and bypass it is if I am using a plugin (such as T-Racks) that causes latency and puts the two stereo aux's out of phase with each other. Sometimes I choose to eq the two stereo subgroups & bus them to the verb also. This setup can work great with other sources too, try it out with vocals, bass, gtr. You might be pleasantly suprised.
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Rock 'n Roll saved my soul |
#7
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Re: NY/Parallel Compression - Questions
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Either way, this might be what I need to glue my drums together. I've been sending the individual tracks to a reverb armed aux in order to add different amounts to each drum instrument while still using just 1 plug. But why the 2nd EQ on the sub mixes? Especially the non-compressed one? Quote:
And thanks for the response! I didn't expect to learn this much while talking about parallel compression.
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PTLE 8.0.5, Digi 002 Rack iMac 3.06Hz Intel Core 2 Duo w/8GB RAM, OS 10.6.8 Glyph GT050Q Drives |
#8
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Re: NY/Parallel Compression - Questions
The technique I've seen used most (usually on SSL boards) is all your tracks are routed eq'd and compressed to your taste to the master. Then a buss sends all the drums to a stereo comp with faster attacks and release to blend in with the original singal in master buss as well. Some people send the bass too and I've also seen sub mixes built in the same manner for everything else. I've tried or seen anyone do it they way you speak of, although I've heard of it, people floating the whole mix and only sending the subs to the master.
Or I've heard of mixing the way you normally would, then sending a pre-buss with unaffected signal to the master as well, thus blending in your unprocessed with your processed signal, I think this was a British origination.
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Scott Cooke. Mountain View Records |
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Re: NY/Parallel Compression - Questions
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Thanks for the response!
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PTLE 8.0.5, Digi 002 Rack iMac 3.06Hz Intel Core 2 Duo w/8GB RAM, OS 10.6.8 Glyph GT050Q Drives |
#10
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Re: NY/Parallel Compression - Questions
When blending original drum tracks with a stereo aux with a compressed signal, has anyone found that it messes up the stereo spectrum? For instance, I've found that when I use this technique, that the toms sound weird when I do this... a tom hit from the original track sounds like it's coming from somewhere else in the stereo spectrum than the same compressed tom hit in the stereo bus. The don't line up and the mix loses its tightness. Has anyone else ever experienced this when using this technique?
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