Parallel Compression
Attack Magazine
Our mix expert Bruce Aisher explains how to use this clever
compression trick to add serious weight to drums and more.
Dynamic compression comes in all manner of flavours, though it is
most commonly associated with the regular broadband (full frequency
range) variety of compressor whether hardware or software. The
basic compressors in most DAWs tend to look pretty similar. Heres
Cubases example:
In this guise and in very basic terms if the input signal level goes
above a given threshold, the output signal will be reduced
(attenuated). The speed and amount by which the output is
attenuated are determined by the compressor design and adjustable
settings such as ratio, attack and release.
Here we can compare the same drum pattern dry:
Audio Player
And then with moderate broadband compression:
Audio Player
As you would expect, this is called downward compression, as the
resulting signal is pushed down in level effectively making the
louder elements quieter, whilst leaving the quite bits untouched.
New York, New York
There is also such as technique as upward compression, where the
opposite happens the quieter bits are brought up in level, whilst the
other elements stay the same. The most common technique is known
as parallel compression, due to the way in which it is achieved.
Whilst the term upward compression somehow sounds counter-
intuitive it is quite easy to achieve simply blend a compressed signal
with an uncompressed version of the same thing (hence the name
parallel, as the two signals are processed separately and then mixed
back together). The easiest way to do this is in a DAW is to duplicate
the track in question
or to route a track to a bus onto which compression is applied.
Parallel compression (sometimes called New York compression due to
its popularity with New York mix engineers), is a great way of
achieving a subtle dynamic lift, and is far less noticeable in action
when compared to its downward cousin. Parallel compression can be
used on a variety of sounds, but its probably most popular on drums.
Lets compare the same drum loop using parallel compression. First
off, heres the very heavily compressed copy of the signal:
Audio Player
And heres how it sounds when mixed back in with the original:
Audio Player
For a more transparent effect the compressor element of the signal
chain should be set with a very low threshold, to give almost
continuous gain reduction. Attack time should be as fast as possible
and with a medium release (about 300 ms). Ratios of around 2.5:1
tend to work well, but you can experiment in each direction for a
more subtle or dramatic effect. If you have the choice, set the
compressor to peak mode (as opposed to RMS). Gain make-up is a
matter of taste, as this determines how much of this compressed
signal gets mixed with the original version. On its own it will sound
very, very squashed!
Heres Cubases compressor set up for heavy parallel compression
(note that the compression ratio is just 2.5:1, but the gain reduction is
still huge nearly 30 dB because of the very low threshold setting).
Some plugins even have parallel compression capabilities built-in in
fact, all this requires is an integrated mix amount control, as seen in
the UAD Precision Buss Compressor:
Logics Compressor features a similar Output Mix setting (hidden
from view by default, then revealed by clicking the triangle on the
bottom left of the plugin window):
Extreme Treatments
If you want to experiment with less transparent forms of parallel
compression, perhaps the first place to start is by increasing the
attack time, and exploring the the use of RMS detection. Dont forget
that the balance between unprocessed and compressed elements plays
a massive role.
Using the same drum loop, the result here is parallel compression
with serious attitude:
Audio Player
However, the result is still relatively subtle. If you really need
compression with attitude and you want it to get noticed, then using a
full-on setting on a classic downward compression may still be the
best answer. For the sake of comparison, check out how that would
sound using Universal Audios 1176 emulation in the famous all
buttons in mode:
Audio Player
2016 Attack Magazine
