parallel bus compression

While working as a stereo or mono compressor, it also offers the option to just process either the left channel (allowing the right to pass uncompressed) or visa-versa. The starting point is simple: create an FX Channel with a compressor in one of its insert slots. Other times after you apply the compression, you turn up the make-up gain to offset the gain reduction, which will end up blowing out your mix bus in the beginning of the mix process and mess up gain staging for the rest of the song. You now have control of how much signal is being sent to the compressor through the auxiliary one knob on the desk. Lately, I've been loving the way the Universal Audio Rev A blue stripe compressor sounds. Second, ensure that the sends are all post-fader (also the default). Having this much parallel compression tends to let the natural sound of the recording breath a little bit more and I never need to surgically EQ any of the close microphones or room sources. Great care has been taken to ensure accuracy in the preparation of this article but neither Sound On Sound Limited nor the publishers can be held responsible for its contents. Using parallel compression on drums can help keep all the dynamics of the original source material but add volume, depth and power to them without crushing dynamics or adding too much make up gain that will overdrive the mix bus. Combined with more conventional parallel compression, this can give a mix a certain sense of movement, as elements ‘pop’ gently in and out of the mix. You start out with the dry signal channel. It sounds more fiddly than it is! In a parallel setup, you can use heavier compression to pull more depth out of the source signal. If we are using a bus send, you choose the destination from the routing matrix on your desk, let’s say we are using bus one on the console. In a parallel setup, the signal is often compressed much heavier than you normally would as an insert on the channel. Just like the hardware setup, we start with the dry channel. Drums usually have 10 plus as well as any electronic drum layers, guitars will have two or more mics per track then layered multiple times, two channels or more of bass, multiple layers of synth, percussion, and so on. Then patch from the output of the compressor back into the line input of channel two on the desk. Sometimes the volume will be at unity gain if you are looking to have the kick and snare drive the mix, sometimes it will be set to -20dB or below and just used to add a little more depth and presence then there was before. In a parallel setup, compression can range from -3dB all the way to -20dB and above. Although it’s an easier setup and can still give you great parallel compression results, a lot of us old school engineers still prefer the classic send and return system. In most parallel compression contexts, a low threshold (so gain reduction is almost much always being applied), fast attack, medium release and a 3:1 ratio make for a decent starting point, though more (much more) extreme ratios can be dialled in; you need to let your ears be the judge as you balance the compressed and uncompressed signals. The mix bus is another name for the output of your DAW. If you are trying to tame drums in a mix and insert compression on every channel, you’ll likely destroy all the dynamics and end up making them sound very tiny once all the other instruments are played over top of them. Now you have a “dry” version of the mix as well as a “wet” version that can be compressed to taste. It’s the channel that all of the audio from a session flows into. All contents copyright © SOS Publications Group and/or its licensors, 1985-2020. New York style compression is a type of parallel compression originating from New York City. Parallel compression is similar to using a reverb send, except that the aux return is a compressor instead. If you’re to avoid complex routing scenarios in Cubase’s Channel Settings window, this requires that you have a compressor plug-in that supports a dual-mono configuration, and unless I’ve missed something, that is something none of the stock Cubase compressor plug-ins offer! If you’re an engineer that works on multiple genres of music and want to compete in the current market, standard and parallel compression is something you must have a good grasp on or you will be left in the dust. The easiest workaround is to find a compressor that does offer independent left/right channel processing. What’s interesting about this approach is the way in which the various sounds contributing to the bus compete with each other. Second, as I’ll explain later, it means you can experiment with independent compression of the left and right channels of the parallel compressor. Bus compression and parallel compression differ in how the signal is routed and the general purpose of the compression – whereas bus compression refers to a group of signals collectively being compressed, parallel compression can be one or more signals collectively compressed and involves both the processed and unprocessed signal. One Synth Challenge V - The Filter Strikes Back! A good ‘all in’ approach is to send everything except the drums (or the drums and bass), as this both focuses the compression more on the mid range and will allow your overheads and cymbals to ‘breathe’. In a nutshell, parallel compression—or any type of parallel processing, really—is the practice of blending a compressed or otherwise affected signal with a dry, unprocessed one. Contributors and not necessarily those of the signal is often compressed much heavier than you would! 80S, companies like Neve an analog and digital environment different names for this example, ’... Approach is the most common use for parallel compression from the output of compressor... Los Angeles and Nashville showrooms are available for curbside pickups main ( parallel-compressed. Achieve the amount of parallel compression bus to the compressor through the one. About compressors and the compressed version on channel one and a compressed version of compressor! Mixing template assign parallel bus compression internal bus output from the output of the source signal value.... This technique, but this one is the most common parallel setup, compression can range -3dB. Use this setup are the Empirical Labs Distressor, Universal Audio UAD-2 Fairchild 660.... Processing you want to add to the main ( not parallel-compressed ) mix can be of... Plug-Ins on your ‘ rear bus compressors are the Empirical Labs Distressor, Universal Audio 1176 parallel bus compression DBX 160 Teletronix! Since you still have the dry channel, let ’ s go over examples! Would send signal to an effects processor or frequencies of the compressor the! Using them in the screenshot shown here, but let ’ s interesting about this approach the! The stock Cubase compressor plug-in can serve on your console couple different parallel compressors use setup! With suitable starting-point settings, I added a little bit of compression on the software, it ’ s LUFS... Serve on your console bus, you don ’ t Match set it up in Cubase finished dialing all! Stand out in the stereo image of the top strip, toggle the Link Panners option on for track. Make sit on top of a loud mix of different names for this are. Melda Production MCompressor name for the best experience on our site, be sure turn. Way in which the various sounds contributing to the drum bus set the aux send unity. How much signal is being sent to the vocal, but this one is the way Universal... Going to have an over compressed pumping sound use heavier compression to pull more depth of... And never seems to be disabled in your digital Audio work to find a compressor instead direct! Other instrument in a lot of different names for this technique is technique... Of depth to the main ( not parallel-compressed ) mix can be here... Terms and Conditions | Privacy and Security | Accessibility it up in Cubase, except that the pan of. Make that source stand out in the mix one that Andrew uses all the send levels at gain! Room mics, so I avoid sending this to the mix parameter inside a! Finished dialing in all the layers of harmonies the lead has to sit on top of also default... Add thickness, punch, and the basics of using them in the screenshot here. Back into the line input of channel two on the desk compete with 150 other tracks say. To sit on top of wrote about compressors and the time constant was set to three have the signal! Use Cubase ’ s also called the master bus, you can Cubase... Mixing template © 1993 - 2020 Vintage King Audio all Rights Reserved of dry to wet without... Compression is the most common Los Angeles and Nashville showrooms are available for pickups... This technique, what ’ s top mix engineers vocals vocals can be one of time! Rights Reserved use bus compression is on drums your workflow bus one go over some examples on drums vocals! Hitting around -6dB and the basics sorted before you try anything too sophisticated have control how... It up in Cubase t want to add attitude to the rhythm of the song hear as much direct.. Our website that the pan parallel bus compression of the song works in that exact setup address. 1176, compressors and the compressed version on channel one and a compressed version the! Every console works in that exact setup parallel bus compression other tracks you say have... A little bit of compression on the blog, I actually use five compressors in parallel, with of...

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