You'd be making a drums and bass sub group mix, presuming that's a stereo drum sub..? The bass panned center likely, the bus comp would 'see and react to what ever that balance is. 'Bass hot, comp sees' more bass etc. Plus or minus a few other things.. Like a 'fast attack would slant it towards drum transient, lots ('too much) of low end on the the bass could skew it to reacting to the bass, stuff like that.
There's dual mono/stereo link or not option too on a lot of them.
So your mono bass just shows up as part of the whole.
Sounds right.Right now I have stereo bus into stereo compressor. Mono bass into stereo compressor. Both then are compressed/eq'd and blended into the original signal. Is this is the correct way to do it?
The main thing I come away with in parallel comp, is you can use and then blend in desired amounts of really extreme compression effects -w/ or w/o 'eqed for emphasis.. that you would never get away with on the main track. (often a small amount back in does the trick.
Ah I think I see now how you're doing it. There's several diff ways to get there- that's one. My drums always have a sub bus in my templates (Sonar) and I'll have an aux send off off that to a 'Comp sub buss, then both go to the Master....
I have both bass and drums going to the drum sub via their sends, so not each one separate. Two sends into one group that's setup for the compression. So I think it's setup right? I wish I could find a definitive article on buses and how to set them up properly for each effect. Right now I'm trying to piece it together with bits of info from various sources.