when and when not to use parallel compression

[grimtraveller]

Parallel compression is necessary only when the mixer deems it so. I mean, few people are going to hear a song and say "Oh yeah, those drums have been parallel compressed !". Or for that matter, "I hate that song, the drums needed parallel compression !"
It's a tool that, like so many others, becomes what it is according to the mores of the mixer.....
For example, sometimes, I'll parallel compress the snare. Other times I won't. Either way, either could go either way.

 

[godchuanz]

Hi grimtraveller,

Do you mind sharing a little more about when you would parallel compress? What do you actually hear that makes you think "this track could benefit from parallel compression"?
Can you describe what is it that you are trying to bring out? I know it's sometimes hard to describe in words, so it may end up more confusing, but do you mind trying?

Thanks in advance!

 

[bouldersoundguy]

I've read through the thread and found no satisfactory answer as to when parallel compression is necessary. The more I think about it... the stronger my belief that the exact same result could be achieved using a standard compressor/expander.

Can any expert shed some light on when a standard compressor or expander may not be sufficient, and parallel compression is necessary? Genuinely interested to know.

I've found at least one situation for which I couldn't find any other solution: slap bass with tons of pop and no meat. By limiting the crap out of a copy of the bass track and mixing that in I got the meat of the signal up without killing the slap sound.

 

[grimtraveller]

Do you mind sharing a little more about when you would parallel compress? What do you actually hear that makes you think "this track could benefit from parallel compression"?
Can you describe what is it that you are trying to bring out? I know it's sometimes hard to describe in words, so it may end up more confusing, but do you mind trying?

It's hard to describe or analyse exactly when and why. It's really strange because sometimes when I apply compression, I can't hear any difference until I go to a more extreme setting which then sounds urrrgghh. So it's often become a subtle thing, a kind of indefinable presence. Sometimes, the drums may get a little lost or shaded once certain other instruments start to come into the picture and a little "New York compression" {that's the original name of parallel compression} can throw a little punch and pow in there. I can be quite experimental in my recording at times and for me it's not necessarilly about what a track needs, rather, seeing what will happen if I try this or that.
That probably doesn't help, but one thing I keep in mind, everything in recording works ~ but not in every situation. If someone says "you've always got to have reverb on vocals or compress bass or never use DI guitar" or those other rules, then there, we part company. But at the same time, I'll take note because people reach positions for reasons and I won't ignore the rest of their output because I might feel they're rulebound on some things. By the same token, I'm sometimes keen to see what is on the other side. Everything can work ~ but not in every circumstance.
There's a subtle but notable difference between compressing something and blending it with it's unaffected source and simply pushing the volume up.

 

[jarupert]

I've read through the thread and found no satisfactory answer as to when parallel compression is necessary. The more I think about it... the stronger my belief that the exact same result could be achieved using a standard compressor/expander.

Can any expert shed some light on when a standard compressor or expander may not be sufficient, and parallel compression is necessary? Genuinely interested to know.

I'm not an expert (though I did stay at a Holiday Inn Express last night ), but I believe you answered your own question.

IMHO, parallel compression allows you retain the uncompressed version of whatever you are working worth. Whether it is for the sake of color, texture, whatever... Let's take an acoustic kick drum, for example. With parallel compression, you can squash your parallel version and mix it in to a level that is appropriate for what you're doing. This can give you punch and attack. The uncompressed version can give you the breath of the kick...the tone of it. Simplistically put, anyway.

 

[mixsit]

I've read through the thread and found no satisfactory answer as to when parallel compression is necessary. The more I think about it... the stronger my belief that the exact same result could be achieved using a standard compressor/expander.

Can any expert shed some light on when a standard compressor or expander may not be sufficient, and parallel compression is necessary? Genuinely interested to know.

I'm not an expert (though I did stay at a Holiday Inn Express last night ), but I believe you answered your own question.

IMHO, parallel compression allows you retain the uncompressed version of whatever you are working worth. Whether it is for the sake of color, texture, whatever... Let's take an acoustic kick drum, for example. With parallel compression, you can squash your parallel version and mix it in to a level that is appropriate for what you're doing. This can give you punch and attack. The uncompressed version can give you the breath of the kick...the tone of it. Simplistically put, anyway.

I feel like I go in and out of getting ..or keeping my head around what exactly it can do that can't be done with straight compression. But here's a good one, and it brings up one of those dynamic control methods - (I always get screwed up on which name is which; and it's 'Upward compression'

Parallel compression - Wikipedia, the free encyclopedia

 

[bouldersoundguy]

Parallel compression is simply a way to achieve upward compression. If you're familiar with the common compression graph (input on the horizontal and output on the vertical) these might clarify the difference between normal downward compression and parallel/upward compression. Note how upward compression leaves the top of the dynamic range unaffected.

Limiter:

Hard Knee Compressor:

Soft Knee Compressor:

Upward Compressor:

 

[godchuanz]

bouldersoundguy,

Thanks for the enlightenment. 4 pictures paint the thousand words we all needed to hear.

 

[Dirtnaper2323]

snap crackle and pop.... thats what parallel comp does for me i guess, or what my ears hear


i dont use a ton of parallel comp unless its in metal, or hard hitting music. i just thought on my last album i had used a ridiculous amount. and figured i should clense myself of the strange mixing habbits i had developed....

 

[Steenamaroo]

I used it today on vocals.

There was a big built up section. I had the tone of the voice just nice, IMO, but it wasn't cutting through well enough.
If I turned it up it sat out too much.
I didn't particularly want to go cutting holes in the mix so I used parallel compression on the vocal.

I think it's one of those techniques that people try out and say, yeah, big deal..but when you're in a situation that really benefits from it, it's a life saver.

For me it's about perceived volume without altering the dynamic range.

 

[witzendoz]

I used it today on vocals.

There was a big built up section. I had the tone of the voice just nice, IMO, but it wasn't cutting through well enough.
If I turned it up it sat out too much.
I didn't particularly want to go cutting holes in the mix so I used parallel compression on the vocal.

I think it's one of those techniques that people try out and say, yeah, big deal..but when you're in a situation that really benefits from it, it's a life saver.

For me it's about perceived volume without altering the dynamic range.

This is what I found ^^^^^^

I should also point out to people trying it for the first time there are many parameters that you have to adjust to get the sound for the particular vocal / song / genre. The amount of compression on the compressed track, ratio, attack, release, ratio, then there is the amount of mix between the compressed track and the un-compressed track, for example, even, more compressed track, less compressed track. It sometimes takes a bit of time to get your head around what is happening and what sounds good. Also do you send the effects send form the compressed track, un-compressed track or both, this also makes a difference to the feel and sound of the song.

One thing to remember, there is no correct way, it is all done to fine what sounds best for the particular song, there are no rules. Which is why sometimes you don't use parallel compression.
Alan.