![]() In short, all we do with parallel compression is mix a heavily compressed, heavily transient reduced signal with the dry and uncompressed signal. Parallel compression is an interesting technique that is often used to fatten up drum tracks or transparently compress a signal. You can apply any of the above techniques in parallel as well. This is where parallel compression might come in handy. But of course, there might be a situation where you don’t want to alter the peaks at all and simply just want to turn up the softer part of a signal and make a sound appear to have more weight and depth. This is one of the biggest reasons why compressors differ from one another and why certain types are preferred over other designs in certain applications. The inevitable consequence is that the delicate and louder transient parts of the signal are altered quite drastically. However, the action of turning down the louder portions of a signal doesn’t happen instantaneously but rather takes place over a time scale governed by the attack and release controls. This might also be the right time to see if you can use a sidechain filter to filter out the low end of your mix.Īs we've covered, the basic idea of compression is reducing the dynamic range by turning down the loudest portions of the signal. ![]() In this case chances are you either added too much gain reduction, your ratio is too high or your threshold to low. If you then turn the bass down and for example your lead vocal rises in volume it's possible you don’t have enough low end and we've come full circle. ![]() Since low end takes up a lot of energy it's possible that it can cause the compressor to duck an element in your mix you want to leave untouched. Filter the low end rumble of individual tracks and be gentle feeding the bass-heavy elements of your mix into the bus compressor. Because everything you do affects all the tracks feeding into the compressor, pay special attention to the low end of your mix.If your track starts to sound dull or flat while you are using low ratios, check your attack and release times. Because you want most transient information to stay intact, slow attack times and fast release times assure you you're keeping the transient information of your tracks and you don’t lose any impact. Higher ratios can cause your track to sound flat and dull. Using lower ratios allows the track to breath and preserves dynamic range, while adding that 'sonic glue'. Start by using slow attack times and fast release times and use low ratios 1.5:1, 2:1 maybe 4:1.In other words, be very gentle adding gain reduction early in the process. If you start building your mix track by track, keep in mind that the sum of all your tracks will add up and inherently cause more gain reduction to be applied. This way, you’re mixing into the compressor and it will inform the decisions you make as you shape your track. If you decide to add a mix bus compressor to your mix, it’s generally a good idea to add it early on in the mixing process.However, there are some considerations before adding a mix bus compressor. Choose whatever technique suits you best. Ultimately there is no right or wrong way to do things as long as you're happy with the result. all drum tracks go to one compressor, all guitar tracks go to another one, etc. Another approach that can yield similar results is to insert stereo compressors on submixes: e.g. ![]() Because a mix bus compressor alters the dynamic range of the whole track, there’s still some debate about whether this processing should be left to the mastering engineer. The first thing to keep in mind when you use a mix bus compressor is that anything you do affects all the tracks of your mix. ![]()
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