How To Use Parallel Compression on ANYTHING

Подписаться 28 тыс.

Просмотров 3,8 тыс.

50% 1

Looking for fat, punchy, gluey mixes that cut across listening devices?
Look no further than using parallel compression - or New York compression as its sometimes referred to as - one of the best compression techniques around!
Toronto mixer 5PiECE overviews how to use parallel compression within a mix, detailing two of his favourite methods of applying parallel compression with examples focused on drums and the master bus.
Don't worry though - everything you'll learn in this video can be applied to any other sound you desire.
That means parallel compressing bass, parallel compressing vocals, and more, in a similar fashion using what you'll learn in this video.
If you're looking to have a better understanding of how to apply parallel compression to drums, vocals, masters and anything else, this video will cover the multiple ways you can add parallel compression to your tracks.
🔊 PLUGINS USED IN THIS VIDEO 🔊
Waves SSL G-Master Bus Compressor - waves.alzt.net/5gBN2o
🎸SONGS USED IN THIS VIDEO 🎹
“ALA BEKE” By EverythingOShauN - • EverythingOShauN - ALA...
"AWE" by SRE - open.spotify.com/track/6YphNz...
"Reload" by SRE - • SRE - RELOAD (Official...
📲 SOCIAL MEDIA 📲
WEBSITE - www.5piecemusic.com
SPOTIFY - spoti.fi/3xq3C2q
INSTAGRAM - / 5piece
FACEBOOK - / 5piece
TWITTER - / 5piecemusic
RU-vid - / 5piece
🎞️STOCK FOOTAGE & SOUND EFFECTS 🎞️
Sound Effects from Gfx Sounds - gfxsounds.com
Stock Video from Pexels - www.pexels.com
CHAPTERS
0:00 Before & After Parallel Compression
0:45 What Is Parallel Compression?
0:57 Why Use Parallel Compression?
2:00 What Should I Apply Parallel Compression To?
2:49 When Do I Apply Parallel Compression?
3:23 How Do I Apply Parallel Compression?
3:43 Parallel Compression Method 1
4:34 Two Things To Do Before Getting Started
6:45 Compressor Starter Settings
7:21 Ratio
7:52 Attack
8:25 Release
9:08 Threshold
10:20 Re-Adjusting Release
12:24 Adding Make-up Gain
14:09 Blending In Parallel Compression
15:17 Before/After Comparison
15:47 Adjusting Send Volumes of Individual Tracks
17:48 What About Phase Issues?
19:35 Parallel Compression Method 2
20:15 Where Do I Put The Compressor In The Chain?
21:24 Compressor Starter Settings
21:34 Setting Threshold
22:06 Re-Adjusting Release
23:04 Adding Make-up Gain
23:49 Setting Dry/Wet Balance
25:28 More Loudness Techniques
DISCLOSURE: Some of the links on this page are affiliate links, meaning, at no additional cost to you, I may earn a commission if you click through and make a purchase and/or subscribe. Affiliate commissions help fund videos like this one.
Copyright 5PiECE Music 2023

Опубликовано:

24 июн 2024

Ссылка:

Скачать:

Готовим ссылку...

Добавить в:

Мой плейлист

Посмотреть позже

Комментарии : 28

@DanCummins 6 месяцев назад

Maybe i'm crazy, but i pretty much parallel compress everything. Each bus (vocals, guitars, perc, etc) gets some kind of parallel compression bus, dialed in individually, and then the master bus gets its own parallel compressor. It's a fun way to add space, excitement, aggression, without losing the dynamics. It really helps the space between the notes pop out, and in a mix with lots of verbs and delays, can really open up the spaciousness of a mix.

@5piece 6 месяцев назад

I’m the exact same way. If you’re crazy, then chances are I’ll be your roomie at the mental institution 😂😂😂

@BFHPET 6 месяцев назад

dont it add loudness to your signal? mine does everytime

@5piece 6 месяцев назад

@@BFHPETany duplication of signal will increase loudness. That in and of itself is not a bad thing - but the internet will make you think otherwise. Matching loudness is important to ensure what you’re doing actually has a positive impact without volume biasing the decision. However, even with parallel compression AND gain matching, you’ll usually find that the signal benefits from PC even without additional volume simply by how it manipulates the attack and sustain of a signal, especially when combined with the original unprocessed signal. Hopefully this makes sense 👍🏻

@BFHPET 6 месяцев назад

im not afraid of getting louder sounds thats what i need. but i just need to get it whitout additional dbs. is it similair to upwards exapnsion that sound very good too@@5piece

@BFHPET 6 месяцев назад

@@5piece but why is it i cant really hear difference i used compression for a long time and when i do gainmatch after it sound the same complete the same

@xaronwhite5376 6 месяцев назад

Great video 5 thank you!

@5piece 6 месяцев назад

Thank you for watching my friend 👊🏼

@Pabloskrill 6 месяцев назад

Great techniques bro 🔥❤️

@5piece 6 месяцев назад

Glad you like them! 🙏🏼

@wbialy2695 6 месяцев назад

Awesome. Thank you

@5piece 6 месяцев назад

Thanks so much ! 🙏🏼

@dkproducer 6 месяцев назад

Great video! I'm big on parallel compression as well. How do you feel about using a "post-pan" send vs pre-fader or post fader?

@5piece 6 месяцев назад

Thanks dude! Great question. If you are utilizing panning, then post-panning makes sense to implement. I believe this will usually happen post fader as well so it shouldn’t affect anything there. Alternatively, you could just use post fader as I’m suggesting here but then mirror the panning of your channel within the send itself. Both options should work out the same, but using post panning itself will be one less step. Hope this helps 👊🏼

@b3nnyb3nny 6 месяцев назад

What I don’t like about watching this on RU-vid is how much RU-vid compresses audio. It’s makes it much harder to hear the differences in these videos

@5piece 6 месяцев назад

I agree with you on that for sure. The differences are certainly still there - but a bit lesser than the raw audio itself. If anything, this should give you more incentive to try it out and practice yourself so you can hear the difference in your own sessions in real time. That’s truly the best way to learn. The video is simply inspiration for that

@user-gj6sy1me3r 5 месяцев назад

💯💯💯💯

@aleksandarstojceski3139 6 месяцев назад

Phasing is not about latency.

@5piece 6 месяцев назад

Like I said at 17:55, ONE reason why phase issues can happen is due to timing differences induced by latency within the parallel compression. Am I saying latency and phase issues are one and the same? No. And if that’s how it comes off, then my apologies as that was not my intention. My intention was to explain the CAUSE AND EFFECT of latency and how it impacts phase relationships here. Latency can CAUSE timing issues, and, as an EFFECT, timing issues can cause phase issues. Theres plenty of evidence online to back that up (google “what causes phase issues” and see for yourself - “timing” is one main reason). Even when I used to work at big studios recording bands, timing issues were the cause of most phase issues - example: the room mic wouldn’t pick up a drum kit sound as fast as the direct mics on the kick, snare and so on. These timing differences manifested into phase issues as polarities wouldn’t match up across all mics being recorded. I NEVER said latency is the only reason why phase issues happen in general. To say latency doesn’t cause phasing, however, is also incorrect. Assuming your source signals are in phase (which they should be before mixing), then latency becomes a major reason why this issue happens with parallel compression. The focus of this video is parallel compression, not dealing with phase problems although it was worth overviewing the strategy that works most often for solving latency-induced phase issues for me. I knew if I didn’t mention it, someone would complain but seems like talking about one strategy has led to the same outcome 🥲 Discussing phase, and all of its causes as a whole is a conversation for another video, which I’ll consider doing in the future. Hope this clears things up in the short term.

@carpetcrawler79 6 месяцев назад

STOP USING COMPRESSION

@5piece 6 месяцев назад

Why?

@carpetcrawler79 6 месяцев назад

listen to any song before the compression/loudness wars began (around mid 90ies) and notice how much better everything sounded. @@5piece

@5piece 6 месяцев назад

@@carpetcrawler79 I certainly have, and don’t always agree. Tons of stuff from pre-loudness war times sound terrible. Despite that, I can agree that killing dynamics is no good. Over-doing compression is certainly a pandemic that many engineers suffer from. This is why I prefer parallel compression over direct compression- because it allows me to retain the dynamics while getting the benefits of compression. Best of both worlds. Even in gain-matched examples, parallel compressed tracks sound fuller and more impactful compared to their dynamic counterparts.

@carpetcrawler79 6 месяцев назад

@@5piece i think sounding full and impactful is exactly the wrong goal. I prefer a open and snappy sound. All that bombast is killing music. Just listen to the latest Rolling Stones album Hackney Diamonds. It sounds absolutely horrendous.

@5piece 6 месяцев назад

⁠@@carpetcrawler79you said the key words: “I prefer” - that’s the interesting thing about music. It’s totally subjective. You aren’t wrong. You aren’t right. You just have your preferences, being you like a snappier, more dynamic sound. I also have my own preferences, as will any listener besides us two. If I had to pick between the extremes, I’d say the same thing as you - I’ll choose dynamic over compressed. However, in reality, I’m a centrist in this debate - I like me a bit of both. Give me the dynamics and impact, but also give me the consistency of the performance so it cuts across devices 😉