Quote:
Originally Posted by crabtwins  The never ending task of learning and applying continues and I am trying to get my head around this technique if that what it is. Normally I have been using compression as an insert on the particular tracks often a stem. IN other words I have my tracks separated so if I am compressing my kick track that's all I am worried about I dont need the multiband for the most part. I havent mastered the compressor yet so i find the multicompressor a bit more challenging. In any event I was going through some of the threads on the GUEST EXPERT section and I saw that many times people/pros send their drums to a compressor and bring it back into the track like you would an effect (reverb) etc. This surprised me and got me to wondering two things:
1. Is that what they call parallel compression? |
Yes, aka by some as side chain compression. A good backgrounder:
http://homepages.paradise.net.nz/rhu.../sidechain.htm Quote:
Originally Posted by crabtwins and
2. How do you decide when to this? |
When you want the sound of lifting low passages rather than holding down louder ones.
Quote:
Originally Posted by crabtwins What is its specific advantage? |
As above, but also transparency in reducing dynamic range whilst retaining transients. (The
louder the source gets the
less the compressed signal contributes to the final output!).
Quote:
Originally Posted by crabtwins I suppose I just have to use it and let my ears teach me. |
Exactly. It's a different sound. Best advice is to get
very used to a single band/broadband compressor - get used to its
sound and the effects of differing attack and release settings.
Generally for parallel, at least 2:1 and fastest attack, threshold set so that it's not applying any gain reduction in the source material's softest passages. And the comp/dry paths must be phase aligned. eg, if s/ware plug ins, set up comps for both paths but the dry to 1:1 ratio, max threshold. Blend judiciously. Can be great on drum overheads.