Multiple Compressors on Individual Tracks or Group

cody brown · 12th December 2006

I'm going to try it on my drum sub on the next mix I do, since the band is looking for in your face modern punk drums.

I've had great luck with this technique on vocals.

I haven't seen anything about this on here, and its always nice to pick up a few new tricks.

Jason Poulin · 12th December 2006

parallel on a sub group kicks major ass.

It's like engaging the punch button.

Setup a ballsy compressor, and kill a stereo track of your drums.... then blend that with the original stereo buss...

Sometimes I'll do it with just the kick and snare, toms... maybe a bass too.

It's big time in your face.

Jason

numrologst · 12th December 2006

my method has always been to crush the room mics with distressors on the way in and then run the drum/bass mix through the distressors.

So you have regular drum/bass mix going to the distressors on mix down...I usually use a max of 5db compression on the distressors... Then bring up the room mics...The room mics usually don't go to the distressor.

cody brown · 12th December 2006

i was thinking of using two compressors in series on the drum buss.

i usually end up putting a tg1 into a neve on vocals, and it really pushs
the vocals right up in your face.

i was thinking of trying that idea out on drums, and wanted to
here if any one else is running two compressors in a row on one signal.

whats sluttier than using two compressors on one source?

Mike Caffrey · 14th December 2006

Three compressors of course!

Cody, punch is connected to attack, which means slow attack time if you want to increase it. If you're going to use a slow attack and preserve the transients, what's the need for parallel?

If you use a TG-1 to limit or compress and blend that in, you'll get a big sound, but big and punchy are not necessarily the same thing, especially limiting.

Think about it, you're getting more of the sustain, and less of the attack. That's why the TG-1 is so amazing on room mics.

Try leaving you're transients on the close mics intact, but bringing out the later part of the sound in the distant mics. Then you get punchy and big.

Try the Zener or an Ltd 2 on the slowest setting and use a bottom snare mic through the Culture Vulture on the P2 setting (or the middle position position of the three if I'm remembering the label wrong). There are balls and punch under the snare that most people overlook.

12th December 2006	#1
cody brown Gear Head Join Date: Jul 2004 Location: grundy center, iowa Posts: 62 Thread Starter	Multiple Compressors on Individual Tracks or Group I'm going to try it on my drum sub on the next mix I do, since the band is looking for in your face modern punk drums. I've had great luck with this technique on vocals. I haven't seen anything about this on here, and its always nice to pick up a few new tricks.

12th December 2006	#2
Jason Poulin Lives for gear Join Date: Sep 2003 Location: Sudbury, On. Canada Posts: 1,769	parallel on a sub group kicks major ass. It's like engaging the punch button. Setup a ballsy compressor, and kill a stereo track of your drums.... then blend that with the original stereo buss... Sometimes I'll do it with just the kick and snare, toms... maybe a bass too. It's big time in your face. Jason __________________ If it don't sound like a record... don't press record

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12th December 2006	#3
numrologst Lives for gear Join Date: Sep 2005 Location: Texas Posts: 1,955	my method has always been to crush the room mics with distressors on the way in and then run the drum/bass mix through the distressors. So you have regular drum/bass mix going to the distressors on mix down...I usually use a max of 5db compression on the distressors... Then bring up the room mics...The room mics usually don't go to the distressor.

14th December 2006	#5
Mike Caffrey Lives for gear Join Date: Sep 2005 Location: New York City Posts: 4,088	Three compressors of course! Cody, punch is connected to attack, which means slow attack time if you want to increase it. If you're going to use a slow attack and preserve the transients, what's the need for parallel? If you use a TG-1 to limit or compress and blend that in, you'll get a big sound, but big and punchy are not necessarily the same thing, especially limiting. Think about it, you're getting more of the sustain, and less of the attack. That's why the TG-1 is so amazing on room mics. Try leaving you're transients on the close mics intact, but bringing out the later part of the sound in the distant mics. Then you get punchy and big. Try the Zener or an Ltd 2 on the slowest setting and use a bottom snare mic through the Culture Vulture on the P2 setting (or the middle position position of the three if I'm remembering the label wrong). There are balls and punch under the snare that most people overlook.