Three Ways Of Using Parallel Compression

Adding Dynamics To The Mix

 When it comes to preserving loud transients and not simply squashing the crap out of them, losing dynamics in the mix, there's one sure fire way to doing that.... parallel compression. This method was used so extensively by Engineers in the 70's and 80's in New York Studios it gained the name 'New York Compression'. It is as popular today as it was back then and Engineers such as Mr. Andrew Scheps, and others,  make exclusive use of this technique.

So what is it and how do you use it?

Parallel compression is taking an unprocessed signal, a Di Bass guitar for instance, sending that signal to a compressor set with a very fast attack time and high ratios and then blending it back into the mix alongside (in parallel) with the original. 

It takes advantage of the fact that the human ear is sensitive to loud sounds being suddenly reduced in volume, but less so to soft sounds being increased in volume. Unlike normal limiting and downward compression, fast transients in music are retained in parallel compression, preserving the "feel" and immediacy of a live performance. Because the method is less audible to the human ear, the compressor can be set aggressively, with high ratios for strong effect. 

This is where parallel compression has an advantage over simply using a maximizer or limiter when boosting it gives a track that extra oomph and power (not just make things louder—there's a difference) through quieter portions of the track without resorting to one of those 'maximizer' plugins that squeeze the dynamics right out of your song.

So how can we make use of this in Studio One?

Watch the video below as I show three examples of implementing parallel compression into your mix.