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drum parallel or buss compression?
Old 15th May 2011
  #1
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🎧 15 years
drum parallel or buss compression?

On top of compressing individual drum tracks.
If you use parallel compression do you include overheads?
Or
Do you just add a buss compressor and skip the parallel?
Or
do you do both
Old 15th May 2011
  #2
Gear Maniac
 
MattiaS's Avatar
 
🎧 10 years
Quote:
Originally Posted by Coldsnow ➑️
On top of compressing individual drum tracks.
If you use parallel compression do you include overheads?
Or
Do you just add a buss compressor and skip the parallel?
Or
do you do both
I do both.... diferent type of compression for diferent duties....

Old 15th May 2011 | Show parent
  #3
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mildav's Avatar
 
🎧 10 years
i don't like to send oh in the parallel comp...usualy i send just drums no cymbal
but anyway i like to put parallel and buss toghether
Old 15th May 2011 | Show parent
  #4
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basmartin's Avatar
 
🎧 10 years
Quote:
Originally Posted by MattiaS ➑️
I do both.... diferent type of compression for diferent duties....

+1

I use parallell to add sustain, and bus compression to add punch, generally.
Old 15th May 2011
  #5
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Do you guys also mix in dry or only individually compressed drums with with the bus and parallel?
Old 15th May 2011 | Show parent
  #6
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adrummingdude's Avatar
 
🎧 10 years
Quote:
Originally Posted by mildav ➑️
i don't like to send oh in the parallel comp...usualy i send just drums no cymbal
but anyway i like to put parallel and buss toghether

How do you typically process OH and room mics? Do you compress at all?

Not being in the best sounding room, I've gotten more and more lately into not compressing overheads at all, but instead letting them breathe naturally. In rock music, where snare and kick spot mics are typically louder in the mix than overhead and room mics anyway, compressing those spot mics gives me all the punch I need. I'm really enjoying this approach, as I used to sqash the hell out of the whole drum mix with a high ratio fet comp...totally different sound.
Old 21st May 2011 | Show parent
  #7
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Anyone else?
Old 21st May 2011 | Show parent
  #8
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🎧 10 years
I generally send the whole drum mix through parallel compression when I do it. However I will generally EQ out some of the highs and lows pre compression, and keep it much lower in the mix to just supplement the bed of the drum sound. I will also parallel compress individual tracks, such as kick or snare if I have to.
Old 22nd May 2011 | Show parent
  #9
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jimthepisces's Avatar
 
🎧 10 years
wait...can someone explain to me the difference between parallel and bus compression?

I usually have a send on each one of my drum tracks to an SSL Bus comp that's set to extreme compression. This blends in the compressed signal with the uncompressed signal...so its parallel right? or is it more of a bus comp thing that I'm doing?
Old 22nd May 2011
  #10
Gear Nut
 
🎧 10 years
No parallel is compressing the same signal with different compressors and mixing on separate returns. Your just blending wet and dry.

Sent from my DROID2 GLOBAL using Gearslutz.com App
Old 22nd May 2011 | Show parent
  #11
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jimthepisces's Avatar
 
🎧 10 years
But I've always heard upward/parallel compression involves simply blending a highly compressed signal under a (mostly) uncompressed signal so you have the advantage of transients with compression? Are you saying that its actually using different compressors for different flavors or something?
Old 22nd May 2011 | Show parent
  #12
Gear Addict
 
🎧 10 years
Quote:
Originally Posted by jimthepisces ➑️
But I've always heard upward/parallel compression involves simply blending a highly compressed signal under a (mostly) uncompressed signal so you have the advantage of transients with compression? Are you saying that its actually using different compressors for different flavors or something?
Technically upwards compression is somewhat different then parallel compression which is much different then buss compression.

To be brief, compression affects the louder parts of a signal above the threshold by bringing them down. The overall volume can then be boosted to makeup for the loss of volume overall. Upwards compression takes the parts of the signal below the threshold and turns them up. In theory, the end result of both should be about the same, but the way you set the different controls will be different and and if you have them "pumping", the sound will be somewhat different between regular and upwards compression.

Buss compression is when you have more then one track combined together through a buss. The most common one is the 2-buss or master buss/ fader. Any processing you do to this buss will affect the mix of all of the bussed tracks simultaneously. It is not uncommon to buss all the drum tracks together so that you can compress the entire drum mix rather then doing too much compression on the individual tracks.

Parallel compression is when you split the signal (usually into just two paths, but there is no rule saying there can't be more). One of the signals is generally "dry" or only slightly compressed. The second signal is then squashed with relatively fast attack and release times and aggressive ratios. When they are mixed back together, the "compressed" signal makes up a bed of volume filling in when the "dry" signal's volume is lower, however the transients and dynamics of the "dry" signal peak above the "compressed" signal counteracting any pumping or over squashed sound of the "compressed" signal. It is not uncommon to use a specific compressor with a strong or aggressive sound that you want to add but not dominate the mix with. Whenever you do parallel compress, it is very important that the both signals are perfectly in phase, otherwise you can very quickly ruin a good mix. Parallel compression can be applied to a buss, but doesn't have to be.
Old 22nd May 2011 | Show parent
  #13
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jimthepisces's Avatar
 
🎧 10 years
hmmm...so what I am doing then if, for example, I have a ton of tracks in my session, and I create sends on each track to a stereo aux bus (each send is panned the same way the track is) and on the stereo bus I have an SSL comp squashing the signal. The regular tracks aren't compressed at all. Bus or parallel?

And I've always heard parallel and upward comp were synonymous...can you give me an example of how you would set up upward comp in pro tools?
Old 22nd May 2011 | Show parent
  #14
Gear Addict
 
🎧 10 years
It sounds kind of like parallel compression. You might find it simpler to just assign each track to both the main output and the bus through the output (assign them to the main out, and then hold down control ass you also assign them to the buss). But your way is fine if you want to tweak the mix going to the parallel comp opposed to the main mix.

Upwards compression is cool, though I honestly don't use it much. I only have a few plug-ins that actually do it, and don't have any hardware that upward compresses. You'd probably be better served from someone who uses it more often, but I'll give it my best shot. The controls should work the same way as a compressor, but instead the attack would control how quickly the comp brings the volume back up after the signal level drops below the threshold. Release would control how quickly the volume drops after crossing above the threshold, and so forth.
Old 23rd May 2011 | Show parent
  #15
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jimthepisces's Avatar
 
🎧 10 years
Yeah but the beauty of the way I do it is being able to pan the sends. If you just assign it as an additional output, you have no pan control. With the panning in place, I kind of end up with a squashed mix under my main mix which sounds pretty cool...sometimes I back off the send on things like acoustic guitar or if its a really quiet song...ya know.
Old 23rd May 2011 | Show parent
  #16
Gear Addict
 
🎧 10 years
Well assigning multiple outputs will make sure that the panning in the parallel comp matches the main out. Are you panning differently? Like I said, your way isn't wrong in any respects, I'm just saying multiple outputs works for me, but if you got your way, that's cool too. If it works for you then far be it from me or anyone else to tell you your wrong!
Old 23rd May 2011 | Show parent
  #17
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Lehmman's Avatar
 
🎧 10 years
buss compression most of the time, sometimes parallel.
Old 23rd May 2011 | Show parent
  #18
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mildav's Avatar
 
🎧 10 years
Quote:
Originally Posted by adrummingdude ➑️
How do you typically process OH and room mics? Do you compress at all?

Not being in the best sounding room, I've gotten more and more lately into not compressing overheads at all, but instead letting them breathe naturally. In rock music, where snare and kick spot mics are typically louder in the mix than overhead and room mics anyway, compressing those spot mics gives me all the punch I need. I'm really enjoying this approach, as I used to sqash the hell out of the whole drum mix with a high ratio fet comp...totally different sound.
my method is this:

1)i send all drums oh and rooms mic to a bus compressor most of the time ratio 2.1 a maybe 2 or 3 db of GR really slow attack and super fast realese

2) when i need i send to an ohter bus just snare toms e sometime kick
no oh o rooms mic....i don't like to squash cymbals....
Old 30th May 2011
  #19
Gear Nut
 
🎧 10 years
Parallel compression is similar to using a reverb send, except that the aux return is a compressor instead. Go for a heavily compressed sound, then mix this in with the drum bus using a send, and adjust to taste.

I heavily compress the room mics, so I avoid sending this to the drum bus. I don't use bus compression if I am using parallel compression. Often I use a 1176 on the room mics, and a LA3A for parallel.

Sent from my HTC Desire using Gearslutz.com App
Old 13th July 2015 | Show parent
  #20
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mpresev's Avatar
 
🎧 10 years
Quote:
Originally Posted by MattiaS ➑️
I do both.... diferent type of compression for diferent duties....

cool thread from wayyy back lol. Yes, I do both as well.
Why do I do this? well, it's what I learned here and there.. It's called YOUTUBE University/Gearslutz University .



When you use Parallel COmpression, what else do you put in your chain?
Old 14th July 2015
  #21
Gear Guru
 
Drumsound's Avatar
 
🎧 15 years
I set up and use a drum parallel 99.5% of the time. I may put compression on the BD or SD inserts if needed (sometimes in tracking well before the parallel comes into play). I always start with the whole drum mix hitting the parallel comp, but I may take things out of it as the mix progresses. Once in a blue moon I will EQ the parallel.
Old 14th July 2015
  #22
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edvdr76's Avatar
 
🎧 15 years
Quote:
Originally Posted by Coldsnow ➑️
On top of compressing individual drum tracks.
If you use parallel compression do you include overheads?
Or
Do you just add a buss compressor and skip the parallel?
Or
do you do both
I sometimes do both on the more agressive stuff. But I'll use them very lightly when I do. Just kinda glueing things together. I don't like to hear the compressor working too hard. OH's always get thrown in the parallel compression to give them a longer decay. It also gives the snare a little more crack. I won't do parallel compression on more of the acoustic stuff because I feel it's an overkill on the dynamics.
Old 25th February 2016
  #23
Gear Maniac
 
🎧 5 years
Additional processing on the parallel channel is good fun also. Try saturation, distortion, etc. Just beware plugins (like many tape emulations) which affect timing, or plugins that do not properly delay compensate, as this can lead to phasing between the main drum mix and the parallel mix.

Enjoy....
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