Use Of Parallel Compression In Various Presets

[neil.cummins1]

Hi IK/Forum,
Having recently upgraded to the full Tracks5 suite,some time spent browsing through the range of preset mastering chains reveals the use of compression devices in a parallel mode,across for example a Pultec style EQ or Linear Phase EQ.

Could any of the more experienced forum members advise on what the engineering logic and merits are of these configurations please?

Not a facetious question by the way,genuine technical commentary is sought here.I can't see any connection here with,for example,the well known New York parallel compression method where separate audio feeds are treated differently.In these cases,we appear to be taking some of the same signal feed through equalisation and some through a dynamics processor.

All comments welcome,and especially instances of when best to use these type of configurations.

Thanks!

Neil Cummins
UK

[jimmyjames75]

I never recommend using a EQ in parallel ever. This can cause phase issues down the road. I would really never do that. Compression on the other hand, for sure.

Are you asking about Parallel Compression in the Mastering Process instead of a NY Drums Buss? If so, a lot of guys like using this on mastering. They do it so they can get some punch without strangling the mix. I use it in mastering sometimes, it just depends on the source. if I mixed and mastered the song, I normally don't use it on the master. I like to use it on a buss in the mix. Drums, guitars, ect.

If I am mastering and I feel the mix needs some punch but all the compressions sounds great. I will use parallel compression to hide the compression sound but get the effect of it.

When I am dialing in parallel compression, I always do it 100% wet. This way I can hear the compressor very well. Once I have it dialed in, then I blend it in. Don't try and dial it in with a 50-50 mix. Hope this info helped you and what you was looking for

[neil.cummins1]

Thanks Jimmy,
Yes,that's what I was wondering about,namely some of the TRacks preset mastering chains contain eg a linear phase EQ with some form of dynamics processor across them in parallel,then perhaps followed by another dynamics processor with different ratio,threshold,attack/release times etc.

I was just trying to understand the rationale behind applying a dynamics device in parallel.

I think what you've described there is sometimes called 2-bus mastering,is that correct?

Something else I need to buff up on...

Cheers,

Neil

[jimmyjames75]

Yea 2 Buss. I always call the 2 Buss the Master. If anyone was ever going to use a EQ in parallel, it would have to be a linear phase to not cause phase issues. But I would still never do that.

Using 2 compressors is common. As you pointed out, with different setting. You can make light work of one, and set the other slower, and get even more compression without hearing it.

Some folks like the color of a vintage comp, but might not suit their needs. So they will use a 2nd comp for the real compression.

I am a less is more kind of guy. Plus I really like my tape plugins (has very mild compression). So in a way,I use 2 comps. Very light work of the tape plug, plus a compressor. If I don't use a tape plugin, I usually just use one compressor.

[Peter_IK]

The "less is more" approach can be quite useful. I also agree about how it can be beneficial to use a vintage compressor or other gear for its character and not necessarily its main function. Then you can indeed use a very clean compressor to do the compression you need. Black 76 has a great transformer only preset that helps with this sort of thing.

Another creative "less is more" - or at least vaguely related in my mind - is using the same piece of gear to do something unique. Back in the day, it too trial and error to find tricks on the analog hardware which you can also now use on their virtual versions. For example, the Pultec emulation in T-RackS (EQP-1A) can achieve the unique EQ curves that engineers found by experimenting and using the simultaneous boost and cut on what would appear to be the same frequencies. Thing is, they're not boosting and cutting precisely the same ranges and you get a great curve with certain settings. I would recommend reading this from the Abbey Road Institute: https://abbeyroadinstitute.nl/blog/demy ... he-pultec/

Anyway, great conversation, and thanks for letting the old man spin a couple yarns that he thinks might be helpful

[neil.cummins1]

Lots to go for there guys.
Many thanks for an interesting thread.
BR//
Neil C
UK

[jimmyjames75]

The Black 76 sounds really good. I like using it for tone. I am a huge Pultec fan. So much so that I have some outboard Pultecs as well. I use one that I track threw. And the other as a Insert. And I still use the plugin versions as well.

[Peter_IK]

The Black 76 sounds really good. I like using it for tone. I am a huge Pultec fan. So much so that I have some outboard Pultecs as well. I use one that I track threw. And the other as a Insert. And I still use the plugin versions as well.

Ah, I see you're a man of culture as well.

[jimmyjames75]

The Black 76 sounds really good. I like using it for tone. I am a huge Pultec fan. So much so that I have some outboard Pultecs as well. I use one that I track threw. And the other as a Insert. And I still use the plugin versions as well.

Ah, I see you're a man of culture as well.

my wife calls it "expensive toys". But I prefer the word culture as well....