Bigger Drums with Parallel Compression

[@5piece]

Full KZbin video on parallel compression: kzbin.info/www/bejne/mF69eZqZeKpnh5Y

[@Starcore-Studio]

I suggest creating another bus and put the compressor on that. Then use sends to all drums to that bus, adjust cymbals on the sends to very minimal. Add saturation after the compressor and also a eq to get to get the flavor you want. This way you have all the control over the parallel compression. The way in this video is very limited.

[@salaipapa]

I agree with you

[@ChainsTheChef888]

KZbin shorts was the best thing to ever happen to producing tips!

[@bigt_jay]

For real

[@LionOfKingston]

Parallel makes everything great, even life itself

[@alfiemillersharp]

I understand this now...

[@DeltaWhiskeyBravo13579]

Great demo. I create a parallel (NY) compression as a send into a dedicated channel into an inserted compressor and mix it in with the fader. It results in the same.

[@zacksbh7424]

THIS is parallel compression

[@audiofaktory]

Why not set it up as a send so you don’t need to fool with the mix knob? I realize you’d still have to fool with the send amount but I’m just trying to see if there’s a technique I’m unaware of or if you’re just setting it up differently. Please lmk. Thanks bud

[@binladen5299]

But why would you do that if you can just use the mix knob

[@audiofaktory]

@@binladen5299 few reasons. For one, u could add to the chain on the bus. You can only do that with inserts if they ALL have dry/wet knobs

[@5piece]

You can absolutely do it this way as well. I honestly float back and forth between using the mix, and using a send. The send can offer more control, giving you access to the mix knob still but also the volume and the ability to add more inserts (ie EQ) before or after the compressor, so I get why you may prefer that. Like all things mixing, there's many ways to do something so I'm demonstrating one method (the mix knob) in this brief 60 second short. To demonstrate all potential methods, I'd need a full-length format. End of the day: use the method you prefer most.

[@audiofaktory]

@@5piece okay so if you know the proper way, why are you teaching people shortcuts that will ultimately limit them?

[@risolbakar69]

​@@audiofaktorybecause this is yt short and he couldn't cover every single way possible in just 60 seconds. Thus, he has stated that it's his preferred way. He admitted that there are more ways into it and I think you already understood when he said he chose this way bcs that's just how he works?

[@MixedByMoney]

Cool tip, I might try it when the song calls for it. I do see quite a bit of debating a lot in these comment sections but it's best to just keep in mind that you should do what you feel would add to the tracks mix, don't fully rely on KZbin videos to tell you what a song needs cajse you're not always going to need parallel compression, or you're not always going to need a delay or reverb. Just go with your gut people and if you achieve good results then you're doing something right :)

[@5piece]

Correct. What’s interesting is when I make these videos, I’m sharing general practices that I incorporate (and sometimes those practices change over time). I never say “this is the only way” but often my message is misunderstood and interpreted like that’s exactly what I’m saying. Rules are meant to be broken, and with mixing, most “rules” are pretty loose anyway. Thank you for sharing 🙏🏼

[@w4dZ0o]

I like this. I just today tried a slow attack and fast release and it pumped to much. I'm gonna try this tomorrow to add sustained beef to the already punchy drums.

[@FuranGameplays]

One thing I recommend is to get the SSL Bus compressor 2 or the UAD version of this comp. Waves sound a little bit hard imo, it is good, but not the best option

[@timucindemir-qv7bc]

There is no such thing as the best option in music.

[@FabPatricio09]

I tent to go other way. Fastest release x slowest attack. And you have explosion

[@The.One.True.B]

The examples sound nearly identical, maybe they should be longer and have a full array of drum sounds like a full drum kit or something. It just sounds slightly louder if anything

[@hulyan8944]

Is this on the same chain or a send

[@JamesCalvinOnKeysTV]

SEND

[@JamesCalvinOnKeysTV]

UNLESS ITS A 2 TRACK. IN THAT CASE YOU CAN JUST LOAD THE COMPRESSOR ON THE CHANNEL.

[@HollerAtcherBoi]

Exactly except I’d suggest starting w a low ratio. Bumps harder. But of course do what sounds best for that song

[@5piece]

I’m learning everyone has their approach/preference with this stuff. Because I like to really exaggerate the comp for this, I’m going higher but as you said, some songs may call for a more subtle parallel comp approach. Like alway, use your ears and judgement accordingly 🤘🏻

[@HollerAtcherBoi]

@@5piece For sure. On parallel I’ll often go super high ratio or all-in if using the 76.

[@davidsanchezaraiza9889]

Thanks for the video bro

[@5piece]

Any time

[@jaredvanderberg9442]

Do you recommend doing parallel compression directly on your drum bus or do you prefer to make a duplicate signal, put the compressor on that one, and then mix in the two drum signals with the faders? Because i see people doing it both ways. Confused myself as to which one is the best practice

[@5piece]

Both options are viable, and I use each of them depending how I feel on a given day. Creating a duplicate (or a send) I find is better because you have more control over everything with the added volume fader and plugin inserts. However, you can also just apply a compressor with a dry/wet knob directly on the bus. In mixing, there are many ways to achieve something. Nothing is necessarily right or wrong but really just up to individual preference. All that truly matters is that it sounds good 🚀

[@zekenebel]

I would always do this in a send , I also don’t use PC for consistency , it tends to be a much better tool for thickening but to each their own. Also 90% of y’all drums really don’t need this , if your not sure just look at your meters and you can get a decent idea of how squashed they already are.

[@5piece]

Agreed with doing it on a send, I also do that. It’s also easier to tell how much latency is being added with a send, and being able to commit to audio, re-time it and blend it with more control 👍🏻 Just showcasing different methods/approaches with this video to hopefully inspire some new creativity (I know it inspired me to rethink my own PC approaches!)

[@jnbovee]

So wait. Make up gain only increases the compressed part of the signal? Not the entire signal? I thought it was just an overall gain knob. I don't think it works that way. I think make up gain just makes up for loss of volume. So how does it reduce the pumping effect?

[@audiofaktory]

You have the attack and release backwards. Slow attack to let the transient thru, fast release so the next one gets thru. Also put it on a bus and keep the mix at 100% and then raise that bus to taste

[@5piece]

What you're proposing setting wise is for STANDARD compression, or more transparent compression. The purpose here is for PARALLEL compression, where I specifically want to EXAGGERATE it and then blend it back in with the original dynamic sound. Therefore I WANT a fast attack to clamp down quick and a slow release to hold the compression, producing an exaggerated effect. You may have different tastes for this process, but the general purpose of parallel compression is to squash the signal - creating a more consistent sound, and then blend it with the original dynamic signal to achieve a "best of both worlds" effect. Hopefully this makes sense and clear the air.

[@audiofaktory]

@@5piece I know. That’s what I’m saying. Put the compressor on an aux track and bus some signal over. Never mind you must be new. Please look into what I’m saying so you don’t embarrass yourself further. I fully understand parallel processing; and while you’re correct that the mix knob makes it parallel, you don’t seem to understand what Im saying. Have a day

[@boysar6216]

@5 Why you are doing this wrong, you will only get more volume but not harder hitting drums, slow attack at least bruhhh

[@basboerboom9328]

I agree. Slow attack if you want more transients and fast release to get the pumping going. Release depends on the tempo and whether you want a quarter beat or halve beat pump. That's why these modelled buss compressors are tricky sometimes. Sometimes the attack and release values are a bit off. I think putting this plugin on the drum track/bus itself is fine, BUT on a seperate bus is better because you can use EQ and saturation or other effects on the parallel compression. The fast attack and slow release in OP's video will make the drums louder, but not bigger.

[@np466]

Slow attack fast release

[@CarloCabiling-r6r]

Is it applicable in rock drums? Please reply thank you

[@Zazquatch1]

Do you have a go to setup for the Stereo Bus such as Comp?EQ + any other help? As a startout point when you begin mixing, before you jump on each channel and start tweaking them.

[@marcell7406]

This might already be your magmus opus

[@DjEd69]

Parallel is free or I have to pay for it

[@KABINASTUDIOS]

Can you link your final results?

[@5piece]

Nah this is just a random beat that fit for example purposes. Here’s another video though with longer playtime’s and examples around parallel compression: kzbin.info/www/bejne/mF69eZqZeKpnh5Y

[@minidora1]

He said put it on the drum bus? Wouldn’t this go on parallel track FX bus or aux?

[@5piece]

Multiple ways to do it. Yes, you can do it via parallel aux/bus (which i also do), or you can also put it directly on and blend dry/wet knob assuming you’re using a compressor with that functionality like I was in this video. I’m always trying to showcase different ways to do the same thing across my videos - one may showcase method A, another will showcase method B and so on. Hope this clears things up

[@psychoticchemist]

Not necessary if the compression plugin has a mix knob

[@matthewwalsh974]

Is this something you would do with programmed drums in a dense, metal mix? Considering they're already processed. Maybe I just gotta use my ear lol

[@5piece]

It’s not uncommon for me to directly compress a sound (more delicately/transparently, mind you) and then also do some more aggressive parallel comp. I obviously can’t say it’ll work for sure in your case without hearing it- but give it a try and see if it improves the sound and impact. You will know better than anyone once you put it into play 👍🏻

[@Blaver]

GGD’s processed version in the mixer has parallel compression applied. (I down own GGD but i’ve been scouting it to buy it recently).

[@ma3boch]

Where is the video ? Link plase 😅

[@5piece]

kzbin.info/www/bejne/mF69eZqZeKpnh5Y

[@ma3boch]

@@5piece ❤

[@Jordan-rb28]

Make-up Gain does not effect pumping or reduce it at all, it is strictly simple gain staging. Pretty simple. Not trying to be rude, but so many beginners get this wrong and think make-up is a dynamic effect in of itself because people who teach music production often explain it in a weird way that makes it seem more complex than it actually is. Also, 10:1, .1ms, and 1.2sec settings on an SSL is wack lol, that's basically a limiter. Seems way too extreme for what you're doing, I'd figure 4:1, 1ms, and maybe .6sec would be better for this example and take less life from it. Just my 2 cents!

[@CallumSk8er]

reading this made me stop questioning my knowledge lol

[@slackstarfish8133]

the SSL G Bus doesn’t even properly compress for me. I’ll have all the settings right, go for about 4 db of compression and it will not compress shit

[@aqxico]

Is your incoming signal coming in at the right level? If it’s too quiet, it won’t hit the compressor, so make sure you’re gain staging everything properly.

[@itsnotseptember...]

Can u do this to the master

[@Temperjames]

No your computer will turn into a jellyfish

[@itsnotseptember...]

@@Temperjamescomputer? Pff I make beats on PlayStation

[@fuckthesystem728]

@@itsnotseptember... even worse, your playstation will turn into an xbox

[@iamanactualcat]

Slow release doesn't make much sense is you're going for sustain...

[@5piece]

The idea here is we’re trying to exaggerate the compression. With that in mind, the fast attack clamps down on the material immediately, and the slow release keeps it reduced. By doing so, we’ve drastically reduced the transient (or initial impact) of the sound. However, by keeping it compressed with the slow release, we’ve increased the sustain since now the beginning of the sound (the transient) is heavily compressed / reduced while the part that comes after (the sustain) maintains the level of compression. Through the makeup gain, it covers up the overall loss of volume and therefore increases the presence of the sustain since that is in line with the level of the attack now. If I had a quick release and no make up gain added, then it would be exactly what you described but that isn’t the case here. Important to consider that the release ultimately shapes the TONE more than anything. Faster release tends to sound more punchy, slower sounds more round. Really you can use either one based on your preference and achieve good results. I gravitate towards a rounder sound but sometimes I switch it up. It’s very easy to misunderstand compression but hopefully this makes more sense to you now

[@nuellenaire]

Wrong.

[@ericktellez7632]

You are looking at this as if it was a transient shaper, fast release and fast attack to only affect the transient of a signal and not the sustain, however thats not the point of a parallel compression that aims to have a blend of original dynamics with an exaggerated version of the compression. What you lose on the sustain with the compressed version you regain it when you blend it with the non compressed version essentially

[@pavkey88]

@@5piece that’s a great explanation. Makes much more sense to me now

[@martinmorales3195]

​@@5piece Slow release will keep the gain reduction for longer than the attack portion of the sound, affecting the sustain portion, thus reducing sustain. Slow release is a mistake here.

[@henrybatchem4617]

using the slowest release will only dampen the effect of the compression. Really ur only compressing about 2db with the slowest release rather than 10db. Ur just adding un-necassary gain reduction. And make up gain doesn't reduce pumping

[@5piece]

So you’re suggesting the GR meter is completely inaccurate then based on the release time? If so, how come as the release is adjusted, the GR meter also adjusts? I understand the point you’re trying to make, but it doesn’t line up with the metering so I’d love some clarification on that since I don’t see the evidence of your point. Also, as mentioned in some of these other threads, my goal is to greatly exaggerate the hold effect of the comp so it’s basically flattened fully (and then mixed back in with the dynamic signal). I realize there are diff methods of approaching PC - and release times is hotly debated. For me, release is mostly about tonality and of course intention, as I mentioned.

[@henrybatchem4617]

@@5piece Im saying, since the GR meter is staying between the -12 to -10 mark because of the massive release time, the compressor is really not doing much compression at all. (because the gain meter is between -10 to -12db) so its not giving enough time to let the sustain back in. I you were to chose a faster release time, the GR meter would show a larger difference between compressed and released. and thus allowing more sustain to get through without adding the un-necessary gain reduction as seen in this video. You could create the same sound just by using -2db of gain reduction with a faster release. because the difference seen is only about 2db

[@henrybatchem4617]

@@5piece do u get what I am saying?

[@gliterott]

Ok but is it necessary to do that

[@evrlstMUSIC]

Nothing is ever necessary in music production and engineering. It's an art fam. Don't equate it to anything else.

[@5piece]

Just like @evrlstMUSIC said above here, parallel compression is technically NOT “necessary” but once you use it and get great results, you’ll find yourself using it 100% of the time like me 😂 I don’t really see why you wouldn’t want to use a simple and effective technique that makes your tracks bigger and fuller, unless of course it’s too much and making things sound WORSE instead of better in the moment (like anything else in mixing). Always use your ears and judgement first and foremost 💫

[@gliterott]

@@5piece thank you, I've started doing it btw🤣

[@aper6014]

is anything ever necessary? this is just a tip to help people get the sound they want, no ones saying you have to use it

[@dannydaniel8975]

In mixing there are no rules, only things that maybe you should know....

[@marsrivers]

I understand tthe trick for metal.and rock But this examplr was very crapy

[@5piece]

Sorry you don’t like my example. Thanks for the engagement though!

[@HeadrushStudio21228]

You have no idea what any of those settings do and you did not achieve the pumping parallel compression effect you were aiming for. You need a fast release and some medium to slow attack to achieve that effect. Makeup gain to match what was lost and then blend with the fader

[@XenoTravis]

I didn't hear a difference lol

[@protocolmystics2818]

Attack is too fast though. Gonna kill the transients

[@Jordan-rb28]

agreed. Even 1ms kills many transients. Release too long as well for the beat and it's not bringing the drums forward like you'd want for this. When i was working on an SSL 8000 in Brooklyn, we usually kept it on 4:1, 1ms attack, and .1 or .3 sec release.

[@samuelng6441]

You overdid the compression. If you account for additional bus processing such as limiting and/or Mastering, it is going to squash the drums too much and make them sound harsh and flat. You want thickness but also punch.

[@lannyfce4786]

He played a solo'd drum track, therefore you don't know the context this is playing against, aka you don't know if it works.

[@samuelng6441]

@@lannyfce4786 the point was that the solo drum already sounds super processed, aka it's gonna be overkill you dimwit by the time it goes to the final stage

[@5piece]

You have absolutely no idea what’s going on in my track or anything contextually to make such a wild accusation 😂 I agree with you though, if things are TOO overdone and not blended well, then yes, you’ll lose that definition and articulation within the transients. If you listen to my final mixes that have been streaming and getting millions of plays, you’d probably walk back on that statement since the dynamics/hit is a signature of a 5PIECE mix 🤘🏻

[@_ConnorEdwardsMusic]

This is great. I just do it on a send instead.

[@bryanmartinez7849]

Is it just me? I don’t hear a difference

[@dmgsoultogetherness6667]

just use t shirts

[@dhbe]

Schwing

[@coldcall9563]

Sorry cuz, heard virtually no difference.

[@thepillgrim5286]

Since when does the buss compressor by waves has a mix numb and trim knobs

[@richardthelionheart01]

What's the point - this drum recording is terrible. It sounds like our 1st attempts when we were 13 yrs old.

[@andrewsanders9824]

🙈

[@svicbeatsilvercross6218]

Bro u doing nonsense 😂😅

[@mauvaisegraine2645]

get a real compressor next time

[@5piece]

And a “real” compressor would be…? Like hardware? Or what exactly are you complaining about here? 🙄

[@dannydaniel8975]

I know what you mean, a Manley hardware compressor would have sounded so much better, however, if the people that stream music don't have a problem with the Waves SSL compressor, then maybe, we are producers and engineers should not have problem with it, either.

[@5piece]

@@dannydaniel8975 reminds me of an old quote “it’s the ear, not the gear”

[@dannydaniel8975]

@@5piece quite right!

[@IANAOS]

Since when does the waves g buss have a mix knob and trim knob ?