Get Solid Kick and Snare Drums with Parallel Compression

[@ethandemille2585]

Doing drastic EQ shaping on the parallel bus is something I have never really considered for some reason, thank you!

[@makeediblemusic]

Sometimes less works too! Some shelf filters can also be enough to prepare it on the way into the compressor. In this case, there was some hi-hat bleed etc, so clearing out those frequencies helps to make the parallel compression more effective

[@jetlag_beats]

You have done an excellent video on the subject here. Great and very clear explanation, suitable for anyone who might be new to this principle as well. I would advice also to listen to the video on a pair of good studio headphones, to make sure to notice the subtle but very audible differences.

[@makeediblemusic]

Thank you! Yes, capable monitoring systems are a really great help especially for subtler adjustments

[@DAPTIME]

Excellent video! Clear as a bell.

[@makeediblemusic]

Thank you! I'm glad you found it helpful

[@artysanmobile]

This is the opposite of the way to most effectively dig out lost transient sound during the densest parts of the mix. Thinking logically, adding the most hammered version of a kick during a chorus isn’t going to enhance that aspect of the kick, it will bury it even more. Instead, get the exact sound you seek during the sparsest parts of the song, then duplicate the ‘problem’ tracks completely, including all processors and routing, and bypass the compressor for the duplicated track. This new track can be faded up during those parts of the song where its instrument was getting lost. Adjustments can be made to the duplicate tracks’ processing as needed without messing with that drum (or whatever) mix you were so happy with. Easier AND more effective.

[@lordcoco_]

great video dude! eq before parallel compression... why did I never think of it before lol

[@makeediblemusic]

I'm glad it's helpful! One of those things that just clicks once you hear about it

[@Dylanklinemusic]

nice video - thanks!

[@dondafinallydropped]

How did u get these stems! I received them to practice mixing by a teacher

[@makeediblemusic]

They're from Cambridge, a great resource for practice! I share them with my students too

[@beatsbrah]

great quality content!

[@makeediblemusic]

Thank you!

[@elperro1953]

dude say "now i set attack and release to the fastest" and turn buttons on slowest.. I am confused

[@makeediblemusic]

That's okay! Thank you for wondering. 1176 compressors have a quirk where the attack/release settings are opposite to other compressors. Usually, compressors are faster to the left and slower to the right. But 1176 compressor attack/release times are faster towards the right and slower towards the left

[@elperro1953]

@@makeediblemusic thank you for explonation..

[@makeediblemusic]

Get the 5 Day Foundation mixing series: www.ediblemusic.com/5days

[@INSTUDIO68]

[@iNtRoVeRsIoNaLiSm]

great content, 2.4k views with 144 subscribers? yall subscribe man!

[@makeediblemusic]

Haha thank you Lee, I appreciate it--the more the merrier!

[@RemyRAD]

You see, Sonny boy. You are actually wrong here. Let me explain. Plenty of us have had an array of, actual, 1176, originals. I had 5. And twentysomething, classic DBX. Which are RMS/VCA based. Not fast. Can't really limit, anything. That's a misnomer with RMS detection. It doesn't just too late. Unless all the peaks go flying through, clipped. Which provides for its own sound character. Not everybody wants that way. Though many do. But with an FET based 1176 peak limiter original and/or clone. You do have, and attack time control. Turn it to the left! Way left. And you won't need your Parallel Compression. To get back your transients,, Sonny boy. What? You never tried that, before? You think you need parallel to regain your transients? No you don't. Look. You only need fast attack time on that 1176 limiter. If you are cutting vinyl or if you are broadcasting FM. That's where you turn the attack time, to, fast. Because you don't want to destroy your cut. And you don't want to Over Modulate. Due to FCC fines. Like speeding. And you still get the room tone pumping. By adjusting your release time. And you'll get precisely what you want. Without timing differentials and latency.. If you don't have auto compensation turned on. You'll get wonky you sound from,, comb filtering and cancellation. Just you wait and see. Because there is no right. No wrong. Just good or bad sound. It's easy to get bad sound. You'll have no problems getting that. And so this is an example. Of no,, parallel processing on my drums. And limiters and gates. On all the drums but the overheads. And you get this: soundcloud.com/remyrad/track08 It's largely unscrewed around with. Except for compression, limiting, gating. On most every input. In a couple of cheap, consumer digital effects and reverb processors.. A stiff wind blowing by the microphones. So lots of high-pass filtering going on. And no microphone checks. I just get a piece of paper. Telling me what instrument is supposed to be on what, inputs. And sometimes they are not there. And that's no good when that happens. As it has, happened. There's always, something. Like somebody forgetting to put on an additional, foam pop filter on the SM-58 lead vocal microphone. And getting pops and blasts with every other word.. And so I high-pass filter at 270 Hz. And rolloff all the low-end 180 Hz. And then it'll be listenable. And that always shocks people. To find out how great that sounds. Because when you solo that. It really couldn't sound much worse. That technique is similar to using Yamaha NS-10, crap speakers to Mix with. I've never used those. I don't want to use those. I do not believe in their procedures with those. What works for them. Doesn't work for everyone. I like, AuraTones. Thank you very much. AuraTones are Great! They tell it like it is. They are not scratchy sounding. Ugh! It's all in how you roll it for yourself. I know what sounds good. I know what sounds right. I have to fix major control rooms. You see. So my design and build from scratch. And back in the day. When I was only 22. I designed and built. A, 24 in, 8 x 4 x 2 out. Audio Console that, required a, $2000 custom cabinet. With Producer Desk. To mount it into. And took me 3 months to build up. Because I was also, Directing. The Construction Crew. Daily. Starting at 8 AM until 5 PM. And then I would generally stay late into the night. Working on said, audio console.. Not a small undertaking at 22. With no college degree.. Though I had a wonderful mentor/tutor. Yes I had a fabulous mentor. For a few years starting in my midteens. He was like a dad I never had. And a couple of years before me.. He mentored another young engineer hopeful. His name is, George Massenburg. And I've known George since I was 15 years old and he was 23. He's a few years older than I am. And we both went to work. For our first studio job. At the same studio. A couple years apart. And that was the biggest studio in Maryland. And the biggest south of New York City at that time in 1973. Yes 51 years ago! Oh my God! I shouldn't have eaten the brown acid. I know I was warned. You can hear it on the Woodstock recording from 1972. Oy vey. What will I do now? Is it over? Oh man? Yeah and then I went to work for the same hit studio in New York City. Where Bob Clearmountain was a staff engineer. He was trained by Michael DeLugg. Who I also worked with. At we learn how to do things, right. And I redesigned and rewired the headphone system. For all four, control rooms and studios. Because the one they designed and built in-house. Kept on blowing up the power amplifiers. And so I had to completely redesign everything. I had a much better headphone system. And everybody loved it.. It worked great. Turn it up to the point of hearing loss. Being fed from a 60 W amplifier. Per channel. With my carefully selected, build out resistors and current limiters. And it sounds fucking great. Tons of punch. Which is what you want. At you want your headphones in Absolute Positive Polarity. Which most are not. So you have to open up each can. And reverse the wires on each driver. Then reassemble. You generally can't do it at the connector. It depends on the wire. If there is a total of 4 wires? You can do it at the connector. If it only has 3 wires? You have to open up each headphone can. And don't do this. Repeat, DON'T DO THIS.. If you are the proud owner of, JBL speakers and/or headphones. That you are fine as is. But only you with JBL. They figured this out. As far back as 1968. Possibly all the way back to the company's inception in 1948? I am not certain about that? But definitely since, 1968. And where you will find. All JBL speakers. Will be out of phase. To all other speaker manufacturers, speakers. But ask anyone. If they like the sound of JBL? Hands down. Most everyone, does. Above and beyond. A lot of newfangled whizbang speaker drivers. That initially sound good. But quickly burn you out with, ear fatigue. Yes. When you been in this business as long as I've been. And you go into start recording and mixing. Nonstop. For the next 12 hours. Except for bathroom breaks. You better love the sound of the speakers you are working upon. Because they could sound great. And in 4 hours time. You are climbing the walls. You have, ear fatigue. And you have to stop and take a long break. Not with JBL's, you don't. I have no problems going 16 hours or more on those JBL. Virtually any model of Studio Monitor. Small or big. Really doesn't matter. You know what you're hearing. You can evaluate what you're hearing. You won't be able to honor speakers. You will be confused. Because they are all in Negative Absolute Polarity. Yet they are both in phase together. Put that in your pipe and smoke it. I speak only Studio Truth. RemyRAD

[@jetlag_beats]

Obviously also someone with nothing else to do but waisting a lot of time on writing a huge but pretty useless reply on a simple but clear video. I smell a lot of ego and frustration there....😁@@d.a.1973

[@BukanIbuMu]

You should take your medicine dude

[@Deebles107]

I’m sorry but for someone so confident and full of (patronising) advice the mixes on soundcloud sound flat and completely unremarkable at best