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In this video producer, mix and mastering engineer David Gnozzi explain the various uses of parallel compression
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[@wesleylandis8466]

Really helped clear up some alternative uses for parallel comp. Thanks as always!

[@omniripple]

Nailed it, good one!

[@MikeRendar84]

Thank you! 💪💪

[@forwardmemory5940]

Yet another excellent tutorial. Good work!

[@nichttuntun3364]

Thank you David 🤗 Congrats and success for the new track and video! Cheers

[@mixbustv]

🙏

[@ziqinggu6085]

Thank you David, really helps!

[@KneedleKnees]

The gods have smiled on me! Thanks David!

[@waynemagin2554]

You have valid concepts that help all who desire to learn production crafts. Thanks for the turn on to the music video. Most Ethereal, it takes you there. Great Concept and production !!!

[@damoufle7398]

Still excellent content on your channel, thank you David for sharing those very clear explanations. It was all I needed at this time on a project to clarify again the why and how :)

[@Keroser1983]

WONDERFUL!!!!

[@aryrodriguez3140]

Good lesson ... thanks... like always super useful

[@hypxr3285]

excellent!

[@cwilliammusic]

From this videos I learned why it is a good idea to have more plugins than "some experts" recommend. All compressors and EQs do the same. But they all behave different and sound different.

[@mixbustv]

For sure

[@Bring_MeSunshine]

I was aware of most of this, but it was still a great vid, because it just deals with the stuff you need to know, without coating it in a wash of mystique

[@claudius3124]

Great video, excellent explanation! Well done David! And thanx.... Have a good day! ;-)

[@jeffrosen2010]

You are by far one of the most knowledgeable personalities on KZbin!! Your stuff has been a huge help to me and I thank you! I saw a video the other day from a mix con and I’d love to get your thoughts on it! The idea was basically that we used to use compression and limiting to make sure we stayed well above the noise floor and then, later on, to make sure we were at a competitive loudness. The speaker went on to explain that since now the the headroom we have available is far greater than the dynamic range of our music and streaming services are turning down our songs based on average loudness, more dynamic mixes can actually come across as sounding louder. This seems to make a lot of sense but I wanted to get your expert opinion.

[@mixbustv]

No it actually makes no sense at all and whoever said that has just part of the information which is many cases does more harm than having no information at all. Limiting and compression was never used because of noise, recording at a hot level was how we stayed away from noise floor, of you think about it THIS makes sense as noise floor is at the same level, if you have a hotter signal the ratio will be in favor. Compression brings up noise floor too. This is 1. As for the streaming service and the bs guidelines, I have at least 3 videos explaining why is BS. They don't know how to do loud and good they should just say it instead of trying to convince people loudness doesn't matter anymore. But hey, better this way 👍

[@jeffrosen2010]

@@mixbustv thanks so much for your reply! You’re the best! I thought it sounded strange haha

[@roeilevi4594]

great video

[@bboymac84]

It’s like opening and closing a door in a room as fast as or slow as possible you want. Basically but like he said the attack is important because you can bring up sounds you don’t necessarily wanna bring up

[@wariedl12]

This was extremely good. I used PC on everything but did not really understand it. Now I do (hopefully)

[@clintonmaher6930]

I just bought the 500 series valley people dynamite... What a great purchase! 🧨

[@yungswampfire]

good video, I usually use the fet compressor of softube in the parallel compression of the voices

[@TheSweep12]

I use it on drums and sometimes bass🎶

[@golddee2040]

I love parallel compression. I use a CLA for it. I used to use API, but the CLA has that all button. But I really like that Soft Tube plug in you used. Very nice indeed.

[@mrnelsonius5631]

I’m gonna keep an eye out for the Dynamite on sale. It seems purpose built for this kind of setup, particularly transient emphasis in parallel. The Waves DBX can do a similar sound (and I use it a lot) but something about the Dynamite just sounded a bit thicker for lack of a better word

[@karasama_beats]

@@mrnelsonius5631 it’s on sale now in plugin boutique for 49$. m plannin to cop it after i saw this video

[@mrnelsonius5631]

@@karasama_beats I picked it up on a flash sale a few weeks ago! I LOVE it in parallel on drums. Can be used fully wet but the real sauce is in parallel. I like it so much I’ve saved custom routing for my most common starting point in an Ableton rack. Thank you for the heads up though. Happy transient emphasizing ;)

[@karasama_beats]

@@mrnelsonius5631 Damn fam now i HAVTA cop it asap XD Im a Live User too. Thnx fam for the feedback on this plugin.

[@kawishananjana]

W o o o W M a n !!!!!!!...This is great...❤

[@southdank3190]

the api on fast attack works if u want some snap also

[@cholkymilkmirage4984]

after so many years i finally truly get P compression lol

[@oleksandrpozniak]

Exactly

[@ractorstudios]

My perception when adding para comp is that its like adding presence and the deep controls that guitar amps usually have. I think it also brings things up front more. Some use a fast attack for drums to make the hits more consistent and fatter

[@zeb8543]

Your Voice is over Compressed.

[@mixbustv]

You definitely know how to recognize compression cause there's none lol

[@jaamabay3830]

SSL released a Fusion Vintage Drive-Plugin!

[@hawkmedicineman]

I would like to see parallel compression used on mastering applications. Thanks for the video.

[@mixbustv]

I'm afraid you won't see it from me because I don't use in mastering and never have

[@TheLivingTempest]

First view and comment. Hail from Miami, FL.

[@sofoklessantorini1888]

man ,,, second one...

[@AutoclaveBeats]

Thank you for this video...do you eq your parallel compression?

[@mixbustv]

No. I have at least 10 videos about parallel eq (and why I avoid it 99% of the time)

[@artist1303]

What is the difference of doing sidechain set pre-fader vs post-fader?

[@mrmorpheus9707]

Awesome video! Hey have you ever tried the SSL LMC for similar application

[@mixbustv]

I do and I like it very much, although I'm using the one in the fusion, don't know about the plug-in

[@scottspaulding7965]

Dynamite is not mentioned enough. Was Lukcy enough to stumble across it when it first came out.

[@whackoization]

Mic gain and why nobody uses it right

[@CheloScotti]

could we use a parallel comp in a aux send and use it for many differents instruments like keys, guitars, vocals ?

[@mixbustv]

Yes you can but that's something you do for specific reasons

[@jorykevinberger7047]

At 7:40 is where you can really quickly hear the difference between a slow attack vs a fast attack with the Dyna-Mite. I remember years ago you had mentioned (if I recall) NOT adding much eq and more processing to the parallel comp channel, to do that work on the track itself that feeds it, because of phase issues that may arise. Also, on the flip side, if we use multiband compressors, to do so on a bus because of phase. I thought I'd check in to get your thoughts if that's still a go for you. Cheers good man!

[@mixbustv]

Yep, correct. Eq'ing the parallel channel is "technically wrong" and it WILL create phase cancellations. Now, some people do, because phase cancellation is not the end of the world, and you can compensate by ear. I personally do not understand why anyone would want to complicate things by bringing a variable that is unpredictable while you can achieve the same results by eq'ing the source (and you'd actually need less), so definitely still there.

[@TRENTSINCLAIRE]

@@mixbustv sure, if you're cutting. bell curves and shelves won't give you any phase cancellations (: you're missing out if you're not EQing your tracks in parallel.

[@BlackDiamondYoutub]

@@TRENTSINCLAIRE no that's just wrong. Every move in EQ will change the phase, that's just how EQ works unless you are in linear phase mode.

[@nostralgia3203]

@@mixbustv if i send to a return that has a reverb on it, and an eq after the reverb (to cut lows and some highs), is that incorrect?

[@evanmcgregor3758]

Great video as always man! Could you please clarify: 1. Before you add the compressors, is the parallel channel an exact copy of your drum bus (i.e. it includes close mics+ Ohs + room mics etc)? 2. In your mixes, do you often have multiple parallel channels (e.g. one for bass+vocals etc and then another for drums)? If this is the case, do they all then go to master channel along with the regular channels for further 2-bus compression? Thanks !

[@mixbustv]

1) most of the times yes 2) every mix, most of the main elements, and yes

[@evanmcgregor3758]

@@mixbustv Awesome, thanks for your response

[@azuraldotv]

Hello ! Do you think insert+paralell compression is destructive? Thanks.

[@mixbustv]

No and there would be no reason as to why it would be

[@Astro-by8gf]

Can I like boost at 10 k like 3 db then low cut to 8 k then compress hard then add it in to the original vocal like eq comp can I do that high end trick

[@Hello-gx5cs]

I love watching tutorials. I’ve learned so much from them and appreciate all the work guys like you invest a lot! Still I’m wondering if I as a follower need to worry that all the gear that is given to you and other producers to present and analyze it for us might cause some sort of preoccupation. Don’t get me wrong, this is not a charge nor a complaint. But isn’t it tempting to somehow lose one‘s objectivity to receive more precious gear in the future?

[@mixbustv]

I'm not sure what you're referring to, but I mix and master for a living, others are youtubers for a living. If something is on my desk or in my computer, is because I use it, and my mixes are all out there. I turn down more stuff than you can imagine, so I don't know about others, but I'm pretty sure who has been following me know that that's not my case. I have boxes of gear sitting everywhere, I don't need more and sure I wouldn't "lose my objectivity" to receive more

[@ryand4533]

I prefer compression staging. Best trick I ever learned from Kevin “KD” Davis!! Just like gain staging use several compressors inline. Parallel works but it’s old school and not very controllable. Now that we have plugins and don’t have to ration gear some of the old school techniques hold people back.

[@mixbustv]

They're not interchangeable, they don't give you the same result, they are not used for the same purposes. Parallel and stacking comps are two very, very different things. Also, more controllable? No, not at all. What's more controllable a separate, dedicated line of compression independent from the source or multiple inserts on the source itself? Basic logic. You actually introduce way more variables, the only thing that stacking compressors does is to make the compressor less audible if you have to do high GR, and that's for plugins because hw very very rarely will have this problem. Also, if you do have to do massive GR, just automate.

[@ryand4533]

@@mixbustv LOLOLOL Parralle comp is basically group prossecing the way its most often used. YES singular processing is far more controllable. The reason it even came about was because analog gear was limited you only had 1 or 2 1176s if your were lucky. Why would I want to mess with my entire drum sound just to adjust something with my sore or kick? I've assisted 95% of the worlds greatest mix engineers. I only met one that still does parallel compression and the reason the older guys don't is because they aren't limited by gear they can have 20 1176s now thanks to plug ins. The reason the guy still does is because its a very quick fix but quick fixes are for clients you don't really care for or songs you don't think will chart. And being different techniques is irrelevant what matters is what I'm using them for. You can do 1000 things a 1000 different ways in a real studio. Thats what professional studios are for versatility. What ever technique your more comfortable with is what's right. Everything in mixing is staging be it Eq, gain or compression. If you get the same sound does it matter how you got there? The best mixers in the world do a lot of things most people would think doesn't make sense but it sounds great.

[@kadiummusic]

​​​@@ryand4533You say there are many different ways to get the result you want, but then you criticise parallel compression? 🙄 If nobody is doing it why does nearly every single plugin now he ave a wet/dry knob? 🤔

[@ryand4533]

@@kadiummusic Because it makes it easy for amateurs.

[@BukanIbuMu]

Nolly uses the wet dry knob and he is not an amateur. ​@@ryand4533

[@cerebralcoma4850]

Isn't it better or maybe easier to do the parallel only to things that don't bleed too much? using a debleeder on the snares before (or after) on the parallel bus?

[@mixbustv]

Generally speaking, you want bleed, that's what makes a lot sound like a kit, and that's why mixing real drums is not like mixing a hip hop beat

[@cerebralcoma4850]

@@mixbustv For sure, maybe sending the overheads by themselves too to a separate parallel.....? love the snap sound you are getting

[@davidkeller8084]

Man I love the approach of your channel, you explain your reasons for using this method or that method and I have used some of your suggestion to achieve some really cool sounds. But it makes me question when I am told "listen to me I am a professional " and my profession is sound. And I hear the sound of this video (and other's with your signature) and the audio is not quite up to par, blame it on you tube?

[@ryand4533]

Why would you blame KZbin?? He's an engineer that's what you mix for these days streaming is how almost all music is heard. He knows somethings but his execution is definitely sub par.

[@davidkeller8084]

@@ryand4533 Yes I know this man is a really good mixer, check out Bella. Great production and great sound. I was referring to the overall poor sound quality of this particular video.

[@ryand4533]

@@davidkeller8084 Yes I understood your comment. You didn’t understand mine. He’s still the audio engineer! It’s his audio in the video almost all music is streamed it’s the same as putting it on Spotify. KZbin isn’t different it’s internet audio so no he’s not a great mixer. He might have a few decent mixed but this video speaks to his “skills”. Look up mix with the masters ALL KZbin videos but amazing sound quality. Audio engineering is more than knowing the techniques it’s also ear training. His compression isn’t very good at all.

[@davidkeller8084]

@@ryand4533 All righty then, your right I'm wrong but, just reading between the lines. You seem to agree with me that, if some one says they are a professional sound engineer, you expect them to produce a good sounding video to sell their product. I personally will not buy his product. Maybe it is because he doesn't take the time to make sure his audio in his videos are "up to par" with even KZbin. So, be ware of what you hear on KZbin, enough said.

[@ryand4533]

@@davidkeller8084 Your not wrong it’s just a difference of opinion. But yes he is responsible for the audio in the video and that’s what I was trying to say so we agree on that. It’s just I’m an engineer my self and hold a very high standard for mixing. Based on his videos I wouldn’t hire him for mixing and damn sure not for mastering. He definitely has a lot of knowledge so I’m sure he’s a great recording engineer. Mixing and mastering are a much higher level of engineering that he’s not on. Most true mix engineers will tell you that your paying for their ears not their knowledge. They can hear on a much higher level than most people. His ear training is not up to par yet or as you mentioned he’s not taking the time to make his product it’s best.

[@harrynak22]

Would you use hardware on a parallel compression track? I remember you saying somewhere its a no go, just don’t really remember why. When using hardware with a mix knob, guess that’s something you’d do on the original track? Will it have the same effect?

[@mixbustv]

I don't remember ever saying that because I do it on basically almost every mix, you're a member I'm sure there are examples in the courses here, there's no reason as to why one wouldn't use a hw comp in parallel. As for the mix knob, no it's not the same and I personally don't like to use it, I want control over the parallel, both for levels, automation and further processing

[@harrynak22]

@@mixbustv Ah I remembered wrong, just reread my mail and it wasn’t about that, sorry! Good to hear

[@kaisersoze9488]

I use parallel compression for more attack and more punch and of course I use hardware to help the plugins achieve this to get a 3d sound because with plugins alone you will never get there

[@bboymac84]

Saying Fast and slow attack would confuse the shit outta me. Saying earlier and later makes more sense that’s just me. Lol

[@mixbustv]

That's definine just you lol

[@bboymac84]

@@mixbustv hahaha my mind is funny but I will soak info like a sponge

[@dannydaniel8975]

Sounds even better with an analog compressor

[@moyrmixhub54]

The API is an RMS compressor, that's why it doesn't grab the transients properly. The DBX160 is also an RMS compressor, so won't grab the transients either. The 1176 will grab them though. The fast setting on that is almost zero. Actually the slow setting isn't much slower to be honest.

[@mixbustv]

There is really no such thing as rms compressor. RMS or Peak would be the detection of a compressor and the API having both ff and fb can do both, it's just not as fast as the dyna or a 76

[@moyrmixhub54]

@@mixbustv Yes, I was referring to the detection mode. The ff mode with a fast attack setting, does respond a little more like a peak compressor, but it's not particularly fast. The 0.03ms attack time on it, is actually somewhere between 5ms and 10ms when compared to digital compressors, even in ff mode.It's not great at grabbing transients when compared to other options.

[@sjkdhgalgci]

​@@moyrmixhub54 I've (also) noticed that the attack times mean almost nothing, it's all about the attack curve/slope, and timing changes the size of that attack spike. Attack times in milliseconds are just confusing and only accurate with purely digital compressors. Release times are more accurate. I always approach compressors like ADSR envelopes in synths. Every compressor shapes the envelope in a particular way. 1176 has a spiky attack and linear release, SSL E gives half-bowl -like attack shapes, optos often make transients "laggy" and releases like a soft sponge. Nevermind, just rambling

[@davejohnsonmusic]

Your thoughts on adding EQ to the parallel comp, in the case of drums, like 80-100 Hz and 8-10kHz? I read about this in the Mixing Engineer's Handbook many years ago.

[@tekis0]

Try it! I've don't it before.

[@davejohnsonmusic]

@@tekis0 I have before. I was curious to his thoughts on the possible phasing issues that can occur.

[@crookman42]

what is with the voice track on this video? it sounds very over-processed, doesn't it?

[@mixbustv]

my DSLR levels were too high, shit happens

[@luis996]

Hey, D. I've heard something about exaggerating the highs and the lows when doing parallel compression, is that right?

[@mixbustv]

I don't eq in parallel, phase shift. Others do, you will have to compensate by ear. I don't understand why one would want to complicate things tho, it ain't no different than equing the source

[@lianmatic2]

@Camarade Toff wait so do you send drums and bass to the same buss or each to their own buss?

[@grandmaenjoysmusic]

@@mixbustv I think the purpose is to basically have frequency-dependant dry-wet ratio between compressed and dry signal ;)

[@mixbustv]

You still have phase issues

[@ryand4533]

@@lianmatic2 NO BASS, NO EQ! NY Compression is just another name for parallel compression. Most commonly done on drums but also works for bass and vocals. But you would not sum the bass and drums you would parallel compress them separate.

[@aviozstudio4903]

I prefer using parallel eq instead . Keeping everything natural just adding a layer for drums and percussion also main vocals.

[@mixbustv]

Not sure if serious..

[@django3108]

​@@mixbustvi will only let his comment slide if he's talking about parallel eq like TDR Nova... Otherwise I don't get it LOL

[@MadACeTeeMack]

Why parallel an entire drum mix and not the single track?

[@mixbustv]

Who said that you can't do both (I do, just to clarify). As for the actual question, because it's very different, because you'd do that for different reasons wanting different results

[@MadACeTeeMack]

@@mixbustv As an example with modern style music/tracks. Do you parallel an entire drum mix or individual drum tracks in a real live mix situation for a modern pop/rnb/rap song?

[@MadACeTeeMack]

@@mixbustv Also, what about parallel using other equipment, such as a Sansamp or Avalon compressor?

[@timschannel247]

Hi, sry I think you little missed, spending enough time to explain the real basic idea behind it and how it technically works. Why do you think nobody uses it? You just start with an Compressor A/B Test, making it even more complex using a sidechain, which can be sometimes useful to explain something, not often times in my opinion. I miss you explain that there are compressors with dry/wet achieving same effekt rather than bussing. What about Mid / Side Magic Tricks or "New York Compression"? What about phasing problems which you have to take into account when using frequency selective components in your parallel chain? I fear in that way people may think they need that specific brand´s compressors hardware achieving what you mean.. sry about all issues. Please consider it as positive meant feedback. Best Regards Tim.

[@mixbustv]

So, first of all there's no magic in mid side, none. You're just compressing the two channels differently, most people don't even change settings on the side channel which basically ends up with the mid getting compressed and not the side, and if, much less which in turns just makes the sides louder and people think "oh it's magic" it's not. There are specific reasons to use m/s compression especially in parallel. Second, using mix knob is not the same as using parallel, you don't have independent control over the two dry and wet, but instead you have a blend, and in case you want to process the parallel, you can't so it's a far inferior way to use parallel compression. Third, I have more video on parallel eq and multiband compressors than anyone else, dead horse, where did you even see a sidechain, I have no idea.

[@timschannel247]

@@mixbustv All good. Thanks for giving detailed answer concerning ms compression. I am really really happy by using an approach called spectral ducking for example Melda MSpectralDynamics or you can even build similar poormans one with vocoder, sidechain, compressor and bussing in any DAW. Did you every heard something of spectral ducking? Thanks in advance and best regards.

[@timschannel247]

@@mixbustvsounds to me, I better come up with an audio effect rack in any of my DAW like ableton, logic, bitwig or lets say even fruity loops. So I would claim I can easily pimp up any simple compressor by just wrapping effect audio rack arround it, putting a pure dry second channel into through and therfore having just your mentioned two explicit channels with individual gain sliders...right? So now I can put EQ or MS Tool to individual channels and I result in a reusable drum mixing tool I have created myself for further usage, right?

[@pmlaaudio468]

Oh no Dan Worral coming in to fact check a bunch of stuff….

[@mixbustv]

Bring it. And let's bet

[@AnthonyMcBazooka]

The guy who compared Cubase‘s channel EQ instead of Frequency to Fabfilter to prove that stock plugins are inferior? Good idea.

[@rickreddler]

and WHY NOBODY USES IT RIGHT!? in video just examples of parallel compression, but not answer this question)

[@aiconic10]

Nobody uses it right? That leaves you as the only person on earth that knows how to use a Parallel Compression. Who knew? "Parallel Compression. How I prefer to apply the technique." You're welcome 🙂

[@mixbustv]

You obviously didn't understand anything about the video, it's ok, not everyone gets it

[@dzezydzerk]

what a stupid title, it is not medicine , there is not wrong or right.

[@mixbustv]

Even stupider is your comment, topped by your analogy 👍

[@dzezydzerk]

@@mixbustv ok so you are using it in wrong way, sad to say. you started it :-)

[@markwind1661]

Nobody?? *Cough* clickbait *cough* ;)

[@kelainefes]

Aw come on, it's not meant literally. Maybe I'm biased because I really like the content so he could've titled this "how to grow your D by 3 inches in 3 days with this simple trick" and I would still be happy LOL.

[@markwind1661]

@@kelainefes haha totally.. At the same time though, I can't deny a sense of skepticism whenever i see hyped up titles that are quite obviously false and written to make people click. I know its a rough landscape, and the best we've got. Im certainly not saying anyone should do differently on my behalf, it just saddens me if talented folk feel the need to do it like that.. I get it, but.. still.