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Post by vvvooojjj on Nov 2, 2023 1:19:56 GMT -6
Parallel compression does create the rhytmic push-pull if you balance it correctly. You can also change the movement easily for choruses if your using more thank one parallel compression bus.
One thing I find really nice in parallel compression is that you don't paint your self in the corner, especially if the artists/producer has a demoitis, it is easy to go back to the "basic" sound of the drums.
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Post by theshea on Nov 2, 2023 2:24:30 GMT -6
I use the OTO Boum for parallel most of the time. Sometimes I like to gate the parallel comp - and before or after are two different flavors. One, it controls the tail end bleed but it also can sometimes create its own groove or ghost note kind of thing if you get it right. You can also create your own transient designer of sorts by gating and then high-ratio compressing the gated hits. If you're willing to deal with some phasiness and high end loss, it's cool to blow up and distort something or even massively filter the parallel chain and sneak it in. You lose clarity to gain power and size I guess. I will say that I like group compression just as much, if not more. I feel sometimes like it's a slight cop-out to stick with parallel and you're missing out on a chance to create a rhythmic push-pull of compression envelopes in the mix. Jack Joseph Puig talks about this a lot. yeah i use a transient designer sometimes to shape the parallel bus. works great for enhancing the groove like you said. |
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Post by jaba on Nov 2, 2023 6:21:44 GMT -6
I will say that I like group compression just as much, if not more. I feel sometimes like it's a slight cop-out to stick with parallel and you're missing out on a chance to create a rhythmic push-pull of compression envelopes in the mix. Jack Joseph Puig talks about this a lot. You can always use both of course. Personally, I pretty always have some kind/degree of compression on a drum buss, with parallel happening on maybe 50% of mixes. The parallel is also routed to the drum buss so it ends up being a part of the envelope you're referring to. |
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Post by lee on Nov 2, 2023 22:04:46 GMT -6
I will say that I like group compression just as much, if not more. I feel sometimes like it's a slight cop-out to stick with parallel and you're missing out on a chance to create a rhythmic push-pull of compression envelopes in the mix. Jack Joseph Puig talks about this a lot. You can always use both of course. Personally, I pretty always have some kind/degree of compression on a drum buss, with parallel happening on maybe 50% of mixes. The parallel is also routed to the drum buss so it ends up being a part of the envelope you're referring to. I like compressing the whole bus, but a blend control is nice sometimes. |
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