Recording - June 2017 - 30

Parallel
Compression IN PRO TOOLS

A fantastic technique made easy-or really easy

BY BILL STUNT

B

lending compressed and uncompressed
audio signals together, commonly referred
to as parallel compression, is a very effective

tool for achieving relatively transparent gain
management and increasing excitement in your
audio mixes. In this article I'll give you a quick
overview of what exactly parallel compression is
and show you several methods for accomplishing
it in Pro Tools. I'll also show you some specific
strategies to get you started experimenting with
the technique in your mixes. (Though the specifics
of this article are focused on Pro Tools, the principles
and fundamental techniques can be applied to just
about any modern DAW.)

Some history

I first became aware of parallel compression-sometimes
referred to as New York compression, apparently due to the
propensity of NYC engineers using the technique-many
years ago while observing a very seasoned engineer. I
n o ticed that he split the output of the bass track
from a multitrack recording to two separate channel strips.
He inserted a compressor on one of
the inputs and then carefully blended
the two signals together.
It took some prodding to get him
to explain what he was doing and
why. The audio effect was impressive;
the bass sat solidly in the mix with
an added weight and presence
without any noticeable flattening
of the natural dynamics of the
performance. Needless to say, I
paid attention. It's a technique I've
used and expanded on ever since.
Commonly engineers employ
compressors to attenuate peaks in
an audio signal, allowing them to
push up the average level of the
signal in the mix. Compressors can
also be used to even out an overly
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RECORDING June 2017

dynamic performance, giving it a more consistent level and
presence in the mix. By manipulating the compression attack
and release settings, it's possible to increase the sustain of the
signal being compressed.
Obviously, compressors are very useful tools in the mix
realm, but they aren't without their drawbacks. Audio
compression, by nature, messes with the natural dynamics of
the signal being compressed. Sometimes the goal is to
emphasize that manipulation ("compression as an effect"), but
more often the goal is to achieve something more subtle. It can
sometimes be a delicate balancing act to get the positive effects
of audio compression while maintaining a sense of authenticity.
Parallel compression is a technique that allows you to get
many of those positive results while preserving a more natural
feel. Many engineers use parallel compression to subtly
manage gain, while at the same time giving the processed
signal a sense of snap and punchiness that is very attractive to
the ear. Some engineers use parallel compression to achieve
some of that "compression as an effect" sound without it being
quite as obvious-the best of both worlds.

On or off the bus

There are several ways to set up a parallel compression
chain. All of them are easy while working "in the box". Using
a bus is one of the most effective methods, especially if what
you want to parallel compress is a submix of many elements.
For example, the excitement factor parallel compression can
provide is very effective on drum and percussion submixes.
Rather than try to do this to individual
elements, it's far more effective
(and simple) to apply the processing
to a submix. Here's how to set that
up in Pro Tools.
It's important to work up a good
mix first, before you process and
add back your parallel compression.
You will be, with this methodology,
applying the effect while evaluating
it against the entire drum mix. As
you'll soon see, you can fine-tune
the amount of parallel compression
applied to each track in the submix as you continue to work on
fine-tuning the mix as whole.
When you're happy with your
mix, create a new stereo aux
input in your Pro Tools project.

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