He turns next to the UAD Neve 1073 and explains that the technique he’s using was shown to him by Jack White when they were mixing the album “Consolers of the Lonely” by the Raconteurs. He starts by turning the original vocal track down some because it’s the one that will be driving the amount of compression on the 1176. Parallel—or New York style—compression is a technique where the dry (uncompressed) signal is blended in along with the compressed signal. In this case, the effect of the FATSO Jr is to give the snare some more oomph and make the whole kit sound slightly more saturated. How to … Everything is “blasted wide open.” It has four different processors in it: Saturation and Distortion, a Warmth Processor (high-frequency distortion), Transformer and Tape Head Emulation and a Compressor. He applies FATSO Jr and the 1073 in parallel, although the way he has the vocal tracks configured in the Pro Tools mixer is unusual as parallel setups go. Follow the trail! Parallel Compression is a form of upward compression where two identical signals are run side by side. Parallel compression’s a great way to keep a sound natural while putting it “in the pocket.” (General Purpose) compressor, which is providing about 5dB of gain reduction with the Warmth circuit is set full. Ever popular in mixing for its ability to beef up drums, park a vocal, and generally add energy, it can also be put to good use in the mastering process. The effect of parallel compression is subtle, and is heard on the lower-level sounds. And now the parallel compressed version. The effect of parallel compression is subtle, and is heard on the lower-level sounds. You are going to learn everything you need to know about Audio Masterclass to get your career moving. But this isn’t *real* reverb. The vocal track’s output is the bus that’s feeding all three of the processor tracks. Ex 1. The higher you turn the plug-in’s input, the more harmonic generation and soft clipping you get, and the harder you hit the compressor if it’s turned on. “If it ain’t broke, don’t fix it,” would be an accurate way to describe Vance Powell’s approach to vocal processing. The higher level sounds are almost unaffected. Sometimes, you might want to control an instrument’s volume without making it too obvious. Even on ballads, he uses it but sets it low. Parallel processing—particularly with compression—allows more of the original transients to come through, yet still sounds processed. Tweet . How to automate tracks that have parallel compression is an article I wrote about the problem of changing fader level, either manually or through automation, while you are parallel compressing. FREE EBOOK DOWNLOAD ► Come on the FREE COURSE TOUR Yes of course you can add reverb to any instrument or vocal with a reverb plug-in. Now you can - With The Audio Masterclass Music Production and Sound Engineering Course, With our free guide you’ll learn how to choose the best equipment and software to build your own first-class home recording studio. The Warmth is turned to a low setting and the compressor algorithm is set to Tracking, which is attenuating by up to about 7dB. I'm going to put you on the trail of some advanced vocal compression tricks that the professional mixers use, but I can't go into full depth on any of them. (adsbygoogle = window.adsbygoogle || []).push({}); Copyright © 2000 - 2020 Imaginative Resources Ltd. and licensors. How to automate tracks that have parallel compression is an article I wrote about the problem of changing fader level, either manually or through automation, while you are parallel compressing. Common Uses of Parallel Compression. 4: The setting for the rhythm guitar includes light compression using the Buss algorithm, which has a slow attack that keeps the transients from being squashed. Powerful Parallel Compression. This allows you to harness the power of a heavily compressed vocal in a way that isn’t easily noticed. Usually, you see parallel processing applied in one of several configurations. | Privacy Policy | Terms of Use, How Google uses data when you use our partners’ sites or apps, Ready to take your recording to the next level? If it isn’t clear to you, then I could say listen again. So lets say your Vocal is routed to a standard Vocal Buss. For the first two measures of each, the processing on the FATSO Jr is bypassed so you can compare when it’s engaged starting on bar 3. What I didn’t include in the article because it would have drawn attention away from the actual issue, is what parallel compression sounds like, specifically on vocals. Of course the article includes a simple and effective solution, so I recommend reading it if this is an issue for you. The UAD plug-in version of the EL7 has even more processing options than the original hardware. The lead guitar track has FATSO Jr inserted on it. Each has a preset selection of parameters including knee, attack, release and so forth. Parallel Compression on Vocals. Parallel Compression Vocals | Vance Powell . Why? Watch the full video here “If it ain’t broke, don’t fix it,” would be an accurate way to describe Vance Powell’s approach to vocal processing. For vocals, I completely recommend the starter settings above, especially with the fast attack. Ahh, parallel compression! Because if your sound insulation is good, you have also blocked all the pathways to fresh air. Subtle parallel compression doesn’t only work well on vocals or drums. Tweet . Next, he plays the mix and adjusts the relative levels of the three parallel tracks. The idea is to put distortion on the vocal with the 1073. He compensates for all that extra gain by turning down the 1073’s output an equivalent amount. To use something “in parallel” is when we take a signal (lets use VOCALS as an example here since this tutorial is about Parallel Vocal Compression), and we send it to two places. Turning the gain up on the UAD Neve 1073 plug-in allows Vance to add more saturation to the vocal. Of course you would never do this in a real-world project, but it is a very clear demonstration (if you are listening on headphones as I suggested) and you can now go back to the previous uncompressed and parallel compressed examples and listen with newly-focussed ears. If you don't use a fast attack then you'll doubly boost the transients once you combine the tracks, which defeats the purpose. STF: Tyler Bryant & The Shakedown by Vance Powell, Start to Finish: Vance Powell - Episode 10 - Mixing Part 1, Get Access to hundreds of free mixing tutorials. What Vance has setup is a bit different. Parallel Compression Vocals | Vance Powell . Ahh, parallel compression!Ever popular in mixing for its ability to beef up drums, park a vocal, and generally add energy, it can also be put to good use in the mastering process. He thinks it’s the closest thing to a real 1073. Thats signal 1. But when the level is low, the image will swing to the right, showing that the parallel compressed version is louder. This should help make the vox sound full. A combination of how hard you hit the input and where you set the ratio (he has it at its lowest setting, 4:1) controls the amount of compression. Once you do get into the mic area, you’re adding 30dB of gain. Listen out for breaths, small mouth noises, background ambience and reverberation, and later on another singer warming up in the studio’s rest area – We did of course retake this but the intrusion forms another interesting demonstration of what happens in compression.