I like to use Logic's 'vintage VCA' (with moderate ratio) and 'Opto' (with high ratio) in parallel on vocals, plus some unaltered original track added.
I do parallel everything. Not quite everything but it's just so easy to work with stuff if one uses a track with dressing on it next to the clean track. But delays and reverbs and 'squash' type compression is so easy to control if it sits beside the clean track. In the 80s we were doing this 'when' we had enough channels to accommodate. Live stuff or garage recording back then, I remember the boards seemed to be either 16 track or 24 tracks. With live drums one would run out of channels on a 16 track and have to use the boards internal effect routing but with the 24s there always seemed to be one or 2 channels left over and it was such a luxury.
Drums, vocals, bass. Love to give some harmonic distortion and compression and bring that bus under the original to help it sit better as well as cut through and add some energy. A little goes along way. Drums especially benefit from some crushed parallel compression. Really gives them some punch and spank.
MDN is one of my favorite guest presenters here. He does such a great job of explaining things. In fact, I wish this explanation was out there when I was originally learning about NY Style Compression. Even if I feel like I really know a concept, I always learn some new tricks on this channel. Amazing content, as always!
Parallel compression is something I learned at Full Sail University and have been using ever since. I love how you can make a track be completely different from the original by adding information to it, like harmonics from saturation, then blend it together with the original track for enhanced sound.
appreciate the encouragement re: having fun. my ears have been open on this guy ever since the standardclip / punch back in kick vid. thank you very much. interesting/amusing about the idea that there aren't as many bands that go this way nowadays, i found that to resonate
Since I've learned the parallel things I just can't stop using these technics, always exploring and searching for new approches and tricks. So thank you very much Marc for sharing your tricks. One more enlightening moment !!!
I watched this on my phone and even through the phone speaker i could hear a massive incredible difference ! It's like it brought breath into the track. I love it. Awesome job. Thank you so much for this ! ❤️🙏🏻
Songs From The West Coast is one of my go to albums for SO MANY things. This Train Don't Stop Here Anymore is a favorite of mine just as a song. But the intro with the bass and piano at the same time. The bass mix is amazing. What a great album musically and technically.
Marc is my main mix guru! I light up when I see he has another video. The TG on piano in parallel is already my go to; I love how brings out the soundboard resonance for a more 3D sound.
Super cool. I'm only just beginning to get comfortable with parallel compression on things other than drums and vocals. So this is a huge help. Thank you, Marc.
Recently wanted to bring up the vocal in a mix to make it stay on top and the one thing that worked really well was the CLA-76 on the Bluey setting in parallel. Great plugin for that kind of thing!
The sound you are getting sounds like liquid platinum to my ears. Wow best video on parallel compression. I've got to implement in my mastering chain along with my analog/digital multi-band compression. I have a couple of good quality compressors that I can dedicate for parallel processing. Perhaps a Dangerous Liason might be a big help. Thanks!
What a great video again, thanks to Mark & Warren !!! Please fix the multitrack files, because the snare and kicks sample files are missing (they are the same as the whole mix file) and I wanted that fat snare sample, and kicks too thanks again
Ive watched all of these but I keep coming back to them or re-finding them as I am learning things. This was just what I was looking for one year after I first watched it! :)
Marc showed us how he uses reverb in a video, really great. I would like to see more about how to use different reverbs on different tracks/instruments, definitely one of the hardest part of mixing, really hard to get a grip of the sounds of reverbs. I know why I should use predelay or the differense between a hall and a plate reverb, but I have no feel for it, that’s the hardest! 😊
high pass and low pass to focus the mids, then scoop the mids. turn the level up on the reverb bus until whatever you're reverbing starts to sound wider.
Thank you Marc! For the second time you saved my life! This parallel compressor with the TG12345 on the piano sounds handsome, it really helped me with the final song for an album I'm just finishing mixing today.
Thanks Marc & Warren !!! Wicked kool stuff here ! Most appreciated ! I'm really diggin' Marc's style. Very kool approach but, detailed, informative and fun ! Therefore, inspiring ! Cheers !
The bass drum flab reminds me of an Extra Classic song (as well as raw drum tracks on Abbey Road). I swear by my hardware dbx 166 (the old one) for both parallel compression/distortion. Often with a peavey kosmos exciter/enhancer right after. Before the pandemic I tracked a live fest and had to sum all drum mics to stereo. Made a parallel of snare and toms with one channel of a 3630 and omg! Huge sustaining drums, plus extra consistency from drummer to drummer in the 12 bands that played that night.
warren your the best thank you and i thank God he made men like you people have learned a lot from you you open a lot of eyes and ears of coarse thanks again for your Marvelous efforts keep makin hits
A trick I learned (At least a trick for me) was to use parallel compression and smash the Sh*t out of the kick and then blend the original with the compressed version. The compressed one would just be barely audible but it would create a massive kick sound. \m/
I realized it has some similarities with additive synthesis. F.e. you can get square wave from sine wave by distorting it, but by adding distorted wave to sine you'll get a blend of both without changing a character of the sine... does that make sense?
Thanks for a lovely video, very informative and musically focused. I had a question if I may; re. the phase difference between the 'in line' compressors mix knob, and a separate aux. My current understand of most compressor mix knobs is that they don't work the same way as parallel compression, hence it would sound different, but I couldn't see why there would be any delay, with compensation on in Pro Tools?
Ha, me too! Reminded me of a guy I jammed with that kept dropping the last 1/8 on a 12/8 shuffle...and didn't know it. Fantastic video though...to the point. Marc is awesome.
I'm about to record piano so very interested in and thanks for your thoughts. At 16.50 the piano clips to my ears but I rarely seem to hear piano that doesn't clip. A piano's attack is a nightmare for most engineers it would seem. Be great to have a tutorial on recording piano.
I don`t know what you mean. At that point the fader reaches -16dbFS. So it`s not clipping on his system. Maybe on yours. But what does occur is a jump in the level. And that is surely a bit too much.
I still understand how to achieve balance in the mix when the instruments are played throughout the composition. For example bass, drums, rhythm guitar. But there are parts that do not sound in the whole composition. For example, on the example of the sound of the keyboard or harp (it reminds me of the keyboard). This is a side theme that I pay attention to when I hear the mix. I don't know how to achieve this. Especially when there are many such baroque side themes in the mix, they are counterpoint.
PROBLEM with the downloaded multi-tracks! The kick and snare sample tracks are copies of the full mix rather than what they claim to be. (BTW - Thanks for the multi-tracks. Cool song!)
I love that you included the synonyms. Isn't upward compression something though? So i looked it up and it seems like parallel compression can at least approximate what upward compressors do which is bringing quieter sounds up to the threshold.
I had to look it up as well. It's technically only "upward", it seems to me, if the parallel compressor has a fast attack and release, and you turn the volume up on that parallel channel - thereby crushing the transients and allowing the quiet and ambient sounds to come up. But this relies on the dry channel for the transients to stay in tact.... So, well, it looks like "parallel compression" is a better term.
Another great topic. One thing that I would like to ask though. Could you please include a text file in your zip files, with basic info like band name, song name? Thanks.
Hey Warren!! Thank you so much for these great videos :) And I think you can answer this question too Lots of TH-camrs advise guitarists to send the DI tracks to the mixing engineer so the engineer can make the guitar tracks fit into the mix. But I (am a beginner) think any of the tones of a guitarist can fit his song. What is your idea about this? Hope you will answer : )
Yo Warren, Blair Sinta has a podcast about recording drums with only 100 views imaginatively called Recording Drums w/ Blair Sinta. It's fantastic and he needs a shout out. Not saying you have to but you know.. Come on, man. It's Blair Sinta.
Thanks Marc for this lesson on parallel compression, something I will be experimenting on in the future. I noticed you are using pro tools, are the compressors highlited here available in logic pro?
According to ReverbNation their last gigs were in 2011!!! No recent FB updates, domain name is available. Last tweet 2012. So. Maybe they've finished. A shame but making it as musicians is really hard.
Hi, thanks for the tips! I notice that when you're using the TG12345 for the piano you've got the Mix set to about 60% - for parallels shouldn't the Mix be 100% wet? Or is the TG inline?
Hey Warren, thanks for the great video. I was literally talking to a student about PC the other day. One thing, when I click on the multitrack and settings link, I get nothing. I wanted to grab them for a student. It might just be my location or browser settings.
Isn't there a certain anti-parallel compression school of thought represented in particular by Jack Joseph Puig? The idea being that compression is a time domain instrument rather than dynamics, and doing parallel completely destroys the ability to precisely manipulate the timing with compression.
Both are so good! One is fun an excitement - hyping us up...have no fear....we got this.... the other is all zen...making us focus and pay attention at our fullest....blink and you miss it...
trying to download the Multitrack and Settings,,, It seems to be a broken link.... Get a blank Screen on my Mac and my Windows machine. Is there another link?
Yeah. I'm not sure what you mean by guitar floor compression. I assumed it's a guitar compressor pedal. Yeah it is but with more extreme setting and more gain reduction
The "problem" with parallel compression I usually have is that it simply makes stuff louder, so sometimes it's hard to know (for me) wether I like the loudness, or the processing I do on it. I tend to try to get away with as little parallel compression as possible and that might be a mistake, since I'm not getting enough experience with PC that way.
I’d say keep seeking for equal loudness. I like it, when the parallel compressed track is just slightly mixed in, making the track more consistent and stable but not essentially louder. A good designed plugin mix knob or some tricks with additional bussing might be helpful too. Also, it is much more subtle when you listen to the mix as a whole. It should mainly affect quiet parts and make them better hearable.
@Sounder I understand compression and I hear what it does... but it's easy to gain-compensate for regular compression, it's not easy for parallel compression, since you (I) have it on another bus.. which means when I turn this bus up it gets louder.. that's just what it is and that's why whenever possible I prefer using a mix-knob... but obviously you can do a lot more on a separate bus, then just what the plugin with the mixknob does.
@@johnnyt5514 I'm not talking about peak/meter-loudness.. I'm talking about perceived loudness.. and when you are adding a signal that is in phase it always gets louder. I have no idea what kind of additional bussing would help to gaincompensate the adding in of a parallel compression-bus. I think the solution is simply to learn to be able to take the loudness into account. But that is a process and takes time... I don't think that process ever ends. I do not think there is a solution for this problem, I was just stating what can be troublesome when using parallel compression (for me).
once in a while you should make a bad video..just for the fun of it..like, give bad tips or something...is not possible that your videos are always that good.
![ILLSLICK X YOUNGOHM - We're The same [Official Video]](http://i.ytimg.com/vi/yUJNkobYR0E/mqdefault.jpg)
Have you ever used Parallel Compression? What else do you like to do when mixing? Let me know below!
do that on effects
I like to use Logic's 'vintage VCA' (with moderate ratio) and 'Opto' (with high ratio) in parallel on vocals, plus some unaltered original track added.
I do parallel everything. Not quite everything but it's just so easy to work with stuff if one uses a track with dressing on it next to the clean track. But delays and reverbs and 'squash' type compression is so easy to control if it sits beside the clean track. In the 80s we were doing this 'when' we had enough channels to accommodate. Live stuff or garage recording back then, I remember the boards seemed to be either 16 track or 24 tracks. With live drums one would run out of channels on a 16 track and have to use the boards internal effect routing but with the 24s there always seemed to be one or 2 channels left over and it was such a luxury.
Drums, vocals, bass. Love to give some harmonic distortion and compression and bring that bus under the original to help it sit better as well as cut through and add some energy. A little goes along way. Drums especially benefit from some crushed parallel compression. Really gives them some punch and spank.
Sometimes I make my own "exciter" via a parallel compression track that has an EQ at the front cutting all the lows out (keeping ~5khz and above).
This channel is like private production college without $200,000 in student loans.
Tay!
Wow!! Thanks ever so much!
The all have balls
i don't even mix the same genre but I've learned so much here
@@prashuryagoswami6122 isnt that the point of mixing? :P
MDN is one of my favorite guest presenters here. He does such a great job of explaining things. In fact, I wish this explanation was out there when I was originally learning about NY Style Compression. Even if I feel like I really know a concept, I always learn some new tricks on this channel. Amazing content, as always!
I always enjoy watching this guy doing magic.
Parallel compression is something I learned at Full Sail University and have been using ever since. I love how you can make a track be completely different from the original by adding information to it, like harmonics from saturation, then blend it together with the original track for enhanced sound.
appreciate the encouragement re: having fun. my ears have been open on this guy ever since the standardclip / punch back in kick vid. thank you very much. interesting/amusing about the idea that there aren't as many bands that go this way nowadays, i found that to resonate
What lovely music he always has to demonstrate with...
Since I've learned the parallel things I just can't stop using these technics, always exploring and searching for new approches and tricks. So thank you very much Marc for sharing your tricks. One more enlightening moment !!!
I watched this on my phone and even through the phone speaker i could hear a massive incredible difference ! It's like it brought breath into the track. I love it. Awesome job. Thank you so much for this ! ❤️🙏🏻
Thank you. The Waves TG12345 in parallel on piano is the choice gem for me! (adds to mixing notes)
Songs From The West Coast is one of my go to albums for SO MANY things. This Train Don't Stop Here Anymore is a favorite of mine just as a song. But the intro with the bass and piano at the same time. The bass mix is amazing. What a great album musically and technically.
Marc,
Thanks for the extra Grand Piano tip. I really like that !!
Marc is my main mix guru! I light up when I see he has another video. The TG on piano in parallel is already my go to; I love how brings out the soundboard resonance for a more 3D sound.
the haunting music in the beginning is always...."it's about to happen"
Super cool. I'm only just beginning to get comfortable with parallel compression on things other than drums and vocals. So this is a huge help. Thank you, Marc.
Recently wanted to bring up the vocal in a mix to make it stay on top and the one thing that worked really well was the CLA-76 on the Bluey setting in parallel. Great plugin for that kind of thing!
Thank you for the multitracks. Great tips ad always.
The sound you are getting sounds like liquid platinum to my ears. Wow best video on parallel compression. I've got to implement in my mastering chain along with my analog/digital multi-band compression. I have a couple of good quality compressors that I can dedicate for parallel processing. Perhaps a Dangerous Liason might be a big help. Thanks!
Best info I've seen on how to do proper parallel compression
What a great video again, thanks to Mark & Warren !!!
Please fix the multitrack files, because the snare and kicks sample files are missing (they are the same as the whole mix file) and I wanted that fat snare sample, and kicks too
thanks again
Dare I confess I keep coming back to your vids partly to see your dog? Effortlessly cool dog...by the way, you ain't bad either Marc!
Ive watched all of these but I keep coming back to them or re-finding them as I am learning things. This was just what I was looking for one year after I first watched it! :)
Fantastic! Thanks ever so much William
So many questions being answered on this channel. Thank you Marc, Thank you Warren.
This is a very well communicated discription. Thanks!
You're very welcome!
Great video - thanks for your generosity Marc......you're helping make us all a little better, what a great thing to do!
Thanks for this lesson, very informative ☝️👋🇨🇦
Nice the band sounds great. I really like the snare sound in particular. I'm from Chicago, I'm going to look the band up, thanks!
Marc showed us how he uses reverb in a video, really great. I would like to see more about how to use different reverbs on different tracks/instruments, definitely one of the hardest part of mixing, really hard to get a grip of the sounds of reverbs. I know why I should use predelay or the differense between a hall and a plate reverb, but I have no feel for it, that’s the hardest! 😊
high pass and low pass to focus the mids, then scoop the mids.
turn the level up on the reverb bus until whatever you're reverbing starts to sound wider.
Thank you Marc!
For the second time you saved my life!
This parallel compressor with the TG12345 on the piano sounds handsome, it really helped me with the final song for an album I'm just finishing mixing today.
Love PC, obviously on drums but on mastering projects also. Thanks for this Warren. Watching now 👍👍
Thanks Marc & Warren !!! Wicked kool stuff here ! Most appreciated ! I'm really diggin' Marc's style. Very kool approach but, detailed, informative and fun ! Therefore, inspiring ! Cheers !
Piano sounds superb
Great teacher, thank you so much, in that session did u send the signal pre or post fader?
I'm pretty sure that the dog is the actual mix engineer, and marc is just the "face" of the business
Excellent and well presented. I hope I can make it work without Marc's specific plugins.
Marc is the best !
Absolutely Wonderful and thank you Marc...Cheers
Great Mix MDN. Amazing skill
I LOVE THIS GUY!!! One of the best!
Marc daniel nelson is 🔥🔥
Fun, fun! Love the piano... Thx
yeah that piano parallel with the REDD plugin is killer
It's always interesting to see how others do it. Thanks!
Piano's my main instrument. I've been trying the TG12345 on it but not quite like this. Could be a game changer, as it sounds ace - thank you Marc!
Marc is rocking that long hair, greasy Covid studio quarantine look we all know too well.
Thanks for this fella. I love the sign off ... "go break some stuff". Cheers, :)
The bass drum flab reminds me of an Extra Classic song (as well as raw drum tracks on Abbey Road).
I swear by my hardware dbx 166 (the old one) for both parallel compression/distortion. Often with a peavey kosmos exciter/enhancer right after.
Before the pandemic I tracked a live fest and had to sum all drum mics to stereo. Made a parallel of snare and toms with one channel of a 3630 and omg! Huge sustaining drums, plus extra consistency from drummer to drummer in the 12 bands that played that night.
Fantastic! Looking forward to mix those tracks.
Thanks Marc and Warren! I would love to play with with parallel compression. 💕
Fantastic! Do it Audrey!!
Best mixer and teacher।
Fantastic. Thanks Marc!
warren your the best thank you and i thank God he made men like you people have learned a lot from you you open a lot of eyes and ears of coarse thanks again for your Marvelous efforts keep makin hits
This aint Warren
You’re the best Marc!
A trick I learned (At least a trick for me) was to use parallel compression and smash the Sh*t out of the kick and then blend the original with the compressed version. The compressed one would just be barely audible but it would create a massive kick sound. \m/
I realized it has some similarities with additive synthesis. F.e. you can get square wave from sine wave by distorting it, but by adding distorted wave to sine you'll get a blend of both without changing a character of the sine... does that make sense?
.Always have something ne wto learn, thanks.
Thanks for a lovely video, very informative and musically focused.
I had a question if I may; re. the phase difference between the 'in line' compressors mix knob, and a separate aux. My current understand of most compressor mix knobs is that they don't work the same way as parallel compression, hence it would sound different, but I couldn't see why there would be any delay, with compensation on in Pro Tools?
With parallel compression it's more ... better! :D
Thank you so very much!! Very helpful!
curti muito essa aula me ajudou bastante fico feliz por saber que existe pessoas que gosta de compartilhar se conhecimento 👏👏👏😎🤙
I know that I'm supposed to focus on the compression technique, but my prog-nerd brain only hears the 11/8 time signature.
Ha, me too! Reminded me of a guy I jammed with that kept dropping the last 1/8 on a 12/8 shuffle...and didn't know it. Fantastic video though...to the point. Marc is awesome.
I just love a compound time signature in a pop song!
I'm about to record piano so very interested in and thanks for your thoughts. At 16.50 the piano clips to my ears but I rarely seem to hear piano that doesn't clip. A piano's attack is a nightmare for most engineers it would seem. Be great to have a tutorial on recording piano.
I don`t know what you mean. At that point the fader reaches -16dbFS. So it`s not clipping on his system. Maybe on yours. But what does occur is a jump in the level. And that is surely a bit too much.
I still understand how to achieve balance in the mix when the instruments are played throughout the composition. For example bass, drums, rhythm guitar. But there are parts that do not sound in the whole composition. For example, on the example of the sound of the keyboard or harp (it reminds me of the keyboard). This is a side theme that I pay attention to when I hear the mix. I don't know how to achieve this.
Especially when there are many such baroque side themes in the mix, they are counterpoint.
Fantastic!
PROBLEM with the downloaded multi-tracks! The kick and snare sample tracks are copies of the full mix rather than what they claim to be. (BTW - Thanks for the multi-tracks. Cool song!)
I love that you included the synonyms. Isn't upward compression something though?
So i looked it up and it seems like parallel compression can at least approximate what upward compressors do which is bringing quieter sounds up to the threshold.
I had to look it up as well. It's technically only "upward", it seems to me, if the parallel compressor has a fast attack and release, and you turn the volume up on that parallel channel - thereby crushing the transients and allowing the quiet and ambient sounds to come up. But this relies on the dry channel for the transients to stay in tact.... So, well, it looks like "parallel compression" is a better term.
@@MikeBrayton Yes for what he's doing I think parallel is the right term.
Great video - Thank you!
@3:51 I bet you guys could churn out some vibing, jam songs!
Thank you for the wonderful tutorial!
What should the tempo and time signature settings for the project be?
Thanks ever so much!!
The dog looks like he's about to say: yes... he learned all that from me. :)
Another great topic. One thing that I would like to ask though. Could you please include a text file in your zip files, with basic info like band name, song name? Thanks.
Hey Warren!! Thank you so much for these great videos :)
And I think you can answer this question too
Lots of TH-camrs advise guitarists to send the DI tracks to the mixing engineer so the engineer can make the guitar tracks fit into the mix. But I (am a beginner) think any of the tones of a guitarist can fit his song.
What is your idea about this?
Hope you will answer : )
maybe I should give it a gander on the multitrack. Im from London so I call it London Compression :)
He is the reason why I suscribe this channel
Yo Warren, Blair Sinta has a podcast about recording drums with only 100 views imaginatively called Recording Drums w/ Blair Sinta. It's fantastic and he needs a shout out. Not saying you have to but you know.. Come on, man. It's Blair Sinta.
Thanks Marc for this lesson on parallel compression, something I will be experimenting on in the future. I noticed you are using pro tools, are the compressors highlited here available in logic pro?
Hi, the two kick sample tracks and the snare sample track appear to be just prints of the mix. Will this be fixed? Many thanks!
I would love to see Warren deconstruct more legendary songs like Thriller, Numb, Stairway To Heaven etc etc
According to ReverbNation their last gigs were in 2011!!! No recent FB updates, domain name is available. Last tweet 2012. So. Maybe they've finished. A shame but making it as musicians is really hard.
Yes, sad to see the band are no longer going and their music is hard to find!
very cool.
btw: the first thing i do..i look where the dog lies
Wonder how "left bank" recorded the harpsichord?
Thank you Mark! Great education once again.......
Hi, thanks for the tips! I notice that when you're using the TG12345 for the piano you've got the Mix set to about 60% - for parallels shouldn't the Mix be 100% wet? Or is the TG inline?
Great. Thanks
Hey Warren, thanks for the great video. I was literally talking to a student about PC the other day. One thing, when I click on the multitrack and settings link, I get nothing. I wanted to grab them for a student. It might just be my location or browser settings.
Downloaded the multi tracks some of them are not what they supposed to be all the sample tracks are the entire mix
download link does not work..... but as always , great Video ;-)
Isn't there a certain anti-parallel compression school of thought represented in particular by Jack Joseph Puig? The idea being that compression is a time domain instrument rather than dynamics, and doing parallel completely destroys the ability to precisely manipulate the timing with compression.
It's a bummer you can't find much info on the band, pretty solid group. I guess they don't have legs anymore
I'm a simple man, I see Marc Daniel Nelson, and I immediately click... (Don't worry Warren, I love you too)
Both are so good! One is fun an excitement - hyping us up...have no fear....we got this.... the other is all zen...making us focus and pay attention at our fullest....blink and you miss it...
trying to download the Multitrack and Settings,,, It seems to be a broken link.... Get a blank Screen on my Mac and my Windows machine. Is there another link?
Is parallel compression similar to a guitar floor compressor with a mix or blend control . Thx
Yeah. I'm not sure what you mean by guitar floor compression.
I assumed it's a guitar compressor pedal.
Yeah it is but with more extreme setting and more gain reduction
Yes sir, that is what I was talking about . Thx for the reply .
First in here! 😃
Nice! Hope you’re well Andy!!
@@Producelikeapro moving forward with the healing thing, thanks for asking. I enjoyed Marc's video.
Is anyone else having any issues downloading the multitracks for parallel Compression?
Dude, you could be Jimmi Simpson's twin brother. The likeness is uncanny!!!
The "problem" with parallel compression I usually have is that it simply makes stuff louder, so sometimes it's hard to know (for me) wether I like the loudness, or the processing I do on it. I tend to try to get away with as little parallel compression as possible and that might be a mistake, since I'm not getting enough experience with PC that way.
I’d say keep seeking for equal loudness. I like it, when the parallel compressed track is just slightly mixed in, making the track more consistent and stable but not essentially louder. A good designed plugin mix knob or some tricks with additional bussing might be helpful too. Also, it is much more subtle when you listen to the mix as a whole. It should mainly affect quiet parts and make them better hearable.
@Sounder I understand compression and I hear what it does... but it's easy to gain-compensate for regular compression, it's not easy for parallel compression, since you (I) have it on another bus.. which means when I turn this bus up it gets louder.. that's just what it is and that's why whenever possible I prefer using a mix-knob... but obviously you can do a lot more on a separate bus, then just what the plugin with the mixknob does.
@@johnnyt5514 I'm not talking about peak/meter-loudness.. I'm talking about perceived loudness.. and when you are adding a signal that is in phase it always gets louder. I have no idea what kind of additional bussing would help to gaincompensate the adding in of a parallel compression-bus. I think the solution is simply to learn to be able to take the loudness into account. But that is a process and takes time... I don't think that process ever ends.
I do not think there is a solution for this problem, I was just stating what can be troublesome when using parallel compression (for me).
You can't beat New York compression or pizza. They both need to be part of your daily routine.
once in a while you should make a bad video..just for the fun of it..like, give bad tips or something...is not possible that your videos are always that good.
3:14 Tom Petty chilling in the back on the sofa.
This guy should play Link in a Zelda movie
Hahahha! Totally