Could anyone please explain the difference between parallel compression and placing the second plugin directly into the signal chain with the mix knob set to the desired level? Is there one? Thank you very much! GREAT video btw, thanks a lot!
A compressor directly on the drum bus with a mix knob should achieve the same effect. As far as I'm aware, the reason you'd do the parallel compression this way is because 1) not all compressors have mix knobs and 2) having it on its own send allows you to choose how much of each mic goes into the parallel compressor like Nolly did here with the snare, whereas you wouldn't be able to do that if you just put the compressor directly on the drum bus. Another reason is workflow reasons as it could be easier to work with if you have the drum bus and parallel compressor on separate faders. Then you could set the level of the drum bus first then bring up the parallel compression to fill the space as needed. Just using the mix knob on the other hand would sort of tie the two together and you wouldn't be able to adjust them independently of each other
I want to make a very honest question: Does is this snare top triged? I mean, is this the really raw snare sound? Since the beginning it sounds very good! It has punch already! I'm really struggeling to make those Superior Drummer snares sounding good since day are completely dead. make it sound punch without a sample behing is very difficult!
You didn't hear what it sounded like with overheads and room mics. The close mics are just for boosting and cutting particular parts of the sound source. I bet it sounds awesome in the mix.
Bro, I've tried everything to figure out why my snare was peaking at normal volume, no settings... and this guy solves it on the first plug-in in this video🤦♂️
@@messengercrow Of course he doesn't, he has hundreds of thousands of dollars worth of analog gear bought before DSP was a viable option to justify to himself :)
All this processing to end up with an awful artificial (ready preset) alike, snare sound...?? Also, working every piece alone won't help you blend your drumset together. The biggest problem of todays sounding in prog metal/metal/core is that snare and Kick have the same attack origin sound that makes them sound similar in the whole mix. Kick and Snare need to give you contrast in sound, otherwise you miss the groove and dynamic elements you need to emphasize your artistic view about sound and music. Beyond that, everything is a "polished" but very flat and blurry thing...
I disagree with kick and snare sounding similar in modern stuff. I encourage you to listen to Jason Richardson stuff (Fragments) or I See Stars (Calm Snow, Light In The Cave). I love the sound of their records and kick certainly has a different feel than snare drum, although I know what you mean - in some records kick is so clicky it sounds like a tom.
Having an opinion is one thing and that’s ok, but you have absolutely no idea what you’re talking about. If you think kick and snare sound similar, you’re the problem, not the mix.
@@XiyuYang i get what he was trying to say. Yeah, every track has its own snare or kick sound. But with character, he doesn't meant pitch or overtone. Nowadays in modern heavy music, many drums are sounding really flat on the close mics and have lots of reverb or room track to compensate. It seems to be natural because of the room. But the behaviour of the close mics isn't there. In a few genres it is crucial to get that sound to be tight in the mix. But the character of a kickdrum in the kick out track feels more natural than a kickdrum that sounds like a being hit with a stick. Yeah, in many heavy mixes it is meant to be this way. But a really emotional and natural drumsound in heavy music like Karnivool. If anybody would youse the same template with the same preset on axe fx and the same drumkit in modern and massive, no one would have his own distinctive sound or character. Only the arrangement makes the difference in the artist. How many metal recordings have i ditched because i heard the same toontrack avatar kit in the first seconds of the album.
Nolly is the Bob Ross of audio production.
Hahaha man
And Dave Tipper is the Gordon Ramsay
I always figured it was acting Andy Scheps
Awesome video! 🔥
Holy wow. I followed this exactly and my snare sounds amazing. Thank you!
Never watched such an informative video. Your calm explanations are so precious. Thank you, Nolly!
wow.. . new fan on this approach.
Thanks Nolly - Your insight and expertise is so helpful to a up and coming audio engineer - I just love your skills
this gate is FABulous, its made by FABfilter
oKAY
Nolly's the best, don't stop making videos :)
I'd love to see a vid on the parallel compression / bus setup - or has Nolly done one already on this??
this video saved my LIFE on getting this snare to hit right on this album Im mixing right now! thanks ggd/nolly!
11:27 VERY THICC
That parallel comp you sent by post fader??
Love these videos!
Btw, there isn't a Ratio knob on my Smash and Grab!
It should be noted that this demonstration uses a beta version of Smash and Grab so some features and graphics are different in the released version.
Where did the ratio knob go?
Could anyone please explain the difference between parallel compression and placing the second plugin directly into the signal chain with the mix knob set to the desired level? Is there one? Thank you very much! GREAT video btw, thanks a lot!
A compressor directly on the drum bus with a mix knob should achieve the same effect. As far as I'm aware, the reason you'd do the parallel compression this way is because 1) not all compressors have mix knobs and 2) having it on its own send allows you to choose how much of each mic goes into the parallel compressor like Nolly did here with the snare, whereas you wouldn't be able to do that if you just put the compressor directly on the drum bus. Another reason is workflow reasons as it could be easier to work with if you have the drum bus and parallel compressor on separate faders. Then you could set the level of the drum bus first then bring up the parallel compression to fill the space as needed. Just using the mix knob on the other hand would sort of tie the two together and you wouldn't be able to adjust them independently of each other
@@MartinHeir Thank you SO much, that helps a lot!!! Cheers!
@@MartinHeir Wow thats great thank you
My mix sounds significantly better after having applied some of the things brought up in this video.
I want to make a very honest question: Does is this snare top triged? I mean, is this the really raw snare sound? Since the beginning it sounds very good! It has punch already! I'm really struggeling to make those Superior Drummer snares sounding good since day are completely dead. make it sound punch without a sample behing is very difficult!
It's just a snare sample, unfortunately...
Cool!
so what I'm trying to get here is an extremely T H I C C
are you using the VK snare in this mix?
hey guys vsauce here
I see the high skills of processing, but in my ears, that snare ended up sounding like a plastic sample.
Sounds better to me with a little boost at 200hz
But if fits the song and that’s what matters
too much compression
it's always like this; people try to avoid using samples and end up turning the "real" snare into a shitty sample-sounding piece of cr***
You didn't hear what it sounded like with overheads and room mics.
The close mics are just for boosting and cutting particular parts of the sound source.
I bet it sounds awesome in the mix.
what daw is he using here
Logic Pro
Wyatt Fisher thank you man
Bro, I've tried everything to figure out why my snare was peaking at normal volume, no settings... and this guy solves it on the first plug-in in this video🤦♂️
"fabulous"....."Made by fa filter"..bwhahaha gets me everytime
Your voice makes me sleepy.
His mix sounds amazing but Sounds kinda sound like digital or synthetic compared to guys like cla.
Good luck trying to sound like CLA in your bedroom..
TheCleansingx Fuck you
Thats because they have both different styles and the genres are very different.
cla himself said he doesn't like the plugins. he prefers the real ones. watch his interview with Beato.
@@messengercrow Of course he doesn't, he has hundreds of thousands of dollars worth of analog gear bought before DSP was a viable option to justify to himself :)
faTTah
All this processing to end up with an awful artificial (ready preset) alike, snare sound...??
Also, working every piece alone won't help you blend your drumset together. The biggest problem of todays sounding in prog metal/metal/core is that snare and Kick have the same attack origin sound that makes them sound similar in the whole mix. Kick and Snare need to give you contrast in sound, otherwise you miss the groove and dynamic elements you need to emphasize your artistic view about sound and music. Beyond that, everything is a "polished" but very flat and blurry thing...
I disagree with kick and snare sounding similar in modern stuff. I encourage you to listen to Jason Richardson stuff (Fragments) or I See Stars (Calm Snow, Light In The Cave). I love the sound of their records and kick certainly has a different feel than snare drum, although I know what you mean - in some records kick is so clicky it sounds like a tom.
Having an opinion is one thing and that’s ok, but you have absolutely no idea what you’re talking about. If you think kick and snare sound similar, you’re the problem, not the mix.
@@XiyuYang i get what he was trying to say. Yeah, every track has its own snare or kick sound. But with character, he doesn't meant pitch or overtone. Nowadays in modern heavy music, many drums are sounding really flat on the close mics and have lots of reverb or room track to compensate. It seems to be natural because of the room. But the behaviour of the close mics isn't there. In a few genres it is crucial to get that sound to be tight in the mix. But the character of a kickdrum in the kick out track feels more natural than a kickdrum that sounds like a being hit with a stick. Yeah, in many heavy mixes it is meant to be this way. But a really emotional and natural drumsound in heavy music like Karnivool. If anybody would youse the same template with the same preset on axe fx and the same drumkit in modern and massive, no one would have his own distinctive sound or character. Only the arrangement makes the difference in the artist. How many metal recordings have i ditched because i heard the same toontrack avatar kit in the first seconds of the album.
Well you can take it up with the most successful modern metal band currently and maybe you can have them as your client.