@Reggi_Sample Thank you so much for saying this! I am really flattered and I’m so glad you find the content helpful! Please let me know if you have any questions or content that you’d like me to cover! Thanks again!!
thank you! wouldnt it make sense to cut the clip and reduce 1-2 db off the second\hard part when you got this much of a difference between 2 parts? and why wouldnt you eq these 200-250k low mids masking your tone before any compression? thank you again.
@electrock Hi there! This video isn’t really about mixing that acoustic guitar, just showing a technique for parallel compression. I think you’re quite right that if I were working on a part that was “real world” I might do any of the things you’ve mentioned or more besides. Thank you so much for watching and commenting! I really appreciate your input!
Thank you so much. Very well described technique with clear goals. I could imagine also using it on other very dynamic instruments. Personally, I would have placed the plucked and the strummed guitar parts on two separate tracks and processed them separately. Your technique does have merit though.
Yeah, you’re definitely right! It would be preferable in a mix situation to not have to work out that dynamic jump on a single track! It would be a compressor, automation, crying yourself to sleep mix if you couldn’t have it on separate tracks! 😂 Thank you very much for taking the time to watch and comment! I really appreciate it!
This is a great tip, I'm used to multing or clip gaining in these cases. To me a picked guitar and a strummed guitar are different instruments, even if they're on the same performance, and the same for verse vocals vs chorus vocals. This is an extreme example but the technique is useful anytime you want to just reduce the dynamic range.
Thank you for this video. I was wondering, you said that we need a compressor with a fast attack time, but you keep the attack at the slowest setting!?
Hey! So, on the 1176, the attack control is slowest when to the left, and fastest when to the right. On top of everything, the 1176 is a crazy fast compressor anyway, with its slowest attack time on the Rev E type models being around 0.8ms. Having said that, the 1176 is also a program dependant compressor, so it will alter its setting by itself slightly depending on the material you’re putting through it.
@mrmorpheus9707 I think vocals might be my favourite place to use this! Just approach it in exactly the same way. Ask the singer to sing the quietest/gentlest part of the track (I would perhaps treat whisper sections as something else, so just quietest “full voice” sections) then set the compressor to right before compression kicks on the quietest words from that quiet section and level match. (Remember, 20:1 ratio or higher, fast attack) Then, you’ll notice a balance and a solidity to the sound that just helps sound “more impressive”. If you can monitor through the compression when recording, it will also help with how it feels whilst singing. You’ll make different decisions about your performance and will probably find it easier to get to where you want to be. Thank you for commenting and watching!
Hey, so watch out for the little bit of gain I add to the region about halfway through to level match the loudest section. That might be what is causing confusion? However, once level matched, the overall dynamic range is smaller, so once level matched the volume is effectively louder. Hence why compression “makes things louder” (it doesn’t, it turns stuff down but once level matched that’s the effective result!)
Thank you ever so much for watching! I am using Universal Audio’s LUNA, which I absolutely adore! It’s also free from UA for both windows and Mac right now so it’s worth checking out just for fun if nothing else. 😊
This is more parallel limiting because ratio is 20:1 and attack really fast on a 1176. Soft clipping and saturation in addition to this technique is cool to add even more density.
Absolutely! The Fairchild with time constant 1, the SSL channel on fast attack mode, and pretty much any of the built-in compressors in the DAW, like the Logic compressor- that’s an awesome one for this! It can do fast attack, high ratio, and has a mix control, so it’ll work wonderfully!
It might be! I haven’t used Waves MV2, but I’ve looked at it in the past, and I think it is a parallel processor. It might be a great thing to try for this sort of technique. I don’t know what the MV2 is actually doing under the hood, however, so I definitely can’t say for certain. I think the key in my video here is that you leave the quietest parts totally untouched, then hard compress anything going over it with a 50/50 blend. If the MV2 can do that, then it’d be a great tool to use!
In such case, I would simply do some broad manual edits, like cutting the clip and adjusting the gain manually... and then I'd try applying any compression 🤷 Also I use quite long release/hold times when I want to rather ride the volume and not interfere too much with the microdynamics. Parallel compression still doesn't really fix the main issues here, because even 50/50 doesn't sound transparent to me in the loud part, and the sound is still jumping in volume in those quieter parts..
That’s totally fair enough! I think I mention in the video that this is just a starting point, and is an extreme example, so think of this as just a first stage parallel compression that you can use moving forward, but really helps - I think mixing is about a lot of small moves, rather than one or two big ones. I’ve used it a whole lot and it really does help in a big mix! Happy mixing! ☺️
Nobody can tell the difference when you keep talking between A and B'ing something. Just loop the section and play with the knob in real time so we can hear the difference as it changes. Other than that, great tip and thanks for the video.
Thank you very much for the feedback! I’ll take that onboard and improve in future videos! Really appreciate you taking the time to comment and watch! ☺️
@andthensome512 Well spotted on the time signature! The riff is in 7/4 and it’s this little thing I came up with years ago. I must go and check out Classical Gas now!
Hey there, this example is to demonstrate how helpful parallel compression can be, so please don’t take the specific example too literally. Also, automation doesn’t handle millisecond dynamics, so I think it is quite useful thing to have in your toolset when mixing. In reality, if mixing this for real, it would likely be a combination of automation, splitting to tracks, maybe multiple compressors - but there aren’t any rules. It does depend on how the audio responds to any individual process and how that informs the process afterwards.
Still would want some compression, but.... He just made an extreme example to show that it works!!! Were you actually paying any attention at all?! He literally started the video saying it was an extreme example, recorded specifically to show how it worked! 😂
@damoufle7398 Hey, remember, lots of people are on different steps of their journey. Whilst there are countless videos on just about every topic in audio engineering, the subtleties do matter, and different ways of approaching a subject is a very important learning step. Even if you’re a person who can create pro mixes, and never needs to see another video on parallel compression, all it means is that this video just isn’t for you. It doesn’t mean it isn’t a perfect fit for someone else! I mean no harm creating this content, I am just showing people good techniques that I have used on many professional projects. Please don’t take this all so seriously! I hope you have a wonderful day!
@ramspencer5492 Thank you for commenting! I appreciate your input and I think you absolutely have understood what I was trying to communicate in this video. You are awesome and have a great day!
Glad this channel is active again, your videos are very helpful you certainly have a knack for teaching as well as mixing 🎉
@Reggi_Sample Thank you so much for saying this! I am really flattered and I’m so glad you find the content helpful! Please let me know if you have any questions or content that you’d like me to cover!
Thanks again!!
The best way to explain the principles of compression I’ve ever have come across! 👍
Oh thank you ever so much for saying that! I really appreciate you watching and commenting!!
Great technique, I didn't know I needed this. Thank you for sharing.
Thank you ever so much!! 😊
This is so good! Thank you!
My pleasure! Thank you ever so much for watching! Please let me know if there are any audio topics you’d like me to cover in my videos! 😊
I love a good squash! :)
You're ace. In case you didn't already know.
Thank you very much! You are awesome too! ☺️
Great stuff 👍😎
Thank you!!
Thanks again for sharing another great technique.
Matttbukovski would like to be like you when he grows up. 😊
My pleasure!! Thank you for watching!!
SUPER HELPFUL ! / I SUBSCRIBED !
I really appreciate you watching and subscribing! Thank you ever so much!!
thank you! wouldnt it make sense to cut the clip and reduce 1-2 db off the second\hard part when you got this much of a difference between 2 parts? and why wouldnt you eq these 200-250k low mids masking your tone before any compression? thank you again.
@electrock Hi there! This video isn’t really about mixing that acoustic guitar, just showing a technique for parallel compression. I think you’re quite right that if I were working on a part that was “real world” I might do any of the things you’ve mentioned or more besides.
Thank you so much for watching and commenting! I really appreciate your input!
Excellent man... just the kind of stuff thats really helpful.... chrers
Thank you ever so much! I really appreciate you commenting! Have an awesome day!
Thank you so much. Very well described technique with clear goals. I could imagine also using it on other very dynamic instruments. Personally, I would have placed the plucked and the strummed guitar parts on two separate tracks and processed them separately. Your technique does have merit though.
Yeah, you’re definitely right! It would be preferable in a mix situation to not have to work out that dynamic jump on a single track! It would be a compressor, automation, crying yourself to sleep mix if you couldn’t have it on separate tracks! 😂
Thank you very much for taking the time to watch and comment! I really appreciate it!
This is a great tip, I'm used to multing or clip gaining in these cases. To me a picked guitar and a strummed guitar are different instruments, even if they're on the same performance, and the same for verse vocals vs chorus vocals. This is an extreme example but the technique is useful anytime you want to just reduce the dynamic range.
Thank you ever so much for watching and commenting! I know what you mean! I’ll sometimes record strummed and picked separately, too!
Thank you alex
@patsony My pleasure! Thank you for watching!!
This is very helpful!
That’s great to hear!! Thank you for watching and commenting!!
@ I subscribed too ✅
@@therearenoruleshere I am so grateful for you doing so! Thank you so much!
Thank you for this video. I was wondering, you said that we need a compressor with a fast attack time, but you keep the attack at the slowest setting!?
Hey! So, on the 1176, the attack control is slowest when to the left, and fastest when to the right.
On top of everything, the 1176 is a crazy fast compressor anyway, with its slowest attack time on the Rev E type models being around 0.8ms.
Having said that, the 1176 is also a program dependant compressor, so it will alter its setting by itself slightly depending on the material you’re putting through it.
@AlexWhiteComposer thanks for the information.
No problem! My pleasure!
How would this work on a vocal?
@mrmorpheus9707 I think vocals might be my favourite place to use this! Just approach it in exactly the same way. Ask the singer to sing the quietest/gentlest part of the track (I would perhaps treat whisper sections as something else, so just quietest “full voice” sections) then set the compressor to right before compression kicks on the quietest words from that quiet section and level match. (Remember, 20:1 ratio or higher, fast attack)
Then, you’ll notice a balance and a solidity to the sound that just helps sound “more impressive”. If you can monitor through the compression when recording, it will also help with how it feels whilst singing. You’ll make different decisions about your performance and will probably find it easier to get to where you want to be.
Thank you for commenting and watching!
This is great! However how is is the waveform larger in the second one when the compressor settings are slamming the signal?
Hey, so watch out for the little bit of gain I add to the region about halfway through to level match the loudest section. That might be what is causing confusion? However, once level matched, the overall dynamic range is smaller, so once level matched the volume is effectively louder. Hence why compression “makes things louder” (it doesn’t, it turns stuff down but once level matched that’s the effective result!)
Amazing stuff thank you! i was wondering what DAW are you working in? cheers!
Thank you ever so much for watching!
I am using Universal Audio’s LUNA, which I absolutely adore! It’s also free from UA for both windows and Mac right now so it’s worth checking out just for fun if nothing else. 😊
This is upwards / parallel compression!
Yes, it certainly is!
This is more parallel limiting because ratio is 20:1 and attack really fast on a 1176. Soft clipping and saturation in addition to this technique is cool to add even more density.
@@spudstyle8872 I agree! I REALLY love saturation! It’s probably my favourite thing in sound!
@@AlexWhiteComposer yes me too but it's a complex thing, too many possibilities... I learn everyday !
Great video, thanks. Do you like this compressor settings in some other compressors?. Best/Mathias
Absolutely! The Fairchild with time constant 1, the SSL channel on fast attack mode, and pretty much any of the built-in compressors in the DAW, like the Logic compressor- that’s an awesome one for this! It can do fast attack, high ratio, and has a mix control, so it’ll work wonderfully!
Nice one, thanks!
My pleasure! Thank you for watching!! 😊
This is great trick. I was wondering, isn't it kind of close with what Waves' MV2 is doing?
It might be! I haven’t used Waves MV2, but I’ve looked at it in the past, and I think it is a parallel processor. It might be a great thing to try for this sort of technique. I don’t know what the MV2 is actually doing under the hood, however, so I definitely can’t say for certain. I think the key in my video here is that you leave the quietest parts totally untouched, then hard compress anything going over it with a 50/50 blend. If the MV2 can do that, then it’d be a great tool to use!
@@AlexWhiteComposerMV2 is a 2-fader upward/downward-compressor like OTT or Squasher in Cubase - could also b sum kind of maximizer.
Cool! Thanks.
@MustacheVerra My pleasure! Thank you for watching!!
In such case, I would simply do some broad manual edits, like cutting the clip and adjusting the gain manually... and then I'd try applying any compression 🤷 Also I use quite long release/hold times when I want to rather ride the volume and not interfere too much with the microdynamics. Parallel compression still doesn't really fix the main issues here, because even 50/50 doesn't sound transparent to me in the loud part, and the sound is still jumping in volume in those quieter parts..
That’s totally fair enough! I think I mention in the video that this is just a starting point, and is an extreme example, so think of this as just a first stage parallel compression that you can use moving forward, but really helps - I think mixing is about a lot of small moves, rather than one or two big ones. I’ve used it a whole lot and it really does help in a big mix! Happy mixing! ☺️
This very nice
Thank you! ☺️
I Watched and subscribed, thx
Thank you ever so much!! Can’t tell you how much I appreciate the sub!!
Nice!!Thanx!
My pleasure! Hope you have an awesome day and thank you for watching!
Very nice
Thank you!!
What about a vocal example? Would be great to add time stamps too. Thanks
That’s a great suggestion! I will add timestamps and do a video in the future with vocals! I really appreciate your input and comments!
@@AlexWhiteComposer Hey I see time stamps. Thank you :)
@ Yes! Thanks to your suggestion I’ve been adding them on all my videos since! Thank you so much!
And in Luna 🎉
Oh man, I love LUNA so much!! Do you use it too?
Yes @@AlexWhiteComposer
That’s awesome! Great to meet another Luna user! 😊
❤❤
🙏🏻☺️
Nobody can tell the difference when you keep talking between A and B'ing something. Just loop the section and play with the knob in real time so we can hear the difference as it changes. Other than that, great tip and thanks for the video.
Thank you very much for the feedback! I’ll take that onboard and improve in future videos!
Really appreciate you taking the time to comment and watch! ☺️
@@AlexWhiteComposer I subscribed.
@@chadmichael_ thank you!! 🙏🏻
is this an ad for a hair product?
Haha!! This comment has made my day! Thank you! 😅
@@AlexWhiteComposer 🥳
6:26 and 6:29...
Sounds like Classical Gas in odd time.
@andthensome512 Well spotted on the time signature! The riff is in 7/4 and it’s this little thing I came up with years ago. I must go and check out Classical Gas now!
@ awesome, sounds great!
This makes no sense : just automate the volume of the part you want to put down ... no need to reach for a compressor just for that.
Hey there, this example is to demonstrate how helpful parallel compression can be, so please don’t take the specific example too literally. Also, automation doesn’t handle millisecond dynamics, so I think it is quite useful thing to have in your toolset when mixing. In reality, if mixing this for real, it would likely be a combination of automation, splitting to tracks, maybe multiple compressors - but there aren’t any rules. It does depend on how the audio responds to any individual process and how that informs the process afterwards.
Still would want some compression, but.... He just made an extreme example to show that it works!!! Were you actually paying any attention at all?! He literally started the video saying it was an extreme example, recorded specifically to show how it worked! 😂
@@ramspencer5492 Is making a video on parallel compression in 2024 taught you anything usefull ? Moreover with an caricatural exemple ? Come on ...
@damoufle7398 Hey, remember, lots of people are on different steps of their journey. Whilst there are countless videos on just about every topic in audio engineering, the subtleties do matter, and different ways of approaching a subject is a very important learning step. Even if you’re a person who can create pro mixes, and never needs to see another video on parallel compression, all it means is that this video just isn’t for you. It doesn’t mean it isn’t a perfect fit for someone else!
I mean no harm creating this content, I am just showing people good techniques that I have used on many professional projects. Please don’t take this all so seriously! I hope you have a wonderful day!
@ramspencer5492 Thank you for commenting! I appreciate your input and I think you absolutely have understood what I was trying to communicate in this video. You are awesome and have a great day!
how bout a deEsser on yer voice, tho 😂
I shall add one on future videos. Thank you for the suggestion!
@ subscribed! 🙏🏽🙏🏽🙏🏽
@@dallaslouis thank you!! I appreciate that so much! 😊🙏🏻