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New York Parallel Compression (NYPC for short)

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New York Parallel Compression (NYPC for short)

Postby blinddrew » Tue Dec 15, 2020 11:51 pm

Just been listening to Matt Gendreau's podcast (https://www.soundonsound.com/techniques ... ng-podcast) on parallel processing and at the end he talks about NYPC but describes it is as sending the drums (or the kick and snare) to the parallel compressor.
But I'm pretty certain I'd read previously in SOS (several years ago I'm afraid, can't find a link) that said NYPC was where you sent everything BUT the drums to the parallel compressor.
Or is it just one of those terms for using parallel compression on a mix and the details are up for grabs?
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Re: New York Parallel Compression (NYPC for short)

Postby desmond » Wed Dec 16, 2020 12:24 am

It's a term for when you take a track, bring it up on two parallel channels, you compress one channel fairly heavily, then bring the level slowly up in parallel with the dry signal so you end up with a denser, thicker signal but don't kill the peaks/transients.

People do this on drums, on drum pieces, on bass, on busses, on whole mixes - doesn't really matter, it's the technique that counts.

(The "mix" knob on a compressor is a simpler one-channel way to do this, you have a high dry level and a low, hard compressed signal mixed in.)
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Re: New York Parallel Compression (NYPC for short)

Postby blinddrew » Wed Dec 16, 2020 12:28 am

Sorry, for clarity, I'm clear on the concept of parallel compression, it's just the 'New York' flavour I was asking about because previously I'd read of it being specifically being the mix minus the drums.
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Re: New York Parallel Compression (NYPC for short)

Postby desmond » Wed Dec 16, 2020 12:38 am

I think people have used that term for different things over the years.

My understanding of it is specifically bringing up a super-compressed parallel signal underneath the dry signal, for added density, without killing the peaks/transients.

It's irrelevant to which audio you use the *technique* on.

It matches what Wiki thinks:
https://en.wikipedia.org/wiki/Parallel_compression

Parallel compression, also known as New York compression, is a dynamic range compression technique used in sound recording and mixing. Parallel compression, a form of upward compression, is achieved by mixing an unprocessed 'dry', or lightly compressed signal with a heavily compressed version of the same signal. Rather than lowering the highest peaks for the purpose of dynamic range reduction, it decreases the dynamic range by raising up the softest sounds, adding audible detail. It is most often used on stereo percussion buses in recording and mixdown, on electric bass, and on vocals in recording mixes and live concert mixes.
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Re: New York Parallel Compression (NYPC for short)

Postby blinddrew » Wed Dec 16, 2020 12:44 am

Ah, it would appear I have been labouring under a misconception.
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Re: New York Parallel Compression (NYPC for short)

Postby CS70 » Wed Dec 16, 2020 12:52 am

I know it as in being the parallel compressor set to pump hard and you feed the return back in mono... But I guess there's million different interpretations.

'course on kick and low end wouldn't do much difference than "normal" parallel compression in pumping mode.
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Re: New York Parallel Compression (NYPC for short)

Postby The Elf » Wed Dec 16, 2020 10:55 am

As with many of these kinds of terms, it has been fudged, misunderstood and corrupted to the point of having little meaning. I prefer the term ‘parallel compression’, that at least has a bit of functional implication.

It definitely has a place, but I’ve never had any liking for parallel compression on drums. Maybe the variant you’re alluding to reflects that, though it sounds a bit heavy-handed to put everything else through it as an alternative - and especially in these LUFS days.
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Re: New York Parallel Compression (NYPC for short)

Postby blinddrew » Wed Dec 16, 2020 11:04 am

I think it's also called Rear Bus Compression as well.
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Re: New York Parallel Compression (NYPC for short)

Postby Wonks » Wed Dec 16, 2020 11:12 am

blinddrew wrote:I think it's also called Rear Bus Compression as well.
Or ‘squashed arse’.
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Re: New York Parallel Compression (NYPC for short)

Postby Hugh Robjohns » Wed Dec 16, 2020 11:28 am

There is just 'parallel compression'. What you choose to send through it is your business, but it is of most use (arguably) for compressing drums without damaging transients (in the way that standard compression often mangles them).

Over the years I've heard and read about 'New York compression' and 'London compression'... but as far as I can see, they are both just parallel compression -- the geographical association is just a link to particular popular applications.
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Re: New York Parallel Compression (NYPC for short)

Postby ManFromGlass » Wed Dec 16, 2020 3:08 pm

Well both places have dense populations to pack into a small place, errr, wait, where am I? Oh look a unicorn . . . . .
:smirk:
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Re: New York Parallel Compression (NYPC for short)

Postby Sam Spoons » Wed Dec 16, 2020 3:52 pm

Hugh Robjohns wrote:Over the years I've heard and read about 'New York compression' and 'London compression'... but as far as I can see, they are both just parallel compression -- the geographical association is just a link to particular popular applications.

Or could it just be hipsters trying to sound 'cool'? :D
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Re: New York Parallel Compression (NYPC for short)

Postby DC-Choppah » Thu Dec 17, 2020 4:01 am

It's upward compression. As described in the classic SOS article. You have to add a lot of make up gain to the compressed channel so it dominates in the quiet sections.

This is great on vocals and makes it sound like she is right near to you (Billie Eilish style).

On drums it might not do anything if the drums trigger the parallel compressor completely on each hit. But if there are grace notes and details in the playing, upward compression can lift those up so you can hear all the details of what was played in a busy mix that would otherwise bury those interesting details.

Perhaps the 'New York' part is when you bring the compressed channel back in mono? That sort of makes the quiet stuff even more in focus and localized in its own place so you can hear it even better. But perhaps they did that in London too?
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Re: New York Parallel Compression (NYPC for short)

Postby CS70 » Thu Dec 17, 2020 9:22 am

Yeah that's what I'd read someplace... mono and pumping. You can "simply" squash the signal, but if you set the compressor to pump when doing so, it's the "NY compression" - it adds a movement under the original part which makes it feel... well, moving. :)

But as said, I guess there's gazillion definitions, anyone can invent (or misinterpret) a name and start using it, and then it's just who's heard what from whom..

Never heard of London compression :D
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Re: New York Parallel Compression (NYPC for short)

Postby blinddrew » Thu Dec 17, 2020 10:05 am

London compression is what used to happen at rush hour on the underground... ;)
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