SOUND ON SOUND

[apaclin]

Hi guys, do you know the way to compare a track with and without parallel compression matching the level? The only way I can think of is doing parallel compression on insert with a plugin such as FabFilter Pro-C 2 controlling the wet and dry knobs to match the level. But in that case you can't add an eq on parallel compression.

What's your thoughts gais?

[CS70]

In a DAW, it's easy. Say you want to parallel compress a VOX track.

Set up the output of VOX to a VOX DRY bus and set up the output of this bus to another bus VOX FINAL. In VOX DRY, set up a send to a third bus VOX PAR, whose output is also set to VOX FINAL; in the insert slots of VOX PAR, set up parallel compressor, EQ, the works.

Set VOX PAR fader at -inf, and play. All you will hear is the original track - because VOX is routed to VOX DRY which is routed to VOX FINAL - so VOX FINAL is identical to VOX.

Then start raising the VOX PAR fader, so that this bus will start to add to VOX FINAL. Voila' you can hear its contribution.

The only challenge is keeping the volume level of VOX FINAL steady, so you don't get tricked by the fact that it gets louder. If you have a control surface you can simply use two fingers on the two faders (VOX PAR and VOX FINAL); if you don't there auto-level plugin such as Hornet's AutoGain which will try to keep the level the same as a reference track (VOX in our case).

Or you can just bring the VOX FINAL fader back down a little after having raised the VOX PAR one, in two steps.

[apaclin]

:SOS: thanks man, will try!

[Sam Spoons]

Or couldn't you duplicate the track, process one version and then match levels with the track faders, use solos or mutes to switch for comparison?

[blinddrew]

Or couldn't you duplicate the track, process one version and then match levels with the track faders, use solos or mutes to switch for comparison?

I think that's what I would do.

[apaclin]

Why do you use vox dry though?

[CS70]

Why do you use vox dry though?

Mostly order. You can do it without, but my workflow is to establish the base timbre on the track (including correcting errors), so that I have a base "initial" sound before doing anything to it.

But I then do all the automation, various sends and additional processing on the buses. So having the vox dry allows me to further process the base sound in ways to find what works best with or without the parcomp.

I like to keep things structured so that I can try a lot of things quickly and efficiently and come back without compromising that base sound. So at the end of a mix I always have a bus for every instrument and part, even if not much is happening on some of them. In DAWs, buses are cheap. :D

[desmond]

In DAWs, buses are cheap. :D

...and for parallel compression, it's always handy when two come along at once... :thumbup:

[The Elf]

In DAWs, buses are cheap. :D

...and for parallel compression, it's always handy when two come along at once... :thumbup:

Don't make me get out the red/yellow cards! ;)

[Luke W]

In DAWs, buses are cheap. :D

...and for parallel compression, it's always handy when two come along at once... :thumbup:

:clap:

[desmond]

Don't make me get out the red/yellow cards! ;)

More to add to my ever-growing collection..! :lol: