Welcome to Sage Audio. Today we’re covering How to Parallel Compress
Welcome to Sage Audio. Today we’re covering How to Parallel Compress

But first, if you have a mix that you need mastered send it to us at SageAudio.com to
But first, if you have a mix that you need mastered send it to us at SageAudio.com to

receive a free mastered sample of it.
receive a free mastered sample of it.

Parallel Compression Basics
Parallel Compression Basics

Real quick let's discuss how parallel compression works - when parallel compressing, you separate
Real quick let's discuss how parallel compression works - when parallel compressing, you separate

your original signal into 2 and create one that runs parallel to it. On this parallel
your original signal into 2 and create one that runs parallel to it. On this parallel

signal, you insert a compressor and heavily compress the signal, then blend it back in
signal, you insert a compressor and heavily compress the signal, then blend it back in

with the original.
with the original.

The compressor you insert is typically a downward compressor, which controls peaks. With this
The compressor you insert is typically a downward compressor, which controls peaks. With this

compressor, you can achieve a cool tone, and greatly control dynamics, while blending in
compressor, you can achieve a cool tone, and greatly control dynamics, while blending in

the exact amount you want.
the exact amount you want.

Simple Parallel Compression
Simple Parallel Compression

Perhaps the simplest and most common form of parallel compression is to use the wet/dry
Perhaps the simplest and most common form of parallel compression is to use the wet/dry

or mix dial on your compressor. When you use the wet/dry dial you’re essentially splitting
or mix dial on your compressor. When you use the wet/dry dial you’re essentially splitting

the signal into compressed and not compressed - the percentage you choose will determine
the signal into compressed and not compressed - the percentage you choose will determine

how much compression blends in.
how much compression blends in.

This is definitely the quickest way to parallel compress, but it has a lot of limitations.
This is definitely the quickest way to parallel compress, but it has a lot of limitations.

Auxiliary Send Parallel Compression
Auxiliary Send Parallel Compression

You can use a bus or auxiliary send to create parallel compression, first create the bus
You can use a bus or auxiliary send to create parallel compression, first create the bus

and the auxiliary track - in Logic Pro X this track will be created automatically after
and the auxiliary track - in Logic Pro X this track will be created automatically after

creating the bus. Then insert the compressor of your choice and heavily compress the signal.
creating the bus. Then insert the compressor of your choice and heavily compress the signal.

Once you’re done compressing, use the auxiliary track’s channel fader to blend the compressed
Once you’re done compressing, use the auxiliary track’s channel fader to blend the compressed

signal back in.
signal back in.

Real quick, if you want to see exclusive advanced videos, have priority response to your comments,
Real quick, if you want to see exclusive advanced videos, have priority response to your comments,

and get some other future perks - consider joining our channel and becoming a member.
and get some other future perks - consider joining our channel and becoming a member.

Dynamic Parallel Compression
Dynamic Parallel Compression

With the routing of our signal in mind, we can create more unique and dynamic parallel
With the routing of our signal in mind, we can create more unique and dynamic parallel

compression by automating the last plugin in our chain. The bus we created to send the
compression by automating the last plugin in our chain. The bus we created to send the

signal to the aux track is routed after all of our original track’s inserts.
signal to the aux track is routed after all of our original track’s inserts.

So if we automate aspects of the last insert, we in turn control how the signal is fed into
So if we automate aspects of the last insert, we in turn control how the signal is fed into

the parallel compressor.
the parallel compressor.

Left/Right Parallel Compression
Left/Right Parallel Compression

If you want to parallel compress the left and right channels separately, set up 2 sends
If you want to parallel compress the left and right channels separately, set up 2 sends

- on both insert a utility plugin and pan the signal to the left and right respectively.
- on both insert a utility plugin and pan the signal to the left and right respectively.

Then insert your compressor of choice on both and compress the relative signals as you see
Then insert your compressor of choice on both and compress the relative signals as you see

fit.
fit.

Since the panpot on each channel comes after the inserts, we can’t simply pan the routed
Since the panpot on each channel comes after the inserts, we can’t simply pan the routed

signal - as a result, we need to use the utility plugin to pan the incoming signal prior
signal - as a result, we need to use the utility plugin to pan the incoming signal prior

to compression.
to compression.

Mid/Side Parallel Compression
Mid/Side Parallel Compression

Similar to left/right parallel compression, we can split the signal into mid and side
Similar to left/right parallel compression, we can split the signal into mid and side

and compress those channels separately. Again set up 2 sends, but this time use MSED by
and compress those channels separately. Again set up 2 sends, but this time use MSED by

Voxengo to mute the side on one auxiliary track and the mid on the other.
Voxengo to mute the side on one auxiliary track and the mid on the other.

Again insert the compressors on these channels and compress as you see fit, then blend these
Again insert the compressors on these channels and compress as you see fit, then blend these

tracks in with the original.
tracks in with the original.

Traditional New York Parallel Compression
Traditional New York Parallel Compression

New York-style parallel compression is a great way to get more control over your parallel
New York-style parallel compression is a great way to get more control over your parallel

compression - set up the tracks as you normally would and insert your compressor, but then
compression - set up the tracks as you normally would and insert your compressor, but then

insert an EQ. With the EQ, amplify or attenuate aspects of the compression to shape the sound.
insert an EQ. With the EQ, amplify or attenuate aspects of the compression to shape the sound.

You can also use this EQ pre-compression to control what gets compressed or to what extent
You can also use this EQ pre-compression to control what gets compressed or to what extent

it triggers compression.
it triggers compression.

Unique New York Parallel Compression
Unique New York Parallel Compression

Following the same concept created by New York-style parallel compression, we can set
Following the same concept created by New York-style parallel compression, we can set

up more unique processing - for example, maybe we insert a low-level compressor after the
up more unique processing - for example, maybe we insert a low-level compressor after the

downward compression. This way we control the dynamics both from the peaks down and
downward compression. This way we control the dynamics both from the peaks down and

noise floor up.
noise floor up.

Or maybe add a saturator after the compression to add some harmonic distortion. There are
Or maybe add a saturator after the compression to add some harmonic distortion. There are

lots of possibilities.
lots of possibilities.

Capturing as Much Signal as Possible
Capturing as Much Signal as Possible

If you want to capture as much of your signal as possible when using parallel compression,
If you want to capture as much of your signal as possible when using parallel compression,

use a compressor with a very short attack and very long release - additionally, use
use a compressor with a very short attack and very long release - additionally, use

a soft-knee setting with a higher ratio. This way the compressor captures the signal as
a soft-knee setting with a higher ratio. This way the compressor captures the signal as

quickly as possible, and at lower levels.
quickly as possible, and at lower levels.

Then the longer release blends the transients and other aspects of the signal together,
Then the longer release blends the transients and other aspects of the signal together,

creating a smooth compressed sound.
creating a smooth compressed sound.

If you have a mix that you need mastered send it to us at SageAudio.com to receive a free
If you have a mix that you need mastered send it to us at SageAudio.com to receive a free

mastered sample of it.
mastered sample of it.

Also, Join the channel for exclusive advanced content, and additional future perks - thanks
Also, Join the channel for exclusive advanced content, and additional future perks - thanks

for watching!
for watching!