Parallel compression on vocals
Parallel compression on vocals is basically mixing some of the uncompressed signal in with the compressed one.
Why would you want to do that? Surely the idea of compression is to reduce the dynamic range to make it sit better in a complete mix.
Traditionally you compressed the whole track but this could squeeze all the life out of it as well as the dynamics. Parallel compression is a way to try to get the best of both worlds but do it wrong and you can end up with the worst of both worlds.
Parallel compression is the next step up from basic compression and you really need to master that before you take on this next stage so check out my basic guide to using a compressor on vocals first.
If you need more help you can get some starting settings from my audio compression settings chart. These will point you in the right direction.
My complete guide to using effects will help you use other plug-ins to help with your vocal sound.
Although these techniques will help your vocals, there’s nothing better than starting with a good recording in the first place. You can help by recording in the best place.
I did an experiment of recording my vocals in the car with surprising results. For the price of a pop filter, you really should consider using one, as implosive sounds can ruin an otherwise perfect vocal take.
It’s not just for vocals!
Parallel compression is commonly used on vocals and drums but don’t let that put you off from experimenting. If you think your individual track or whole mix could benefit from it give it a try.
As you probably know compression used correctly can transform a track from being all over the place dynamically and impossible to use in a mix to something tamed and even.
The problem is that once compressed it can often sound a little flat and lifeless. You can back off the amount of compression but sometimes it’s hard to find a balance to tame the transients and retain it’s “life”. The alternative to this is to mix a bit of the uncompressed track in with it.
You still have to be careful as too much of the uncompressed track can leave you with the problems you had before you compressed the track but it is usually easier to get this “mix” correct than it is to back off the compression amount.
What is the microphone proximity effect? do I want it or do I want to avoid it?
The compressor wet-dry control
If you noticed the wet-dry control on a compressor and wondered what it’s all about this is the control for parallel compression. Things like reverb have always had a wet dry control.
With reverb, you always want a mix of the treated and the dry sound. I must admit I was a little puzzled when I first saw a wet dry knob on a compressor! This was before I was aware of the intricacies of parallel compression.
If you don’t have this control you’ll have to route the uncompressed track to the mixer to combine the two.
How you do this is up to you and your DAW. I use Ableton Live and there are a few ways to achieve the same outcome but as you can guess, having the wet-dry control makes it all easier.
Automating it all
One of the techniques I use is to automate the wet-dry control.
In the same way that you can compress a track but still alter its fader when you need it, you can do the same with parallel compression.
Although it’s common practice to automate the fader of compressed tracks in a mix I’m yet to see mention of it for parallel compression. I’m not claiming I’ve discovered it but I’ve not come across anyone else doing it. (Maybe they do but haven’t mentioned it)
Anyway, once you’ve experimented with parallel compression and got used to getting the balance right you’ll find that sometimes you don’t need much and something in a specific part of a track you might need more.
Simple. Use the wet-dry control or should I say automate the wet-dry control.
New chorus plug-ins take the effect to a new level
Things to be aware of with parallel compression
If you are still struggling to get your vocals “just right” consider using side-chaining techniques. This is another “tool” using compression to help with your mix.
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Native Instruments Komplete 12 FX bundle
If you want to experiment with parallel compression and different types of audio compressors the Native Instruments bundle has just about all bases covered with just about every type of compressor you could want all with dry wet controls to enable easy parallel compression.
This bundle also has just about every other type of effect for your mixing pleasure. I’ve previously covered the excellent choral chorus in my round-up of chorus plug-ins and the excellent Raum reverb in my vocal reverb round-up.
If you are into recording and want to go beyond what your DAW offers you won’t be disappointed with these. While on the subject of plug-ins, I’ve found an easy way to use all my old 32-bit plug-ins in my 64-bit system.
Parallel compression on vocals: Final thoughts
In an ideal world compression flattens the transients but still lets the dynamics and life, live in a track.
In the real world, it’s easy for a beginner to get it wrong and kill a track with too much compression.
If you are a beginner be sure you don’t miss my starting out with compression settings chart.
You should also have a look at my use of compression on vocals. Do this before you progress to parallel compression so you don’t miss out on the basics.
If you can’t hear parallel compression on vocals
Parallel compression can give you the best of both worlds. Controlling the varying levels but retaining the life in a track, but only if you get it right.
The only way you can get it right is to experiment and listen to the results. This isn’t easy with compression as it’s a subtle effect unless turned up to in-your-face levels. I listen with headphones and try to concentrate on the specific track. I’ll then listen on speakers and try to be more laid back and relaxed and focus more on the whole.
When you do this enough times you’ll hear things that weren’t apparent at first. You may need to take a break and come back to it fresh.
Tip
One technique I use, if I’m having difficulty making a decision, is to record different versions and make notes for each one.
This looks like “mix 1, track 6 ratio 4.1, wet/dry 2” and “mix 2, track 6 ratio 3.1, wet/dry 4”.
I’ll then listen back to these and see how they “age”.
If you do the same you might find that you’ll prefer specific settings. More often than not you can resort to these next time. Once again the thing here is to experiment and listen once you understand the basic techniques. You’ll learn more by doing rather than reading, though you obviously should be reading my website!
I can recommend you to have a look at my complete guide to audio effects. Even if you know the basics you may find some tips that you didn’t know about. I know I’m always finding new ways of doing things or some new ideas. Recording doesn’t stand still for long!
