Parallel compression (New York compression): more punch and clarity in the mix – without sacrificing dynamics
Table of Contents
- 1. Parallel compression (New York compression): more punch and clarity in the mix – without sacrificing dynamics
- 2. What is parallel compression – and why does it work so well?
- 3. Where does the name “New York Compression” come from?
- 4. This is how you set up parallel compression cleanly
- 5. Where parallel compression is particularly convincing
- 6. When would you rather do without it?
- 7. Advantages of parallel compression (New York Compression) – noticeable in practice
- 8. Possible side effects – and how to avoid them
- 9. The 60-second workflow (proven in everyday life)
- 10. Frequently asked questions (FAQ) – briefly answered
- 11. Conclusion: Parallel compression (New York compression)
- 12. What are the ancient origins of New York compression and in which decade did it first emerge?
- 13. Unleashing Parallel Compression: Mastering New York Compression with Proven Settings and Practical Tips
- 14. What is Parallel Compression?
- 15. The History of New York Compression
- 16. Why Use Parallel Compression? – The Benefits
- 17. Setting Up Parallel Compression: A Step-by-Step Guide
- 18. Proven Settings for Different Instruments
- 19. Advanced Techniques & Tips
In short: Parallel compression is the art of subtly mixing a heavily compressed signal with the original. This makes a mix appear denser and louder while preserving transients and naturalness. In this article you will find out where the term “New York Compression” comes from, how to use the technology properly, where it shines – and in which situations you would rather do without it.
What is parallel compression – and why does it work so well?
Unlike the classic (serial) Compressionwhere you have the original through If you send the compressor, parallel compression creates a second, strongly pressed version of the same signal. Both paths work next to each other (parallel) and eventually become mixed. Psychoacoustically, you bring the quiet details forward (upward compression), while the peaks of the original continue to be present Punch, attack and depth care for. The result is more Density, presence and subjective loudnesswithout the mix sounding flattened.
Where does the name “New York Compression” come from?
The nickname goes back to working methods that… New Yorker Studios became popular in the late 80s and early 90s – especially in Hip hop, pop and broadcast. Engineers mixed extremely compressed drum sums with the dry signal, often giving the compressed path a light touch „Smile-EQ“ (full at the bottom, fresh at the top). This distinctive, immediate “NYC punch” spread rapidly and became a standard tool in many mix setups.
This is how you set up parallel compression cleanly
Work with one Aux/Bus or one Wet/Dry-Regler in the plugin. The aux path is more universal because you also have it there EQ, saturation or de-esser you can only place it specifically on the parallel track.
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Send the source signal (e.g. drums or vocals) to one Stereo-Aux.
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Compress to the Aux violent: Target are 10–20 dB Gain-Reduction – calmly merciless.
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Timing:
- Attack rather medium fast (e.g. 10-30 ms) for more punch, or very fast (1–3 ms) if you want to consciously smooth the transients.10
- Release musical set to the song tempo (often 50-150 ms) – the gain needle should “breathe” in the groove.
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EQ after the compressor: A subtle low boost (e.g. 60-100 Hz) and a airy high boost (8-12 kHz) can emphasize the “NY character”.
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Blend: Mix the parallel signal thrifty too – often enough 10–30 %.
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Gain-Staging: Level Matching! When making an A/B comparison, the loudness must be comparable, otherwise the “louder is better” effect is misleading.
Tip: In multi-microphone setups (drums). Latency compensation Duty. Modern DAWs do this reliably; With an analog outboard, pay attention to identical paths.
Where parallel compression is particularly convincing
Drums: The prime example. Get kick and snare Body and sustainas the dry tip continues to pop. On the drum bus, the parallel track creates the famous “Sticky feeling” – the kit looks like it is made of one piece without pumping.
Vocals: Quiet syllables emerge, Intelligibility rises. Compress strongly in parallel, tame hissing sounds via Of-Being and add only enough for the voice nah works, but not “squashed”.
Bass: More enforcement in dense arrangements. Especially with electric bass or synth bass, the attack remains defined while the sustain and fundamental tone grow.
Acoustic guitar & pianos: Used carefully, the parallel track adds up Shimmer and fullnesswithout losing the transient “ping”.
Mix bus (carefully): A very subtle parallel bus can control the entire mix pad up. Work here minimalist – it’s easy to exaggerate.
When would you rather do without it?
In very dynamic, acoustic Productions (jazz trio, classical, chamber music) are often just that large dynamic range the artistic core. Parallel compression can be used here Glue fine dynamics and reduce the naturalness. Material is just as sensitive highly limited or clip-art prepared (e.g. aggressive sample packs). Since the parallel track quietly brings details forward, it also quickly lifts Noise, bleed or room components that you might not even want to hear prominently. And if many tracks are “greased” in parallel, the mix ends up lacking Headroom – the master limiter works unnecessarily hard.
Advantages of parallel compression (New York Compression) – noticeable in practice
The method delivers Density, presence and loudnesswithout destroying transients. It improves it Readability Quiet components, it lasts Timing alive and is more fault tolerant as hard serial compression. Because the dry portion remains untouched, the game often feels more natural on – a reason why many engineers consider parallel compression “Safety net” to use.
Possible side effects – and how to avoid them
If Attack too fast is, transients disappear; at too short a release The parallel track pumps unpleasantly at the song’s tempo. An incorrectly set EQ makes the sound fast top fig (too much low-mid) while too much high-boost S sounds overemphasized. Also, pay attention Mono compatibility: The parallel track should remain in phase with the original. Finally: Loudness adjustment is mandatory – don’t judge the loudness, but rather the Quality of change.
The 60-second workflow (proven in everyday life)
Create one “NY-Bus”. Set a quick one FET or VCA compressor on high ratio (6:1 to 10:1, “All Buttons In” if necessary), press 10–15 dB, adjust the release so that the needle im Groove runs back, add slight saturation and one Smile-EQ Add and fade the bus 12-20% to the drum mix. Then fine-trim: If there is too much “hissing” only de-foodthen EQ. When the groove pushes but doesn’t pump, you’ve arrived.
Frequently asked questions (FAQ) – briefly answered
Is parallel compression the same as upward compression?
In terms of the result, yes: you increase quieter signal components. But technically it works Mix in achieved by a strongly pressed copy – not by a single “upward compressor module”.
Do I need special plugins?
No. Everyone Compressor with Wet/Dry-Regler or any DAW with it Aux-Routing suffices. An EQ and optional Band saturation on the parallel route are helpful.
Does this also work when recording?
Better im Mix decide. If you need pressure while tracking, use this dry Always keep track of it – you can print it later, but you can’t get it back.
Mono or Stereo?
Drums and mix bus mostly stereobass and vocals frequently mono. is important Phase coherence.
Conclusion: Parallel compression (New York compression)
Parallel compression is a precise scalpel and no sledgehammer. It delivers in the right doses Punch, closeness and comprehensibilitywithout reducing the character of a performance. Think in Blends instead of extremes, pay attention Timing of attack/release, same loudness clean and give the parallel track a little treat Forming via EQ or saturation. Then you quickly understand why „New York Compression“ It is no longer possible to imagine studio history without it – and today it discreetly serves its purpose in almost every professional mix.
What are the ancient origins of New York compression and in which decade did it first emerge?
Unleashing Parallel Compression: Mastering New York Compression with Proven Settings and Practical Tips
What is Parallel Compression?
Parallel compression, often referred to as new York compression, is a dynamic range processing technique used in audio mixing and mastering. It involves sending a signal to a heavily compressed version of itself and then blending the two together. This results in a sound that retains the dynamics of the original signal while benefiting from the loudness and punch of the compressed version. Unlike traditional compression, parallel compression doesn’t replace the original signal; it enhances it. This makes it a powerful tool for achieving a polished, professional sound. Key terms often associated with this technique include sidechain compression, drum compression, and vocal compression.
The History of New York Compression
The technique originated in New York recording studios in the 1990s, initially used on drums to achieve a bigger, more impactful sound. Engineers realized that heavily compressing a duplicate signal and blending it with the original offered a unique sonic character – a fullness and presence that traditional compression couldn’t deliver.It quickly expanded beyond drums to vocals, bass, guitars, and even entire mixes. The name “New York Compression” stuck, becoming synonymous with this powerful processing method.
Why Use Parallel Compression? – The Benefits
* Increased Loudness & Punch: The compressed signal adds perceived loudness without sacrificing dynamic range.
* Enhanced Detail & Clarity: The original signal retains its nuances, while the compressed signal brings out subtle details.
* Glue & Cohesion: Parallel compression can help “glue” elements of a mix together, creating a more cohesive sound.
* Dynamic Control: Offers a more natural form of dynamic control compared to aggressive traditional compression.
* Creative Sound Design: Can be used to create unique textures and sonic effects.
Setting Up Parallel Compression: A Step-by-Step Guide
Here’s how to implement parallel compression in your DAW:
- duplicate Your Track: Create an exact copy of the audio track you want to compress.
- Apply Heavy Compression: On the duplicate track, apply a compressor with aggressive settings. Think high ratio (8:1 to 20:1), fast attack (1-10ms), and fast release (50-100ms). Aim for 6-12dB of gain reduction. Popular compressors for this include the SSL G-Master Buss Compressor,the dbx 160,and the API 2500.
- Blend the Signals: Bring the level of the compressed track under the original track. Start with a very low level and gradually increase it until you achieve the desired effect. A good starting point is around -12dB to -6dB relative to the original.
- EQ Considerations: Consider using EQ on the compressed track to shape its tone. Often, rolling off some of the low-end or high-end frequencies can help it sit better in the mix.
Proven Settings for Different Instruments
These are starting points – adjust to taste based on the source material.
Drums:
* Compressor: FET-style (e.g., 1176)
* Ratio: 12:1 – 20:1
* Attack: 1ms – 5ms
* Release: 50ms – 80ms
* Threshold: Set for 8-15dB gain reduction
* Blend: -6dB to -3dB
Vocals:
* Compressor: VCA-style (e.g., SSL G-Master Buss Compressor)
* Ratio: 8:1 – 12:1
* Attack: 5ms – 10ms
* Release: 60ms – 100ms
* Threshold: Set for 6-10dB gain reduction
* Blend: -10dB to -6dB
Bass:
* Compressor: Opto-style (e.g., LA-2A)
* Ratio: 4:1 – 8:1
* Attack: 10ms – 30ms
* Release: 100ms – 200ms
* Threshold: Set for 4-8dB gain reduction
* blend: -8dB to -4dB
Guitars:
* Compressor: Any versatile compressor
* Ratio: 6:1 – 10:1
* Attack: 5ms – 15ms
* Release: 80ms – 150ms
* Threshold: Set for 4-6dB gain reduction
* Blend: -12dB to -8dB
Advanced Techniques & Tips
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