Academy Dashboard Forum Production Mixing Parallel Mixing techniques

  • This topic has 3 replies, 3 voices, and was last updated 6 years ago by chester oszustowicz.
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    chester oszustowicz

      Hey Guys curious as to what Parallel Mixing techniques you guys are using If any.
      I use It a lot for Eq and compressing for power. I also find I use a lot less individual processing on elements in the mix. Don't know if this is over kill or not so:

      Ill go first: (FYI A lot of this I learned at MWTM ClA And Trial and error)

      I send all my drums to a Neve 33609 style Comp in different amounts 2:1 to 4:1 6-12 db of compression Depending
      Send all my drums to Api 550B Eqs for bringing up top and bottom. I find i can make the kit brighter without totally changing the character of the kit.
      Kick, SNR, Bass also Go to a mono Ridge Farm Boiler It really gels Those 3 elements together nicely (Stole that from Greg Fiddleman Mixing Metallica Sound on Sound Although He used a different type of Limiter)

      What ended up happening here was I hit a wall where my drums where slamming (Or what i think is slamming 🙂 then my instruments And vocals were a little weak so I then evolved adding this

      Send all mid range instruments To api 2500 2:1 to 4:1 2-12 db of compression Depending On Program material
      Send all mid range instruments to A tube style Eq Im using an aDesign hammer eq.

      Vocals I have a similar setup.

      I usually bring these Parallel Secondary's in at the end right before automation.

      I find that when Im not careful too much cooks the soup and for non Radio Rock Modern sound it over-kills it a little or a lot lol.

      Look forward in hearing what you guys have going on. Are you using any?

      James Gorman

        Aside from something like this and the mix knob in Reaper (or a lot of compressors plugins now) I sometimes use a parallel inline technique. In this there's no parallel buss, just the effects chain, with a pair of compressors routed in parallel.

        I've used this in Tracktion, Reaper, and Mixbus, which all have good channel routing. What you do (for stereo) is:

        - pre-compression effects
        - duplicate channel 1(L) -> channel 3 and channel 2(R) -> channel 4
        - attack compressor on channel 1/2
        - this guy is looking to shape the feel of the attack, so 20-50ms attack, release to suit, hard-ish knee, 1-5 dB down, not smashing it
        - decay compressor on 3/4
        - this guy is the equivalent of the parallel buss. 0ms attack, <50ms release, soft knee, 10-20 dB down. Crush to bring up the tails of things
        - blend 1/2 and 3/4 back to 1/2
        - post compression effects

        I mostly used on this acoustic guitar and vocals, basically as a transient designer to shape the attack and decay.

        I haven't done this for a while, but found that it made it simpler to mix. Once I got my vibe (<- that's for you Warren ;-)) and had the track sitting where I wanted it, there was no need to muck about with thinking about the EQ on multiple tracks and their blend later on. On the other hand it does hide away a lot of what it's doing, albeit just for a pair of compressors.

        Viv Paton

          I do the Scheps 'rear buss' thing with dual mono 1176s. Also I do a Kick/Snare or a Kick/Snare/Bass crush, an 'other drums' lighter crush and an all drums crush. Not all on, though always some kind of rear buss. Might do parrallel distortion too, if I felt something needed a bit of a kick.

          chester oszustowicz

            cool thanks guys

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