Join Brian Lee White for an in-depth discussion in this video Working with parallel compression, part of Get in the Mix with Logic Pro.
…Parallel compression is the process of combining an uncompressed version…of the signal with the compressed version and blending to taste.…This best of both worlds approach preserves the dynamics,…openness, character and frequency response of the unprocessed signal.…While solving the issue of an overly dynamic track getting lost in the mix.…When a compressed wave form is combined with…an uncompressed waveform, the result is purely additive.…The peaks…of the uncompressed waveform are preserved, while…the body of the signal is raised.…
Let's take a listen to these uncompressed drums.…Now, listen to the uncompressed drums inside a dense section of the mix.…Notice how they have a little bit of trouble punching through the mix.…The problem here is that the drums get lost in the denser parts…of the mix, the chorus in this example, when more stuff is going on.…Simply turning them up, push up the transients and eat up head room.…Compressing them will bring them out more but will also eat up…the transients causing them to lose a lot of their punching impact.…
This course covers 23 techniques for improving your mixes with compressors, processors, EQ and filters, delay, and modulation. The first chapter covers compression and dynamics processing, including how to even out vocal performances and add punch to drum tracks. The second chapter goes into EQ and filtering techniques, such as creating complimentary EQ curves and EQ-ing FX returns. Last, the authors explore delay and modulation techniques, including using long delay on key lyrics and creating flanger and phaser effects.
Download the free exercise files and open them in Logic to start training, or simply watch the videos here at lynda.com.
- Using compression to even out vocals and add punch to drums
- Maximizing mix loudness
- De-essing a vocal track
- Using EQ to fix problems and place elements
- Automating EQ
- Using long delay
- Creating slapback echo
- Creating a flange effect