Dubstepforum.com

If your not familiar, just posted a tutorial and some tips - http://www.bedroom-beats.com

i just had a mate going on at me about this, now i can send hima link and he can leave me alone

as depone said, the site is looking/getting better and better

Bedroom Beats wrote:If your not familiar, just posted a tutorial and some tips - http://www.bedroom-beats.com

cool, nice site. saved to favs

i dont get it, can you explain what the point of this technique is?

nice site man.

dont forget you can use this technique for other efxs ie distortion

d1rt1989 wrote:i dont get it, can you explain what the point of this technique is?

http://en.wikipedia.org/wiki/Parallel_compression aka New York Compression

Cheers peeps!

d1rt1989 wrote:i dont get it, can you explain what the point of this technique is?

essentially giving you a wet/dry mix of the compressed signal.

This is useful because when compressing you can lose the integrity of the transients making it sound not as punchy,

being able to mix between the two gives you the fullness of the compressed signal with the "bite" of the uncompressed.

Feelin' a little fooked when writing this so may need to review what I've said tomorrow,

peace

ever looking for some outside tutorials done up? give me something to do when it's slow at work

^ that's pretty dead on the money, especially for drums. gives you a ton of tonal- and spatial-shaping possiblities, especially when working with ambient sounds. You can use the technique to beef up your drums in EDM, but it really shines as a tool when dealing with live percussion tracked in a live room.

it works well on vox too, especially really dynamic ones-- you keep the sense of things getting louder by keeping some of the original signal, but you bring up the bottom of the dynamic range with the compressed signal.

it can even work in mastering-- eh, macc? ehhhh??? AYYY????

the stillwell audio rocket has a great wet/dry dial, as does the internal compressor in logic; vintagewarmer, while not exactly a compressor, works really well (maybe only even useable) by dialing in only a bit of its sound.

TeReKeTe wrote: it can even work in mastering-- eh, macc? ehhhh??? AYYY????

It's a bit overrated IMpersonalO (teh internets) , BUT parallel processing can be the best/only way to get around certain things in mastering. Certainly on a track really chronically lacking beef it can be good, but I find it often changes reverb levels in a way I don't like. Like you say about live tracking, that's exactly what you don't want at that point

I use parallel processing more for the opposite, that is, to put punch back into already over limited tracks. Sometimes referred to as 'de-moron-ing' here.

Macc wrote:

TeReKeTe wrote: it can even work in mastering-- eh, macc? ehhhh??? AYYY????

It's a bit overrated IMpersonalO (teh internets) , BUT parallel processing can be the best/only way to get around certain things in mastering. Certainly on a track really chronically lacking beef it can be good, but I find it often changes reverb levels in a way I don't like. Like you say about live tracking, that's exactly what you don't want at that point

I use parallel processing more for the opposite, that is, to put punch back into already over limited tracks. Sometimes referred to as 'de-moron-ing' here.

heh if a guy going by little d happens to hit you up about mastering avoid him man mentioned you to him without knowing this joker calls up wanting to do mastering shit without the basic knowledge and calls me asking the most retarded questions about gear and fundamentals
unfortunately gave him like to sc mastering before i knew all this

Macc wrote: Sometimes referred to as 'de-moron-ing'

goddamnit that actually make me spit out some coffee.

Surely asking for the original "non-moroned" copy would be better sounding than having to remove moron thats already ingrained in the audio?

I don't know whether I'm being serious or taking the piss

That can mostly be used only, when squashing stuff, I use compressors for the opposite- creating and empasizing transients, using attack times for punch.

I'm with Brisance, compressors are often best used for enhancing punch. This is *definitely* one area where software lags behind hardware, only the very best manage it.

yea i def use compressers on my drum bus for enhancing transients and getting overall rms leval up (percieved loudness)
parallel compression (ny compression) is def a useful tool in the process