7. In the strict technical sense, parallel compression is a variation of uplift compression — combining downwards compression with make-up gain, albeit in a non-standard way. Parallel compression, sometimes referred to as New York Compression… The compressor kicks in right after the transient, and in this case, the envelope of the drum is being reshaped after the transient, by the attack and release timing. Once the drums have been set up and the tracks have been laid down, it's time to create the final mix. What is NY Compression. This movie is locked and only viewable to logged-in members. Explore Lynda.com's library of categories, topics, software and learning paths. Turn the threshold down almost all the way (or turn the ‘input’ up a lot). The idea is to find that spot where the very edge of the signal’s sustain is where the compressor starts to release. Become a Certified CAD Designer with SOLIDWORKS, Become a Civil Engineering CAD Technician, Become an Industrial Design CAD Technician, Become a Windows System Administrator (Server 2012 R2), Starting with kick drum inside and front mics, Bringing in the snare drum and bottom mics, Widening the image with stereo overhead mics, Utilizing the crush track printed during recording, Getting larger-than-life sounds from the rack tom and floor tom mics, Adding power with stereo parallel compression, Emphasizing the backbeat with parallel distortion, Grouping drum tracks to control the full mix, Panning and creating stereo image and depth of field, Adding parallel compression, distortion, and reverb. - The place I usually start with a parallel compressor…on a kick drum is to add another balanced sound.…Get some good attack, some good sustain,…it's gonna be inherently different from those dry tracks.…And then, I add it in and I see what is sounds like.…(drumming)…So, what I start off with on the distressor is a slow attack…and a medium release to allow the transient…to go through the compressor and for the release…to sort of manipulate how fast the compressor releases…giving it a different sustain envelope.…, Now, we could also do the opposite,…which is to have a fast attach that grabs that transient…and then a fast release that let's that sustain come up.…So, we're gonna again change the envelope of the sustain…of that drum and make the drum sound a lot longer.…Sometimes we need to do that to make the final…kick drum sound work with the track.…(drumming)…So, with a fast attack and a fast release…it brings more tone to the drum,…but that's not something we need on this track.…, If you're doing a slower song, that could be a great way…. 6. 1:30Press on any video thumbnail to jump immediately to the timecode shown. 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