Parallel compression

Parallel compression is excellent for adding density to a sound whilst retaining transient response in a way that normal compression doesn’t. The technique involves using a (usually, but not always) hyper-compressed version of the signal mixed with the original dry feed, allowing us to increase average volume but retain the transient snap of the original sound. This can be done either by using any compressor on an effects send/return channel, or with a compressor equipped with a wet/ dry control directly on the channel.

Typically, a parallel compressor will be set to the fastest attack time and slower release with around 10dB of gain reduction showing at the dry signal’s loudest points. Adjusting attack/release times and the ratio can change the feel of the compression, as can using different compressor models – the average bundled DAW compressor will likely give clean, straightforward results, whereas something like a UREI 1176 emulation can add more ‘bite’ and drive.

Additional processing can be used on a parallel compression send to shape the sound; examples include rolling off high frequencies with a low-pass filter to add bass weight, or using distortion to give the whole sound more aggression. You can even set up multiple channels of parallel compression, each designed to contribute different qualities (eg, snap, body, low-end oomph) to your source, and blend them in as needed.