Parallel compression is a popular, everyday studio technique. It guarantees a transparent mix by retaining the audio characteristics of uncompressed signals.

Using this method, also known as New York compression, you can avoid overcompression while still having instruments sound powerful and dynamic in the mix. First we’re going to look at:

Parallel compression a drum loop

Step 1: Our drum loop is on track 1. Create an AUX bus below it (Menu > Track > Insert New Track > New AUX Bus) and load “Dynamics” in the plug-in slot.

Step 2: In the AUX section of the drum track we’re going to send the drum loop signal to our compression bus AUX 1 with the send level set at 0.0 (unity gain). Open the context menu by right-clicking then change the send signal to Pre Fader. Now the send signal and the drum loop track fader are independent.

Step 3: Start the drum loop and open the mixer view.

Now you should
see the parallel compression signal in the “AUX 1″ channel, next to the original drum loop.

Set the “AUX 1″ channel to “Solo” if you want to make adjustments that only affect the parallel compression settings.

Step 4: Now we’re going to focus on our New York compression settings. Set the “Dynamic” plug-in mode to “Compressor”.

You can be more extreme when setting the “Threshold” and “Ratio” parameters than you would be with regular compression because parallel compression only serves as a mix effect for the original signal.

Our drum loop’s threshold is set at -40 dB and has a ratio of 6.40:1. We’ll keep the attack quite short at 0.3 ms and the release time in the middle range, at 120 ms.

By itself the compressed channel can easily sound overcompressed.

Step 5: Next we’re going to mix the “Drums” and “AUX 1″ channels together. When you’ve found the right mix levels the drums will sound powerfully compressed, yet transparent and dynamic.

Uncompressed Drumloop:

Compressed Drumloop:

Parallel compression of combined drum tracks

Step 1: When each individual drum sound has its own track you need to create a subgroup track (Menu Track > Insert New Track > New Submix Bus) then route each drum instrument output to the newly created group. We’ll call it “Drum Group”.

Step 2: In the AUX section of the drum group send the signal (just like before) to our compression bus AUX 1 with the send level set at 0.0 (unity gain) and change the send signal to Pre Fader.

This allows you to adjust all drum instruments using one send controller when compressing.

Step 3: As a rule this level of parallel compression will affect everything from the bass drum to the snare proportionally. Try changing the compression level of the kick or snare drum indepen-
dently. Take the kick or the snare out of the drum group and route its output directly to the stereo mix.

If, however, you’re looking to achieve a really natural sounding cymbal don’t compress the overhead channels.

This way you can modify the entire parallel compression sound image quickly and effectively.

Uncompressed Drumtracks:

Compression without Kick:

Step 4: We can include the parametric equalizer in the AUX channel strip if we want to further manipulate the parallel compression. Because we want to make changes to the frequency levels before compression, we should adjust the effect routing accordingly. Press the “FX” button on the “AUX 1″ channel.

In the effect routing window use the arrows to move “Equalizer” above “Dynamics”,

then save the effects sequence. We’ll call it “eq_before_dynamics”

Step 5: Open the EQ window by right-clicking on the corresponding button in the AUX channel.

Step 6: Now we’re going to experiment with the equalizer’s frequency response. A high pass could make the sound image more transparent, and changing the bandpass settings could improve the overall audio characteristics.

Uncompressed Drumtracks:

Compression with bandpass setting:

Alternatively you could use an extreme narrow-band notch filter, and accordingly adjust the attack and release times in the compressor to create a pumping effect.

Uncompressed Drumtracks:

Final compression:

Good luck and have fun with New York compression!

The Samplitude Team

Pure guitar tone at its best – check out our intern Arne playing with Vandal!

The seventh video of the “Kraznet’s Tutorial Collection” series shows you how to vary complex MIDI melodies and patterns by using Retrograde.

Video download (MP4): MIDI Retrograde (Reverse)

Professional mastering studios are the best way to achieve a powerful, balanced master with transparency and depth.

If, however, you want to save yourself the costs of a mastering studio you can use the handful of tips in this workshop to achieve respectable results in your homestudio using the Samplitude mixing board.
Preparatory measures:

Before beginning the mastering process you should be sure that the mixing process, including automations, is complete, and that you are happy with the results. Avoid heavily compressing or maximizing the stereo mix in the mixing stage. When the mix sounds balanced and transparent it’s time for mastering. In addition you should have a good monitoring system, reliable acoustics or at least a very good pair of headphones.

Step 1 – Export mix:
First we’re going to export our final multi-track mix as a stereo track. So, go to, “File > Export > Wave…”. Under format settings choose 88200 Hz and 24-bit stereo.

As for export settings, we’re going to select “Complete project (until last object)”.

Step 2 – Create new VIP:
Now open a new VIP by going to “File > New virtual project (VIP)…“ and load the previously exported audio file by going to „File > Import… > Load audio file…“. When importing adjust the VIP sample rate to 88,2 kHz.

 Step 3 – Remove DC:
The first technical correction we are going to make is to remove the DV component from our music project. A direct current (DC) superimposed on the signal leads to a slight shift of the waveform such that the axis is no longer exactly on the zero line.

This can lead to a deep interference signal and inaccurate calculations of the subsequent plug-ins. The feature “Effects > Restoration > Remove DC…” will correct this shift.

At this point you want to remove any crackles, hissing, humming etc. using the restoration tools DeClicker, DeCrackler, DeHisser, DeNoiser and Spectral cleaning. We will go into more depth on these special tools in another workshop.

Step 4 – Normalize:
Now we want to adjust our signal according to the maximum amplitude values. Go to „Effects > Amplitude > Normalize…“ and set the maximum output level to -0,4 dB. This value gives you sufficient headroom to make other adjustments. The resulting level adjustment will be then displayed.

Step 5 – Fades:
Before setting fades for your song, use the left and right handles on the bottom of an object to adjust its start/end position.

Now we are going to set the object’s fade in/out phase using the handle above.

In the “Fades” section of the Object Editor you can adjust curve forms and fade in/our lengths more precisely.

For our fade in we are going to choose “Exp” for “exponential” and fade in time on 2557 milliseconds. For the fade out we’re going to choose “Cos” for “Consinus” and a fade out time of 11409 milliseconds.

Step 6 – EQing:
Now we are going to make some “technical corrections” to the frequency response. To do this we’re going to need to open EQ116 and set a high pass filter of 30 Hz for the first frequency band, this eliminates the lowest frequencies that are longer in an audible range.
To clean up the kick drum and bass drum in the bass range we’re going to cut the narrow band frequencies at 130 Hz.

Next we can freshen up the 12 kHz signal using a light High Shelf Boost.

Step 7 – EQ Fine tuning:
After these general frequency adjustments we are now going to devote ourselves to fine tuning the equalizer settings. For our song, a narrow band increase of the 70 Hz range will give our bass a bit more body.

In the 5th frequency band we are going to increase the range by 3 KHz to bring out the lead guitars and vocals.

Finally we are going to bring the vocals and cymbals forward a little using a small boost at 7 kHz.

You can quickly detect unwanted frequencies by sweeping through the frequency range with an increase of 12 – 15 dB. Reduce any sections if you hear booming or any nasty resonance. At this stage a healthy balance of removing interfering frequencies and keeping the rest is important. Work quickly so your ear does not become accustomed to extreme EQ settings and constantly use AB comparison listening.

You should be aware of the frequency response using the Spectroscope as well as keeping an eye on the Peakmeter.

Step 8 – Stereo Enhancer

At this stage of the mastering process you should regulate the stereo base width. If you get the impression that you song is lacking spatial dimensions you can perform stereo width enhancement.

 Samplitude’s multiband stereo enhancer allows you to correct the stereo image in three independent frequency bands.

Open the multiband stereo enhancer: “Effects > Stereo / Phase > multiband stereo enhancer…”. To regulate stereo base width increases we’ll use the middle band’s base width slider.

We only want to broaden the stereo base subtly. To do this we’re going to select the “Enhance Stereo Smart” setting, adjust the individual bands’ separation frequencies by dragging the mouse in the graphic display and then experimenting with the middle band’s stereo width. We are going to leave the base width of the bass band and high band as they are.

Be aware when editing the stereo base width that phase problems may arise, affecting the mono compatibility. To avoid this you should always control your signal with the Phase Oscilloscope and Correlation Meter.

To guarantee mono compatibility avoid fraying the signal too far either left or right in the Phase Oscilloscope. The Correlation Meter should display values between 0° and 90° at all times.

Step 9 – Multiband comressor:
You can edit various frequency bands in your music independent of one another and with specific compression properties using the Multiband Compressor.

This allows you to make precise volume changes by delving deeper into a song’s dynamics.

Open the Samplitude Multiband Dynamics and select the “MaxLoudness1″ setting as a start point.

First we’re going to define the separation frequencies between bands. Click on the graphic display “Frequency separation/Level increase/reduction” to change the separation frequencies for individual filter bands by dragging with the mouse. Choosing which frequency bands to adjust is based on what kind of musical style you produce -  e.g. the following separation frequencies are suitable for rock mixes:

Lowest separation frequency ~ 150 Hz: With this setting you can edit the important bass frequency range, for kick and bass drums.

Separation frequency ~ 400 Hz: The body of the guitars and the base for the snares are somewhere between 150 Hz and 400 Hz.

Separation frequency ~ 5000 Hz: The main vocals and most other instruments are somewhere between 400 Hz and 5000 Hz.

Above 5 kHz: Certain hihats, cymbals, elements of the vocals and sibilants are located in this range.
Using individual bands’ “Solo” feature you can hear the selected frequency range and can regulate compression in detail.

Balance out the individual bands using the “Ratio”, “Threshold”, “Attack” and “Release” parameters – aim to achieve an equal dynamic relationship between bands. Use the “bypass DYn” function regularly to compare the unedited song with the compressed signal.

In addition to the multiband compressor we are going to use another powerful tool for increasing loudness. This changes the sound and gives the song more character…

Step 10 – AM-Munition:
AM-Munition is an extremely versatile, dynamic tool for editing groups or signal sums. It has separate units such as compression, filtering, side-chain, limiter and clipper. The aim is effective signal compression without disturbing artifacts, a high maximum loudness level, and an “analog” behavior featuring its own audio signature.

For simplicity’s sake we are going to choose the preset “Pop Master 8dB louder” for our song. Adjust the compressor, limiter and clipper settings manually according to the fit the “feel” of your song.
We will go into more depth on the various Am-Munition settings in another workshop.

Step 11 – sMax11:
The maximizer sMAX11 is a tool for increasing the loudness of your audio signal.
This is done by entering the input amplitude (gain-in). The signal will be amplified by this level. The sMax11 simultaneously ensures that the signal doesn’t exceed the output level (gain-out) that has been set.

This requires regulation of the response time set using the mode and release time. Essentially, this involves a hard or brickwall limiter with input amplification.
Proceed as follows:
First, turn on the link option. This way, volume will stay constant and you can better compare your changes.
Now, raise the input amplification Gain in until the sound changes become unacceptable.
Adjust gain in to a lower level.
You can also minimize distortions by increasing the release time. However, the compression effect and the volume increase are thereby minimized.
Switch bypass on once in a while.
When you’ve found the optimal setting, switch the link option off.
Finally, switch the output gain to 0 dB.

Step 12 – Limiter:
To be on the safe side we are going to set another peak limiter at the end of our mastering chain as an “Advanced Dynamics” preset, to cut off all level peaks of -0.1 dB.

Using a headroom of -0.1 dB you can to be sure that overmodulation won’t crop up on other systems, e.g at the CD pressing plant.

Step 13 – Audio export – Dithering:
At last we are going to export our project with a sample rate of 44100 Hz and in 16-bit stereo. This means our song is ready to be burned to CD. We are going to select the default “Dithering with triangular noise distribution” as our dithering method.

Listen to the exported file one more time and make sure that no errors occurred during export.

Have fun mastering
The Samplitude Team

MAGIX presents its professional DAW technology at the Frankfurt Musikmesse 2012

MAGIX will be presenting the latest in Pro Audio software technology at our booth at this year’s Frankfurt Musikmesse. In fact, we have released Samplitude Pro X and Sequoia 12 very recently. From 21st – 24th March, 2012 a team of experts will be presenting the latest innovations from the DAW world, new features from our latest Pro Audio programs and even individual plug-ins.

Among others, Bob Humid (Wednesday / Thursday) and Ray Finkenberger-Lewin (Friday / Saturday) will be available for product presentations.

Visitors will have the chance to share their experiences and ask the experts questions about DAW’s at booth C 79 in hall 5.1. Of course, visitors will also have the chance to test out the new features in Sequoia 12 and Samplitude Pro X at the Musikmesse.