Mixing & Mastering a Track (Parallel Compression)

Date: 4/12/09
Total Duration: 4 Hours (2hours Mixing + 2 Hours Mastering)

I got a request from a friend to mix a track he has been working on for a week. Fortunately he also uses Logic 8 so it was easy to bring the mixes to my place. He saved his project file along with audio files into a external hard-drive and uploaded all data into my hard-drive using Firewire.

I started by mixing the tracks (correcting level, EQing, compression etc) to give general balance to the song. I added generous amounts of reverb to the drums because the drums dry sounded unnatural and it didn't fit right in the song. Instead of using onboard reverb in Logic, I chose to use the reverb rack inside the Guitar Rig 3.

To do this I needed to create a auxiliary channel to tap off some of my original signal to send to the reverb fx.

The dry and effected signal (wet signal) was combined on a another Bus. I created a another audio stereo track where the input was the Bus where the 2 signals combined. This allowed me to record the 2 signals onto 1 stereo track (requires less CPU power running 1 application rather than 2).
After I finished with the drums, I mixed the guitars then the bass guitar. When I was happy with the final product, I bounced the track to a single stereo WAV file.




Mastering the Stereo Track

Using Parallel Compression

I thought of using this technique (also known as NYC compression) reading a article in a MusicTech magazine. I created a bus where the compression will occur and tapped off some signal from the audio. Idea is to create 2 channels with the same audio (one dry another compressed)and mix them to personal taste. The wet signal will have more extreme compression setting dialed in but this will be mixed with the dry signal to give the desired outcome. This create greater punch to the mix and raises perceived loudness.

I constantly watch the level meter to make sure the signal doesn't run too hot (go into digital clipping)



On the wet signal, I rolled back the high signals because it was running slightly too hot and was audibly unpleasant. After making sure the levels was correct and there was no inconsistency, I bounced the track. (The combined signal after eq was more pleasant)

The Blue signal is the original signal before the Parallel Compression and the White is after. Pictures show the dynamic range has decreased and audibly the perceived loudness has increased dramatically. It increased the punch and presence of the mix.