How To Get Thick Vocals With Parallel Compression
Vložit
- čas přidán 7. 08. 2024
- Toronto producer and mixer 5PiECE breaks down how he gets a thick and upfront vocal sound using parallel compression.
NEW VIDEOS EVERY THURSDAY 12PM EST
SUBSCRIBE If You’re New - / 5piece
SUPPORT on Patreon & Get Benefits - / 5piece
___________________________________________
🎸SONG USED IN THIS VIDEO 🎹
“What To Say” by 5PiECE (Supported by FACTOR) - Coming Soon
___________________________________________
🔊 PLUGINS USED IN THIS VIDEO 🔊
Waves RComp - bit.ly/3gECMNj(Get 10% Waves plugins off using my link: www.waves.com/r/724780)
___________________________________________
🎧 DISTRIBUTE YOUR MUSIC ONTO STREAMING 🎧
🤑 Use my VIP link for 7% off your first year’s membership at with DistroKid - www.distrokid.com/vip/5piece
___________________________________________
💸 WHERE TO FIND FUNDING FOR YOUR MUSIC 💸
📚 FREE EBOOK - bit.ly/3q0KU0z
___________________________________________
📲 SOCIAL MEDIA 📲
WEBSITE - www.5piecemusic.com
SPOTIFY - spoti.fi/3xq3C2q
INSTAGRAM - / 5piece
FACEBOOK - / 5piece
TWITTER - / 5piecemusic
CZcams - / 5piece
___________________________________________
⏰ TIMESTAMPS ⏰
0:00 Introduction
0:58 Parallel Compression Explained
2:17 Example Play-through
3:16 Set-Up Explained
4:08 Choosing The Right Compressor
4:49 Light Compressor Settings
6:06 Heavy Compressor Settings
8:53 Play-through
9:18 Before/After Play-through
9:45 Main Lesson Summary
10:58 Conclusion
___________________________________________
DISCLOSURE: Some of the links on this page are affiliate links, meaning, at no additional cost to you, I may earn a commission if you click through and make a purchase and/or subscribe. Affiliate commissions help fund videos like this one.
Copyright 5PiECE Music 2022
More tutorials on sidechain, parallel, upward compression and more on this CZcams playlist ✅: bit.ly/3I6SPjn
Thank you brother. Love how you explain things, its easier for me to pick up than other videos.
No problem! Glad that I could help :) Thanks for watching
Really helped me get a better understanding of parallel compression.
The Waves MV2 and RVOX also work well with this technique your explaining. Played around with them a while, dope results.
Thank you for your time and educational tips you share
My pleasure!
You are the man, keep up the great work
I appreciate that Thomas! No stopping this guy ;)
I really appreciated the demonstration, subbed.
No problem! Thank you 🙌🏼
Great! Thanks a lot for this help
Thank you for watching 🙏🏼
Thanks
Dope vid
This video really hit a vocal point in my mind...............
Thanks for sharing, mate...
Any time!
Thanks bro bout to try this out
That song was fyeeee 😵💫😵💫😵💫
thanks!
You’re very welcome 🙌🏼
Thank u So much
Happy to help!
Could i just use the 2 compressors on 1 mixing channel? or does it have to go through 2 mixer channels
so just to clarify. do i still keep the compressor in my main vocals and then add the two (one light compressed and one hard compressed) after ? or are you saying do the main vocals lightly compressed and then just create one send for the hard compressed vocals. if this question makes sense.
I make music on my channel too so this video really helped. You earned a sub🔥
🙏🏼🙏🏼🙏🏼
Love the sound your achieving! - A little confused tho on the routing bc I see no effects on your all vox bus. Are all ur vox effects on another vox bus earlier in the signal flow? I also see no fader sends which is the only way I’ve seen p comp used. (Not hating) just wanna make sure I follow correctly🙏🏼
Seems like a lot of people including myself here are confused about the routing. Would love if this could get re explained / simplified 🙏🏼
I had to purchase the RComoress just because you use it for almost everything and it looks so easy by the way you teaches! I own the Waves Cla 2A , 1176 , Rvox and the RComoress . If you would recommend me to use just to on a vocal chain which ones would you recommend? 😊Thanks 🙏🏾
glad to hear my friend! I use all of those same compressors you mentioned at different times. I like to use the CLA2A a lot for individual vocal where I want more “character” and then the RComp if I want something that’s easy to manipulate. The RVox and 1176 also get love occasionally, but those 2 mentioned are my go-to compressors from Waves
The MV2 and RVOX ..cant lose
Using this method, would you still have compressors directly on vocal audio tracks, alongside parallel compressors?
Is the send fader set to unity?
Are you using this method after the reverb? is there reverb on both of the vocal tracks? and are you using any other form of stereoization to the vocals? Thanks! your videos have helped me tremendously!
+1
I'm wondering the same...
I like your name
Mag ik een vraag stellen waardoor Mag ik nooit meer meedoen in de muziekwereld
Want ik moet mee kunnen doen voor de Alda op de festivals
So if I didn’t want to add the light compression(1st one) and just do the second compression (main heavier one), then I would just do your settings and just blend to taste for my track? (I use Logic Pro x)
Yes, you could roughly do that (one completely uncompressed, another heavily compressed). It works the same, just should end up more dynamic-sounding due to the uncompressed one. Hope this helps!
@@5piece thank you brother 🙏
Don’t quite understand the point of using same comps. Doesn’t delay compensation cover the latency differences of using different comps?
Hi, doesn't parallel compression make the overall volume louder, since the audio is played twice so the sound is perceived to sound " better ".
If we focus strictly on gain structure / volume, then yes that perception is technically correct. We always perceive louder as better (although truthfully, it isn't always - we've all heard some crazy slammed tracks with an L2 that are loud but have no dynamics or movement and generally sound flat, brittle and not great - most demos suffer from this problem)
In this case, we're not simply making a louder signal here - we're processing a copy of the original signal differently, often getting an extreme reaction and then blending that back in with the original dynamic signal.
Part of this process should involve re-balancing the compressed version and the dry / dynamic version so that way its not just simply louder. In a perfect world, we'd match volume but most mixers know that this isn't always the case. We push and pull things to create a different "feeling" - and due to the difference in attack/release and general manipulation of the ADSR through compression, you will achieve a thicker sound.
Even if it is louder as a result of parallel compression, its not as straight-forward as turning up your volume fader. I won't pretend that volume doesn't play a factor here (it always does with parallel processing), but I also won't pretend that this is some gimmick that can easily be fixed by just increasing the volume of the dynamic signal. You may match the volume, but not necessarily match the presence, thickness, or perception of a signal. Volume is but one consideration here.
Not sure if this clarifies anything, but hope it provides more context on the matter. Thanks for watching.
@5piece, So should we Level Match after Parallel processing? . Like to bus dry and wet channels to a single bus and level match, or that’s not the case ?
Man, please settle this once and for all. Why do you have that Vocal Master (pink/purple track) and the Pre Mix that splits into 2 light and heavy compression? What is the role of that specific Master Vocal fader you have going on underneath Pre Master 2? Thx!
Mostly people use the fastest Release for parallel compresison (for Heavy), like on CLA-76. You used the longest, is it more just a taste or your way is better, I'm confused right now to be honest haha. Thanks in advance
Fast release times generally lead to more transparent results, particularly when directly compressing a sound.
In this case, I am not directly compressing the sound necessarily, instead I'm creating a blend of an extremely compressed version, with a more dynamic version.
With that in mind, we want to exaggerate the compression and we DON'T want it to be transparent or dynamic, since I am blending it with a more dynamic version of the signal with this method.
For that reason, I emphasize the release time so its long and clamps down; keeping the sound compressed, while then adding gain back to make up for this reduction.
When I blend it back in with the more dynamic sound, I get the best of both worlds: a dynamic sound with varying volumes for impact, and a compressed/squashed sound to increase perceived loudness.
Others may do it differently, that's fine. This isn't a one-size fits all solution - in fact, most of mixing is like that. There is no "right" way - just many ways and the "right" way for a particular situation based on your judgement. Hope this helps.
I do not understand how the pre mix 2 is connected to the voice it's interesting as an explanation but I don't understand how to reproduce this
Let me try with text here.
Vocals output to the Pre Mix.
Pre Mix goes to a single output, which acts as an input for TWO compression channels (Light & Heavy). I happened to label this output PRE MIX 2, but it could be named anything. Just know it’s an output that gets fed to the compressor channels.
The Premix is just a way to sum all of the vocals and have extra level control between the vocals and the compression channels.
You could technically skip it and just output right to the compressors if need be but I like having lots of gain control at each stage
im confused you're not compressing anything your threshold isn't low enough on the light compressor
I believe you’re mistaken. Look at the gain reduction meter for the light compressor - you’ll see it’s knocking off -0.5 to -1 db. It’s very light (hence the name). The threshold is just low enough to get a reaction, albeit not a crazy one but a reduction none the less. I recommend you watch that section again and you’ll see what I’m talking about. It’s easy to miss so I don’t blame you for that
I don't know how FL Studio may alter achieving this technique.. But I have a question:
After you blend the 2 compressed versions together.. do those 2 get blended back into the original vocals? Or is the original (3rd version) cancelled out and we're only using the 2 versions to blend?
I know that may sound confusing. Essentially, in FL, routing the original vocals to 2 tracks, would ultimately give me 3 tracks individually emitting sound equally.. Would I do away/mute the original and play with the 2 compressed versions? Or ultimately after blending those 2, would I blend that with the original vocals? Please help!
Those 2 compression tracks that the vocals “split” into ultimately sum together and feed to a final vocal master bus, then go to the output/mastering.
I’m not the most familiar with FL so I can’t make a proper recommendation. But if it helps, here’s the flow of the tracks
Individual Vocal Tracks > Vocal Pre Mix > 2 Vocal Parallel Compression Tracks > Final Vocal Master
Nothing goes back to the original so to speak, it just flows upwards as I’ve detailed above there. Hope this helps.
I know this comment is over a year old but in FL you need to unroute all of the mixer channels in the chain from the master except for the last channel in the chain. To do this you simply select a mixer channel and then on the master channel click the arrow above the knob at the bottom of the master channel. You need to route them specifically to the next mixer channel in the chain that he's describing in his comment
@@TrypZOfficial tbh I don't understand what you are trying to help me understand, but in my own comment, I see what originally had me confused back then haha I understand it now. But friend, I didn't understand what you meant tbh
do you gate and EQ the parallel channel the same as the original channel?
how about effecs?
whats the screen caption software?
Thanks