Parallel Drum Compression

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velouria08
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2009/07/24 16:14:48 (permalink)

Parallel Drum Compression

Hi Guys,

I had a couple of questions about parallel drum compression...

1) If you are using parallel compression on the drums should you NOT compress the overhead and room mics a lot.

2) If you are not looking for a big roomy sound but instead a more closer, tighter sound with only slight ambience and bite is it better to refrain from parallel compression and instead have the room mics quite low in the mix but quite heavily compressed (similar to the compression setting you would use with parallel compression?

Or is this Hogwash

Cheers.
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    skullsession
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    Re:Parallel Drum Compression 2009/07/25 01:16:36 (permalink)
    1]  I'll use parallell compression on kick,snare,toms, but I usually send OH tracks, HH, and Ride cymbal to the master without any compression.  I like transients in these tracks.
     
    When it comes to ROOM mics, I usually compress the hell out of them...this is where you find those nice tails on snares and tom hits.  I use a very fast compressor so that all of the transients are knocked back....letting the OH and close mics supply the SMACK, while the room mics supply the body and after-ring.  You can basically control the size of your drum room by how hot you mix these tracks with the close and OH mics.

    2]  If you're not looking for a roomy sound, you can still get away with some parallell compression as long as you don't do it with the OH or Room mics.  You might find that you won't want your room mics at all when you're looking for a tighter, more focused sound.

    Of course...it's all a matter of taste.  Blend as you will.
    post edited by skullsession - 2009/07/25 14:20:52

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    Spaceduck
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    Re:Parallel Drum Compression 2009/07/25 08:05:12 (permalink)
    velouria08

    2) If you are not looking for a big roomy sound but instead a more closer, tighter sound with only slight ambience and bite is it better to refrain from parallel compression and instead have the room mics quite low in the mix but quite heavily compressed (similar to the compression setting you would use with parallel compression?

    I don't know the rules of parallel drum compression, but old fashioned trial-and-error has led me to the above. I'm working with a heavy Bonhamesque drummer, and I want the mix to show it, but I don't want it to cloud & muddify the mix. I left everything completely dry except the room mics which I compressed heavily with a long, nonlinear release time (Sonitus - "LA-2A" setting). I also parallel-comp'd the hihat mic the same way because he's one of those drummers who keeps a solid beat with the pedal while he's doing crazy ride stuff. Compressed pedal HH sounds magic to my ears.
     
    I think it really depends on your mixing taste as well as the drummer's playing style. If you happen to be going for the Bonham sound, I'm pretty sure compression is a must!

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    Philip
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    Re:Parallel Drum Compression 2009/07/25 16:05:24 (permalink)
    (Methinks, no dogmatic rules but ...)

    Interesting, as per Skull above ... I'd have not touched the room mics ... especially after adding plate reverb to the top-snare and pll compression on the same.  I'd worry about mud.

    Parallel compression would be a send/send-bus with so-called upward compression, expansion, etc.  It may be heavily compressed (no MU gain)
    ... or else just another *boost* track to beef up snare and kick (and toms)

    In any case, I'd HPF slightly (to 30Hz) and LPF everything above 1 to 5 kHz (depending up whats sitting on the beat).
     
    SpaceDuck: are you adding additional reverb to anything (on top of the room ambiance you've compressed)?  I tried compressing room mics (hoping for their soft reverb) but my results were noticed by another forum member (Kev I think) ... as not optimal.  Since then I've used sontitus plate reverb (w/50msec delay) on the snare-top mic only (and sometimes the toms).  But, I'm sure your results will be nothing less-than stellar.  I've a lot to learn.
    post edited by Philip - 2009/07/25 16:13:59

    Philip  
    (Isa 5:12 And the harp, and the viol, the tabret, and pipe, and wine, are in their feasts: but they regard not the work of the LORD)

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    Spaceduck
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    Re:Parallel Drum Compression 2009/07/25 16:51:43 (permalink)
    Hey P, thanks for the vote of confidence! "Stellar" remains to be seen; I'd be thrilled just to reach "upper tropospheric"
     
    That's odd that you didn't get the best results using compression for soft reverb. That was exactly the strategy I had in mind for mine. Could it be the particular compression setting you used? I don't even know all the curves: soft knee, hard knee, bury my heart at wounded knee... but I figure something with a long, exponential release would mimic the effect of a reverb. The Sonitus Compressor LA-2A setting also has an interesting EQ curve which seems to do the filtering you mentioned.
     
    I haven't put any reverb on anything, but I think the snare & toms could definitely use some. They sound kinda plinky. Here's where I get myself into trouble, though. Whenever I use reverb, it's like a one way ticket to mudsville. I'm sure it's all in the EQ. I could use some lessons on how to apply it right. Is your song up in the Songs forum? Checking it out right now...
    post edited by Spaceduck - 2009/07/25 16:55:24

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    Philip
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    Re:Parallel Drum Compression 2009/07/25 19:20:46 (permalink)
    Spaceduck, my last 2 songs were collabs with Rick "NoHow" (Reckless Gents) and he did the drums (Jamstix built in reverb?) ... which were one tracked and potent enough, methinks.

    I'll probably submit a new cooker in a few days.  The only place I automate/envelope a strong plate reverb (varying up to about a large hall level) is on the snare top-mic track ... and sometimes the toms.  I'm scared to death to reverb the snare bottom-mic, let alone the hats and cymbals

    (For CPU sanity I use the same snare reverb (via a bus-send) on the lead vox and lead guitar) but, again, automated/enveloped.

    Of course I leave the room mic at default levels (or less) for soft coloration (superior drummer 2)

    OTOH, methinks parallel compression might be a bit overrated, especially as equalizers, VSTs, and bus sends oft afford harmonic saturation, presence, MU gain, EQ notches, and other beafy tricks.  I don't know.

    I await you latest tune as well.

    Philip  
    (Isa 5:12 And the harp, and the viol, the tabret, and pipe, and wine, are in their feasts: but they regard not the work of the LORD)

    Raised-Again 3: http://soundclick.com/share.cfm?id=12307501
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