Parallel Compression article

Having picked up the CA2A and Concrete Limiter yesterday, and the Boz +10, I've been thinking about approaches to compressing my drums. I use AD2, so no live drums, and I kind of think that sampled drums don't need compression so much, but I still want to do it. I like phat beats, Hip Hop, Drum and bass, as well as un programmed Funk, Latin, Soul etc.
 
So with both the Boz and Concrete I was thinking of ways of getting the colour of the Boz, and whether a little of the Boz and a little of the  Concrete may give me a sound I liked, but what to go first. I thought about paralell Compression, and maybe using the wet dry on the Boz, then feeding the result into the Concrete, Or having lighter compression on the boz (even wet dry mix again) and feeding a parallel line into the Concrete.
 
I always thought Parallel compression two lines of light and heavy mixed together, but the inclusion of wet/dry know and comments when they are discussed made me question that. I also wondered if New York was the same or a varient of Parallel Compression, and why if not is it called New York if it was used in Motown. So googling around I found this and having also just purchased the CA2A for a softer flavour not intended for drums, I was surprised by the picture at the top of the article and then for it not to be an editorial accident, but then discussed in the article.
 
http://mix-engineer.blogspot.com/2011/07/new-york-parallel-compression-technique.html
 
Also the sending of individual drums rather than the whole drum buss for parallel treatment was unexpected food for thought.
 

Thanks, always reassured when you chip in.
 
I almost didn't get the CA2A, it was the CL I was really after, and though I haven't used it yet, this article reassured my of the purchase, and that there is more range to than I gave it credit.
 
I'm thinking of a the BOZ on the drum buss to pull the sound and glue the kit together, letting some dry through, and having the sends as that article shows feeding the CA2A with of the kit to add some flavoured weight to the middle. And all seems possible without a messy routing set up which I'm really happy about.

Thanks from me too Scott. Like Bit, I missed this technique and this method will be very cool to check out.
Drums to tame the kick and snare incrementally. Bkg Vocs to reduce dynamic range for just the problem peaks. Could even automate the send levels if needed. 
Rimshot

Kewl - great posts in the thread.  I guess I got lucky, because I had picked up the whole parallel compression approach I use, from watching some Cakewalk folks in one of their free videos on Larger Than Life Drums (which sounded quite appealing to me).
 
In that video, they set it up on its own para comp bus, and routed clumps of drums to it (all the Toms had a bus, cymbals had a bus, kick had a bus, and snare had a bus), so they were able to fine tune all of that from their bus routing assignments.  All my kits I use from Battery 3 in Sonar projects are customized to have each kit piece routed to its own output and subsequently to its own audio track.  I then route the 4 toms to a Toms Bus, which then feeds a Drums Bus, and the group of the 4 toms has a send to the parallel compression bus along the way, etc.....
 
Bob Bone
 

BMOG
I will admit that I did not read the article ......
Thanks for any advice and at some point I will get around to reading that article

 
my advice, would be to read the article.

Nice. I like the idea of using the LA-2A too, it's definitely one of my favourite compressors.

While I knew of the term "New York" compression, I wasn't aware of its specific implementation. Also wasn't aware of the other variations. Knowing the origins of common place processes fills an important gap for me. Thanks Scott (kamikaze) for the ref.