Not in the context you are thinking about, it is just the dry/wet mix. What one is trying to do with parallel compression is bring up the overall level and still maintain dynamics.

Sorry for incessant posting (it's hot and I guess I'm bored) but I just had a cool idea. I think I'm going to try using a parallel type set up with TH2. Like for example have a cleanish guitar tone and sends to a bus with a distorted tone and maybe another with some freaky phaser or harmonizers going on and automate the sends to blend in and out of the effects. Might be cool. I think if I put the sends pre fader too then I could raise and lower the clean track as well and still get the effected sounds.
 
hmmm...

Which raises another point on the compression. I'm assuming he'd want the sends to the compressor be set to Pre Fader right? That way when he makes volume changes the compressor is still working with the send levels and not affected by the fader... right?
 
I should look at my notes.
 

Yes prefader with sends.
Thanks guys.
It does make sense to add a gentle comp on the track (as necessary) first, to get control over wilder peaks.
Then another for NY Comp (parallel) for raising the subtler levels.
This second one can be on a buss with sidechain switch off (for sharing with other tracks) or in the track as a standalone with the sidechain switch on and controlled with the wet dry.
Right?

The point is there is no need for a separate bus for the parallel compression if the compressor has a dry/wet adjustment. If you want to use another bus for the compressor to mimic the analog world, the easiest way to ask yourself should it be pre or post fader is think how the dry/wet adjustment is setup. The dry/web knob is prefader because it is in the compressor. To create the same compression technique without the dry/wet knob,  create a send prefader so the mix can be adjusted when combined later.

I think I'm getting it now.
thanks

M_Glenn_M
This second one can be on a buss or in the track with the sidechain switch on.
Right?

For parallel compression the side-chain switch is not used. You are using the compressor on the bus to apply a fair amount of compression and mix it with the original signal in the bus to fatten up the sound.

I guess the main diff was the idea of using one Comp Buss for servicing several tracks thru their sends.
I thought that saved resources and setup.
 

scook
The point is there is no need for a separate bus for the parallel compression if the compressor has a dry/wet adjustment. If you want to use another bus for the compressor to mimic the analog world, the easiest way to ask yourself should it be pre or post fader is think how the dry/wet adjustment is setup. The dry/web knob is prefader because it is in the compressor. To create the same compression technique without the dry/wet knob,  create a send prefader so the mix can be adjusted when combined later.

But if one desires one comp to control multiple tracks (and is trying to save resources as Glenn has an older setup) it's still better to output those tracks to a bus where the compressor lives (without sends, just the entire signal) and THEN use the wet/dry mix, n'est ce pas?
 
I'll tell ya... the day I learned about using busses to keep effects consistent across multiple tracks (like doubled guitars/vox) was a very fine day indeed. Before that I was constantly copying my effects over to the other tracks after any tweaks. Enormous pain. Seems silly and brutish in retrospect. ;-)

Exactly, me too