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I've been starting to experiment more with compression lately and was wondering something about parallel compression. When mixing the wet/dry signals back together it would make sense to me that the 2 tracks should be eq'd so they sit right with each other. But some compressors (I use Logic's stock comp) have the mix parameter built right into them. I know using 2 separate tracks with EQ would give more control, but do the mix parameters generally make up for clashing frequencies? Or do they just simply mix both signals at the ratio you set? From what I've done so far, the mix parameter never seems to create any harsh transients, but I'm still wrapping my head around compression and when it really needs to be used.
Im experimenting with different sounds and parameters, but are there any general cases where it would make more sense to do it one way or another, or are they basically doing the same thing?

edit: After thinking about it for a little, I guess turning the mix slider down would just make the original peaks outside of the threshold louder compared to the compressed signal. So I think it would be more like allowing more of the original signal through "on top" of the output post-compression, rather than playing 2 entire signals at once. If that makes sense.

I have cut down on compression majorly lately. I just use a transient shaper on my kicks and snare buss. If something sounds fine why compress it for no reason.Before i used to compress everything. Now I'm Eq'ing things rather than compressing.

AxeD wrote:

kreutzbube wrote:i got no frikkin clue what all the hustle and bustle for compressors is about, if i use em i hardly hear any changes in sound... i just fix the volume via mixer - the only useful function of compressors i lately discovered is sidechaining.

A new generation

hmmmm, I went through a similar phase to this. Didn't see the point of compression at all and balanced the elements in different ways and it was a great phase to go through. It means you really learn the value of a compressor, you don't just reach for it automatically.

@kreutzbube - keep on with that idea and see where you can take your material to without using compression at all BUT at the same time as doing that take the time to learn about compression, what it is, how it works and then start to play around. Take a snare sample, stick the threshold to about -20db and then gently increase the attack time, really take your time about it and listen to exactly how it changes the sound. Once you understand compression it's a very powerful tool.

symmetricalsounds wrote:Once you understand compression it's a very powerful tool.

x2

tbh you don't even need to understand it, as long as you can set it up to do something useful.

dididub wrote:

symmetricalsounds wrote:Once you understand compression it's a very powerful tool.

x2

tbh you don't even need to understand it, as long as you can set it up to do something useful.

For sure, at first the effects can be a lot more subtle than things like EQ but once you get used to it you can get so much from not just compression but dynamics processing as a whole.