Parallel Processing

Blending processed and unprocessed sound is a classic and effective technique that can provide drastic improvements – and it can be done in every DAW!

What is it?

The difference between processing a sound and parallel processing is simple. Both start out with an original, unaltered sound and signal path. In a processed sound, there is no amount of the original signal left. The sound passes through the processing and is altered before continuing to the output; all you hear is the processed sound. Typically this is what is done during the mixing phase. We will add EQ, compression, saturation, etc. to a sound.

Parallel processing, on the other hand, leaves the original sound unaltered but adds an amount of processed sound alongside it. It’s the blend of these two elements that constitutes the end result. Adding a reverb or delay effect is not regarded as parallel processing. Parallel processing relates more to generating a whole new sound by means of compressing, equalizing, filtering, distorting, re-amping, and generally using and abusing non time-based audio processors.

Parallel processing is a non-destructive technique. The basic process is done this way: the original sound is on one channel. An auxiliary input track is created next to it, leaving us now with two tracks. On the 2nd track we add whatever effect we want to use, i.e. a distortion effect plugin. Using a bus send on the original track, send this to the new auxiliary track with distortion. You can add a lot of distortion if you want! The channel fader for the aux track will most likely not be at unity (0). While playback is engaged, starting with the fader down all the way at infinity, slowly bring up the fader on the aux track until the distortion is heard. Set the fader where it suits you. Doing things this way allows the original signal to go to the main output, and then the parallel distorted signal is also being sent to the main output, but only the amount we desire to have. Blend these two tracks to taste.

In the screenshots below there is a synth bass track that wasn’t coming through the mix very well. It has a lot of energy below 100 Hz. To help bring it out in the mix better I added some distortion using parallel processing. On the original bass track I added a bus send (bus 1), routing it to a mono aux. track which has the distortion plugin.

Notice that on the bus send I set it to pre-fader send and that the volume fader is set to unity (0). It just so happens that on the aux channel that has the distortion plugin, the channel fader is set quite high, -5 dB or so. Because of the type of preset I used on the distortion plugin I could get away with this strong of a mix level. Usually when doing parallel processing the channel fader is much lower. I did start with it all the way down, though, and brought it up slowly until it made a difference in the mix to my liking.

In the next screenshot I am using a saturation plugin. This is adding some harmonics which will emulate some analog equipment.

Again, because of the type of processing I am doing, some of the settings are a little different from “normal” use. I have never set the saturation to 1.0, but because I am using it in a parallel situation I can get away with that. Many times I will put a saturation plugin directly on a track. When I do it this way, the saturation is set no higher than .4. And again, notice that the aux channel level is set to unity. Again, because what I trying to achieve, this was acceptable.

The next screenshot is the same thing but this time I am using a compressor. This is, of course, known as parallel compression.

All settings for I/O routing are the same. Notice on the compressor I am achieving 6 dB of gain reduction, while also adding 6 dB of makeup gain. The 6 dB gain reduction is almost an arbitrary number. I knew since I was doing parallel processing I could afford to hit the compressor a bit harder, thus 6:1 ratio with 6 dB GR. Remember, I can always “dial in” the amount of the compressed signal I desire alongside the unprocessed signal.

While listening through earbuds, all 3 of these effects of parallel processing worked really quite well (saturation, harmonics, compression). The goal was to get the sub-bass synth bass to come through the mix better. This was definitely achieved with great results.

On a rap track I’m currently mixing I used parallel processing on the hook lead vocal. I set up a compressor on one aux. channel, and a doubler plugin on a 2nd aux. track. I then sent two different bus sends from the original vocal track to each of these two aux. tracks (pre-fader, unity send). Each aux. channel fader was then set appropriately. In this case, they were not at unity. The doubler track was set somewhere near -20 or -30 dB. The compressor track was also set close to the same.

Parallel processing is a great tool to use and one of many in any mixer’s toolbox. You are only limited by your imagination! I read about one of the top mixers who uses parallel processing even for EQ. He prefers not to EQ the original track, instead preferring to do it with a parallel track. Many times we don’t want to alter the original track to drastically, but still add an effect. This is a perfect scenario for parallel processing!

I hope you find this information helpful!

And …… HEY! Make it a great day!

Tim

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EQ – Different Frequency Bands [20 Hz – 20 kHz]

Learning what different frequencies sound like and the effect they have on the sound of different instruments is an invaluable skill. These are the names we use to classify the bands – the frequencies are approximate, so use your ears!

> 20 – 60 Hz – Sub-Bass: Gives boom, depth, and richness – too much sounds flabby and out of control. Small speakers don’t reproduce this.

> 60 – 150 Hz – Bass: ‘Thump’ and punch in drums, especially kick and snare, and richness in bass and guitars. Too much sounds woolly.

> 150 – 1 kHz – Lower mid: Important for warmth, but too much sounds thick and congested. The 500 Hz – 1 kHz region especially is crucial for a natural vocal tone, but too much sounds boxy and nasal.

> 1 – 3 kHz – Upper mid: The most sensitive area of the ear, important for edge, clarity and bite, but too much will sound harsh and tinny.

> 3 – 8 kHz – Low Top: Provides fizz and sizzle; and edge and aggression in guitars – too much sounds thin and brittle.

> 8 – 12 kHz – Top: Gives openness, air and clarity – too much sounds over-bright and glassy.

> 12 – 18 kHz – Very high top: These frequencies can add sheen and sparkle and sweeten things up, but too much sounds unnatural, gritty and forced. [FYI – I have the Kush Clariphonic parallel EQ hardware. I add these frequencies on my mixbuss or sometimes use it for vocals. It really opens up that top end. A little goes a long way.]

Tip #1: Don’t solo an instrument when EQ’ing. Set the EQ when playing the instrument in context with the rest of the track. You can solo to quickly check things, but be sure to take out of solo mode fairly quick.

Tip #2: Sometimes when soloing a track or instrument, the EQ we add makes that instrument sound worse! But in context of the whole mix it sounds great. That is what matters. Part of the time you can expect this to happen.

Tip #3: If there are two parts that are fighting in the mix because they occupy the same frequency range, it can sometimes help to boost the EQ on one of them and cut the other at the same frequency, then reverse the strategy and boost the second sound in a different place while cutting the first. This emphasizes the contrast between the two parts, with gentler boosts, and helps stop things sounding unnatural.

Tip #4: In regard to Tip #3 above, this can sometimes be called ‘masking.’ Masking is when two instruments are fighting for the same frequency or frequency space. For example, kick and bass guitar. If when the kick hits, the bass is obscured some, this is masking. Using Tip #3 above will help get rid of this problem. Make sure to ‘cross-EQ’ both ways. In other words, boost instrument 1 and cut instrument 2 in same place. Then boost instrument 2 and cut instrument 1 in same place.

Tip #5: Do a ‘boost & sweep.’ When searching for a frequency that you want to get rid of, use a bell curve EQ (band, or parametric), boost @12 dB with a somewhat narrow bandwidth (high Q). Sweep up and down in frequency until you find (hear) the unwanted or annoying frequency. Then set that band for a cut instead of a boost. How much you cut depends on the specific situation, it might be a little or a lot.

As always – I hope this helps!

And ……. HEY! Make it a great day!

T

The Different EQ bands and What they mean (part 2)

Dyn3 7-band EQ (Avid Pro Tools free plugin)

If you look toward the bottom of the EQ pictured above, you will notice 5 different bands: 1. LF, low frequency, red; 2. LMF, low-mid frequency, orange; 3. MF, mid frequency, yellow; 4. HMF, high-mid frequency, green; 5. HF, high frequency, blue.

In today’s blog I will talk about these five bands. I want to start with band 1 and 5. These are typically used and referred to as “shelves.” Band 1, low frequencies, is the low shelf, and band 5, high frequencies, is the high shelf.

But these two bands each have two different settings. The small left icon, next to the LF and HF, is called a bell-type EQ. It kind of looks like -o-. This will either boost or cut a section of frequencies set by you with the frequency knob. The ‘Q’ knob will determine how wide or narrow the bell curve will be. A low Q setting will give you a wide band of frequencies, and a high Q will render a narrow band of frequencies. A good rule of thumb is wide when boosting and narrow when cutting.

The typical use for this is to, say, boost the lower frequencies to bring out a kick drum or synth bass. On the high end, with the HF knob, we can boost upper ‘air’ frequencies to make guitars or vocals stand out or sound brighter. Of course, we can also cut in these frequency ranges as well.

The other icon setting is called a ‘shelf.’ This is the more common use for these two bands. Typically we use a boost here (low or high). When boosted, it looks just like a “shelf.” If on the low shelf, we set the frequency knob to 125 Hz, then everything from 125 on down (to 20 Hz) is boosted the same amount. On the high shelf, we might add a shelf for vocals starting at 6 kHz. In this case everything from 6 k up will have a boost. Of course, we can also cut using a shelf, but this happens less often then a boost.

The Q factor is a bit more complicated and will have to be reserved for another post.

Bands 2, 3 and 4 allow for bell curve settings only. These are the same as the bell curves on bands 1 and 5. These are used for low-mid, mid, and high-mid frequencies. There are only three knobs: Frequency, Gain and Q. Frequency, of course, sets the frequency that you want to work with. Gain is volume (loudness) and can be plus (positive) or minus (negative). We might say boost 2 kHz 2 dB (2 dB) which is a positive gain. Or cut 1200 Hz 3 dB (-3 dB) which would be a negative gain.

As stated above, Q determines the amount of frequencies being altered by the EQ.

As always, I hope this helps!

And, HEY! Make it a Great day!

Tim

Compressors – What is the Knee and What does it do?

As you get better with compressors, you will start playing with other knobs and features. One of these is the knee. The knee refers to when and how the ratio starts to change when the compressor starts to take effect. A ‘hard knee’ means the compression becomes immediately active as soon as the input signal hits the threshold. A ‘soft knee’ means the compression becomes audible more gradually. A ‘soft knee’ also means that gentle compression starts happening further below the threshold. Another way to say this is it starts acting before the signal actuall reaches the threshold setting.

Both hard- and soft-knee compression have their uses; two examples: if you want to squash a signal’s transients quickly, you’ll want hard knee compression. If you want to use a compressor to gently glue a mix together by tightening up transients, you’ll want a soft-knee compressor.

Lastly, if you have a compressor, like the Dyn3 Compressor/limiter which comes free with Pro Tools, look at the picture of the knee. It actually looks like a human knee!

As always – I hope this helps!

And…. HEY! Make it a great day!

Tim

Compressors 201 – Threshold

A compressor has a lot of knobs and settings. They can be confusing at first. In this blog I am going to talk about one of those knobs – Threshold.

A compressor is an automatic volume control. We try to make the signal somewhat the same, static. Without a compressor, we would have to do it manually, turning the signal down, then up, then down, etc. But with a compressor, it can do that job for us.

When a signal gets loud (and crosses the threshold), it turns it down. If there’s any makeup gain, it will turn the softer signals up making them louder (along with everything else, of course).

The threshold setting tells the compressor when to start working. Put a compressor on, say, a vocal track. Pay attention to the input signal on the compressor. Let’s say the input signal is -10 dB. Now set the threshold knob to -16 dB, and the Ratio 2:1. What we’re telling the compressor to do is this: Any signal that is stronger than -16 dB, I want it to compress (lower) the signal. When the signal crosses the threshold it will get cut (attenuated) in a 2 to 1 ratio. So in this scenario, the signal is coming in at -10, with the threshold set to -16 and a 2:1 ratio. This means 6 dB is going to get compressed in a 2:1 ratio. The signal will get cut down to 3 dB over. You can think 2 becomes 1, 4 becomes 2, 6 becomes 3, etc.

If the ratio was 10:1, the signal would get compressed more. The higher the number, the more the compression. If the signal crossed the threshold by 10 dB, then it would be reduced to 1 dB.

The threshold determines how much of the signal the compressor is going to affect. You can change where the threshold is set usually in two ways. Using the Dyn3 compressor/limiter, grab the orange arrow on the signal led and slide up or down. Or to the far right at the bottom, grab the threshold knob and set up or down.

TIP: If Pro Tools is your DAW, use the Dyn3 Compressor/Limiter (free). It helps to make understanding what and how a compressor works easier.

I hope this helps!

and HEY! Make it a great day!

Tim

Compressors 102 (More of the Basics)

After learning the basics about compressors (see Compressors 101 earlier blog entry), then you can use this general guide of the type of overall effect you are going for.

If you want a Natural sound (the compressor is not noticeable):

Use a slower attack (longer than 75 ms) and gentle ratios (less than 2:1). Always allow the compressor to “relax” back to zero several times a measure.
For a Punchy Response:

For a harder, punchier sound, use higher ratios and thresholds, but keep an ear out for any distortion.

If you want a Thick and Dense sound:

For a thicker, denser sound use faster attacks, medium ratios, and lower thresholds. There will be much more gain reduction though.

If you want a Pumping Effect (for EDM, for instance):

For an overstated pumping effect use fast attacks, high ratios, and a longer release time.

DO – Avoid using extreme settings to begin with. This is especially true if you are just trying to control the dynamics.

DON’T – Add compressors to every channel just because you think you’re supposed to! Start with minimal compression and carefully choose where, when and why to add a compressor.

DO – Experiment with different kinds of compressors. There can be some big differences!

DON’T – Don’t forget to bypass the compressor occasionally to check that you’re getting good results.

DO – Remember to balance the output gain so the level doesn’t change when you engage the bypass. In other words the before and after volume level should be the same. We hardly ever use compression without changing the output makeup gain. If you add 3 dB of gain reduction (GR), then you should be able to add 3 dB or so of make up gain for the output.

DON’T – Don’t be afraid to experiment. Some of the greatest sounds in the history of recorded music came from misused and abused compressors!

The next blog about compressors I will talk about the “Knee” of a compressor! I really do hope this helps. It helped me!

As always – Make it a GREAT day!

Tim

Creating a Click Track (in Pro Tools)

Using a click track during recording is, of course, imperative. We can’t do our work if we can’t play to the beat! Luckily for us Pro Tools makes it easy to set up a click track! Just simply go to Track on the menu bar, scroll all the way to the bottom and choose Create Click Track. Pro Tools will create an auxiliary track and automatically put a metronome plugin on the track. The metronome will automatically set to the tempo (bpm) of the song.

The metronome is customizable. You can change the sounds used for beat 1 and all other beats (2, 3, 4, etc.). The volume for beat 1 can be set and the volume for all other beats can be set to something different. I usually have mine set so that beat 1 is louder than other beats and is a different sound. That makes it easy to find the downbeat while tracking.


When I set up my templates, I already have the click track set up and ready to go! Easy! And since I organize and colorize my tracks, for me, the click track is all the way to the left in the Mix window and a bright lime green. I always know where it is in the session, no matter working in the mix or edit window.

Lastly, you can save a preset of the type of click you like. On the click plug-in, select the drop-down arrow next to Preset, select Save As, and name it! That’s it!

Peace! And HEY! Make it a great day!

Tim

10 Tips for a great vocal recording

Here are ten quick tips to think about the next time you record vocals:

1)  Warm Up:

Every vocalist needs to warm up. You wouldn’t run a marathon without stretching first, would you? Vocalists should warm up for at least 15 mins. before laying down a great performance.

2)  Don’t record vocals in the morning:

No vocalist is at their best if they’ve just rolled out of bed. If possible, try to schedule the vocalist in the mid-afternoon or evening. Use mornings for setting up and testing ideas. Always try to give the vocalist plenty of notice in advance before the recording session.

3)  Comfort:

Make it your job to ensure that the vocalist has space to move, the room is at the right temperature, and there’s nice ambient lighting to help set the mood.

4) Monitoring:

Spend time getting the balance in the headphones that the vocalist wants. Add reverb to their vocal sound if they want it, and be prepared to adjust levels as the session progresses. Watch out for the vocalist drifting out of tune, this is often because they can’t hear themselves but are too polite to mention that!

5)  Be extra kind and sensitive:

Vocalists are a very sensitive breed! A lot of pressure rides on them to really deliver – on stage and in the vocal booth. One of the greater skills we can possess is the art of encouragement and support. Being able to coax amazing performances using expert direction is a real plus. Patience and confidence building are also important. The ability to keep the vocalist focused is essential. Always use tact!

6)  Phrasing:

Spend time getting the vocal phrasing right. Subtle changes can transform an OK take into something exciting. Make sure the vocalist articulates the end of words as much as the beginning: this is vital for a sense of passion and engagement. Even if some rewriting has to take place, it’s better than compromising with an awkward line.

7)  Vocal ticks:

It’s tempting to edit out breaths and other bits and pieces from the take. These details are an essential component of any vocal performance and can make your track sound more alive, no matter what your style!

8)  Choice of microphone:

Condenser microphones are generally a better choice for vocals than dynamics. A Neumann U87 or TLM 103 are good choices if you have the budget. Experienced vocalists will have their own preferences. Accommodate them if you can.

9)  Compression:

Some engineers swear by compressing a vocal on the way into the DAW. This can work, but you can’t remove compression once it has been recorded. Be sure you have tried this out with good results or you may end up ruining an otherwise perfect take. Another strategy is to set up the vocal mic with lots of headroom and just make sure to avoid any clipping if the vocalist suddenly starts getting loud. You can always add compression during mixing.

10) The room:

I saved the most important one for last! Don’t forget that your recording will only sound as good as your room. If you have any nasty resonance build up, reflective surfaces, closets without acoustical treatment, etc., then steps 1 – 9 are kind of pointless. Obviously, this would need to be taken into consideration long before any vocal tracking were to take place. You can always use something like a Reflexion Filter (by sE Electronics) or something similar to improve your space.

I hope this helps and HEY!, make it a great day!

T

Organization Pt. 3 (patchbays)

Patchbays

Having a patchbay helps to optimize your signal routing and organization. Even the most modest of studio setups can benefit from the simple addition of a patchbay. Almost any configuration of cable connection – xlr, 1/4″ TRS jack, Cat5, etc. can be connected to a patchbay. And you can make your connections without ever having to leave your seat!

If all your equipment I/O (input/output) is connected to the patchbay and it is labeled well, it will save you time by not having to go around the back of your gear to connect things. It will save wear and tear on the connections of equipment. It also centralizes the grounding of gear and reduces potential ground loop noise problems.

I use two main types of patchbays in my studio: xlr and 1/4″. The [Hosa] xlr patchbay is configurable. That is, the two types of xlr – male and female – can be configured to fit one’s needs. You can have the front panel all xlr male, all xlr female, or a mixture. Conversely, you can set the back of the patchbay as well.

The [Neutrik] 1/4″ patchbay has a two-row topology and is typically set up with an out-over-in signal flow, or a downward signal flow direction. For instance, outputs on the top row and corresponding inputs below. Or, returns on top and sends on bottom. TRS patch panels have configurable setups called “normalled” and “half-normalled.” In patchbays, a normalled configuration is an internal connection from the top row of jacks, to the bottom row. Normalling allows connections that are normally in effect to exist without the need for inserting a patch cable in the front of the bay. For example, the stereo outs of a mixer are generally connected to the inputs on a stereo mixdown deck. By connecting the mixer’s outputs to the top back row of a normalled patchbay’s jacks, and the mixdown deck to the bottom back row, a connection is made internally in the bay, and does not require extra patch cables. 

When a jack is inserted into the lower plug, however, the normalled connection is broken. This provides a convenient way to route signals to multiple destinations. For example, the output of a mixer that is normalled to the input of a DAT on the patch bay can also be simultaneously routed to another patch point. To do this one would simply run a patch cable from the patch point that is the output of the mixer (an upper jack) to the patch point that is the input to the other device (a lower jack). This connection will break the normal of what would normally be feeding that other device in favor of the mixer signal that has been patched in. Signal will now be routed to the DAT and the other device. Another application might be to insert an EQ after a preamp but before the converters. Simply route the output of the EQ (an upper jack) to the normal input jack (a lower jack) for that mic preamp.

As a final note – label, label, label!! In a previous post I mentioned owning a digital label maker. This is when it comes in handy! Also, write all the routing options down on paper first to help figure out organization.

Having a patchbay will simplify your studio life and make routing an easy task!

Peace –

and HEY! make it a great day!!

Tim

Organization (in your Production Studio) Pt. 2

Group Cabling

Keep cables grouped together by type (audio, MIDI, mains, etc.). This makes it easier to find faulty cables, patch equipment quicker and easier, and help reduce cable-borne noise problems. Putting a little distance between different types will reduce the potential for EMI (electromagnetic interference) problems, because mains cables can induce a 50Hz hum on audio cables. Always try to keep power cords of any kind separate from audio cables. If they do have to cross, try to do it at a 90° angle to minimize hum induction.

Cable Wraps

Using cable ties of some sort are definitely in order! Use Velcro or easy-release plastic ties. DO NOT use the infamous rock-n-roll duct tape! It will leave sticky residue once removed!

Label

Label Everything! I used to use the little string tags (and if I was to be honest, there are still some being used). But I did finally invest in a digital label maker. Good Investment! I now have 2 different tape sizes and label everything – patch bays, monitor control, hard drives, cables, wires, boxes, etc. You get the point!

‘Faulty’ Box

Get a large plastic box and label it “Faulty”, “Not Working”, “Needs Repair”, “Bad” or something like this. You will end up with equipment that needs repair, faulty wires or cables, stomp boxes not working correctly, or just components that you can use later for recycling of parts. Almost everything in our studio can be repaired or used for parts. This helps keep unusable equipment from getting mixed up with the good. How many times have you reached for that cable that doesn’t work or needs a wiggle when you use it! Throw it in the faulty box! When you have some time, get into the box and pick a project! Or better yet, sell the lot on eBay under ‘needing repair’ and get them out of your hair.

I now have initiated all of this in my own studio. I am much better organized, I have better workflow, waste less time and can focus more on my tracking or mixing. I hope this helps you too!

As always-
Make it a great day!

Tim