Use parallel channels for lead reverb
Problem: lead lacks space and depth
Creating a parallel channel for reverb allows the lead to retain its original character while adding spatial depth. This technique gives more control over the reverb's presence in the mix without affecting the dry…
Use Clarifonic for parallel EQ to brighten without harshness
Problem: insufficient brightness without harshness
Clarifonic is a parallel equalizer that allows you to add top end and brightness without the harshness that can come from direct EQ. It's especially useful on tracks with a 'silk mode' character, where you want to…
Use parallel processing to enhance brightness and clarity
Problem: track lacks brightness and clarity
Parallel processing, such as using Clarifonic, allows you to add brightness and clarity to a track without affecting the original signal. This technique is especially useful for enhancing the high-end of a mix without…
Clip transients for tighter group cohesion
Problem: loose, disconnected transients
Clipping individual elements in separate buses creates a 'glue' effect by aligning their transients. The speaker demonstrates this by clipping kick, snare, and bass in parallel buses, making them feel like they're…
Use parallel compression for vocal thickness
Problem: thin or lifeless vocals
The speaker mentions using the R-Vox plugin's depth control to add parallel compression for vocal thickness. This technique allows maintaining the vocal's natural dynamics while adding warmth and presence. It's…
Use parallel compression on kick and snare
Problem: lifeless drums, lack of punch
Parallel compression adds punch and attack to the kick and snare without over-compressing the entire drum bus. The speaker uses an aggressive compressor/limiter (e.g., 670) on a parallel channel, blending it with the dry…
Use parallel processing for aggressive effects
Problem: over-compression kills dynamics, aggressive effects sound unnatural
When applying heavy compression or saturation, use a parallel bus to blend the processed signal with the dry signal. This preserves the original dynamics while adding character. For example, parallel compressing a vocal…
Use parallel processing with LA3 and gate for noise cleanup
Problem: noise and unwanted transients
A parallel track with LA3 and a gate is used to clean up noise and unwanted transients. This technique allows the producer to maintain the original signal's character while reducing noise and preserving dynamics. It's…
Use parallel processing with a 50% wet/dry mix for aggressive saturation
Problem: guitar lacks harmonic richness
Duplicating the guitar track and applying heavy saturation (e.g., Density plugin at 100% color) to the duplicate, then blending it back with the dry signal at 50% creates a thick, aggressive tone. This technique adds…
Group effects into parallel chains for control
Problem: over-processing textures
Split texture effects into two parallel chains: one with modulation tools and one without. Use a macro or fader to blend between the chains, allowing precise control over the texture's character. This workflow ensures…
Use Patcher to create parallel processing chains
Problem: limited parallel processing options
Patcher can be used to create parallel processing by duplicating the signal path and applying different effects to each. For example, sending a vocal track to two Patcher instances with different reverb settings allows…
Apply heavy clipping on a parallel vocal track for edge
Problem: vocals lack aggression or character
Clipping the parallel vocal track with Bodybuilder's clipper adds aggressive distortion, creating a gritty, edgy character. This is blended back into the original vocal for a balanced effect. The technique is useful for…
Use parallel processing to blend clean and distorted vocals
Problem: over-processing vocals
Blending the original vocal with a heavily processed parallel track allows for controlled aggression without losing the vocal's natural tone. This technique is widely used in modern pop and hip-hop to add depth and…
Use parallel processing on drums with vocal settings for consistency
Problem: inconsistent tonal balance between drums and vocals
By sending the drum bus to the same send used for vocals, you can apply identical processing settings to both elements. This ensures tonal consistency across the mix and allows you to hear how the same processing affects…
Layer reverb with parallel processing for depth
Problem: flat, lifeless synth sound
Apply a huge reverb (like Valhalla Supermassive) to a parallel bus and blend it with the dry signal. This creates a sense of space without losing the punch of the original sound. The technique is ideal for synthwave's…
Use parallel saturation for added thickness without overloading the mix
Problem: thin or weak bass
Routing the bass through a parallel saturation channel (e.g., Decapitator) with 2-3 drive adds harmonic content while keeping the original signal clean. This technique allows for aggressive saturation without muddying…
Parallel compress vocals for thickness
Problem: thin, lifeless vocal presence
Route vocals to a parallel bus with SSLG compressor set to threshold -15dB, attack 1ms, release 3ms, ratio 4:1. Blend the compressed signal back in at 0dB to add sustain and ambience without losing dynamics. This…
Use parallel saturation on the entire mix for depth
Problem: lack of depth and clarity in the mix
Adding a parallel saturation bus to the entire mix introduces subtle harmonic distortion that enhances perceived depth and clarity. This technique allows the original signal to remain untouched while the saturated…
Automate parallel delay volume for rhythmic emphasis
Problem: lack of spatial dynamics
Create a parallel delay chain with long delay times and reverb. Automate the volume of this chain during specific sections (e.g., verses) to add spatial depth and rhythmic interest. This technique enhances the sense of…
Automate parallel chain volume for drop transitions
Problem: weak drop transitions
Set up a parallel chain with stereo imaging tools, compression, and reverb. Automate the chain's volume during the drop to create a sudden, impactful shift in width and depth. This technique is critical in trance and big…
Automate parallel compression send for punchy energy
Problem: weak punch in high-energy sections
Create a parallel compression chain with aggressive settings. Automate the send level to increase during high-energy sections (e.g., drops). This adds punch and cohesion without over-compressing the main signal, a common…
Parallel processing with dry/wet blending for flexibility
Problem: over-processing the bus signal
The speaker uses parallel processing by blending the dry and wet signals of each processor (e.g., saturation, compression). This allows for subtle, non-intrusive processing while retaining the original signal's…
Use parallel compression for dynamic control
Problem: loss of dynamic range, lack of punch
Parallel compression is a powerful technique that allows you to add punch and presence to a track without losing its dynamic range. By sending a signal to a compressed bus and blending it with the original, you can…
Use parallel compression to help a track cut through the mix
Problem: track lacks presence, buried in mix
Parallel compression is applied subtly to add punch and presence to a track without over-compressing it. This technique helps the track stand out in the mix while maintaining its natural dynamics. It's especially useful…
Parallel delay chains for spatial depth in bass
Problem: narrow, flat bass
Route a copy of the bass to a parallel delay chain with 50% wet. Use a short delay time (150ms) and modulate the feedback for movement. This adds width without muddying the low end. In big room house, this technique…
Use multiple distortion chains with gates to create unique vocal distortion
Problem: flat or over-saturated vocal distortion
The speaker uses a series of LA3s in parallel with gates between them to create a layered, dynamic vocal distortion effect. This approach allows for more control over the distortion's character and timing, avoiding a…
Use parallel compression for punch
Problem: lifeless transients, lack of punch
Apply heavy compression (ratio 4:1, threshold -10dB) on a duplicate bus to add punch without losing dynamics. This technique is especially effective for kick and snare, adding impact while maintaining natural transients.
Use parallel compression with a transient shaper on kick
Problem: weak or muffled kick in the mix
The speaker sets a threshold on a transient shaper to boost the kick's punchiness, then uses parallel compression by lowering the dry/wet knob. This creates a more dynamic and punchy kick without over-compressing the…
Parallel thickening with slowed-down signals
Problem: thin percussive elements, static textures
Blending a dry signal with a slowed-down version adds density and weight to percussive elements. This technique subtly fattens claps, snares, and percussion by introducing time-stretched layers that enhance the sense of…