Parallel Compression: Blend Dry and Compressed Signals

Parallel compression blends a compressed signal (wet) with the original signal (dry); it is also known as New York compression. It can retain the impact of the dry attack while adding the consistency of compression. Duplicate a track, compress one copy heavily, and adjust the balance between the dry and wet signals to shape the result.

Shape Sound by Blending Dry and Compressed Signals

The compressor is a widely used mixing tool.

It reduces louder portions and narrows the difference between them and quieter portions.
Reducing level variations can make a track feel more stable and help improve the overall production.

Compressors are commonly applied to many tracks.

One important decision is how much compression to apply.

Parallel compression mixing technique

In many instruments, the attack is the loudest part.
That means it may be affected by compression.

But reducing the attack too much can make a sound less distinct in the mix:
it may seem less forward or darker.

One way to address this is parallel compression.
It is also called New York compression.

By blending the compressed signal (wet) with the original signal (dry),
you can control the sound more precisely.

Let’s see how to set it up.

Parallel Compression Video Tutorial

Questions and Answers from the YouTube Video

Is this different from inserting a compressor on the drum bus?

A compressor inserted on the drum bus processes that bus. With a fully wet compressor, the whole bus passes through the compressed signal; parallel compression also blends in an uncompressed signal. You can achieve a parallel blend with a separate path or a compressor’s dry/wet control.

How to Apply Parallel Compression

Here is a straightforward way to set it up.

First, duplicate the track you want to compress.

Parallel compression setup

Apply a compressor to one copy and use it as the wet signal.
The key in this example is to apply strong compression.

Attack: use a relatively fast setting to control peaks.
Release: use a relatively fast setting to emphasize the tail.
Ratio: use a relatively high compression ratio.
Threshold: set it low enough for substantial compression.

That is all the setup required.
Now balance it with the uncompressed track (dry).

Volume balance

Raising the wet signal produces a thicker, louder sound.
Raising the dry signal produces a more natural result.

This lets you retain the attack while adding the cohesion of compression.
Try different balances to find what works for your track.

Frequently Asked Questions

Q1. How should I set the compressor for parallel compression?

As a starting point, use relatively fast attack and release settings, a high ratio, and a lower threshold for substantial compression. In this example the compressed path is treated heavily.