paralelna kompresija

[nikolaivanic]

Odlicno objasnjena paralelna kompresija- narocito za DAW- zbog kasnjenja
In an audio mix using an analog mixing console and analog compressors, parallel compression is achieved by sending a monophonic or stereo signal two or more directions and then summing the multiple pathways, mixing them together by ear to achieve the desired effect. One pathway is straight to the summing mixer, while other pathways go through mono or stereo compressors, set aggressively for high-ratio gain reduction. The compressed signals are brought back to the summing mixer and blended in with the straight signal.^[2]
If digital components are being used, latency must be taken into account. If the normal analog method is used for a digital compressor, the signals traveling through the parallel pathways will arrive at the summing mixer at slightly different times, creating unpleasant comb-filtering and phasing effects. The digital compressor pathway takes a little more time to process the sound?on the order of 0.3 to 3 milliseconds longer. Instead, the two pathways must both have the same number of processing stages: the "straight" pathway is assigned a compression stage which is not given an aggressively high ratio. In this case, the two signals both go through compression stages, and both pathways are delayed the same amount of time, but one is set to do no dynamic range compression, or to do very little, and the other is set for high amounts of gain reduction.^[4]
The method can be used artistically to "fatten" or "beef up" a mix, by careful setting of attack and release times on the compressor.^[3] These settings may be adjusted further until the compressor causes the signal to "pump" or "breathe" in tempo with the song, adding its own character to the sound. Unusually extreme implementations have been achieved by studio mix engineers such as New York-based Michael Brauer who uses five parallel compressors, adjusted individually for timbral and tonal variations, mixed and blended to taste, to achieve his target sound on vocals for The Rolling Stones, Aerosmith, Bob Dylan, KT Tunstall and Coldplay.^[5] Mix engineer Anthony "Rollmottle" Puglisi uses parallel compression applied conservatively across the entire mix, especially in dance-oriented electronic music: "it gives a track that extra oomph and power (not just make it louder?there's a difference) through quieter portions of the jam without resorting to one of those horrific 'maximizer' plugins that squeeze the dynamics right out of your song."^[6] While parallel compression is widely utilized in electronic dance music, "side-chain" compression is the technique popularly used to give a synth lead or other melodic element the pulsating quality ubiquitous in the genre. One or more tracks may be side-chained to the kick, thereby compressing them only when the beat occurs.
http://en.wikipedia.org/wiki/Parallel_compression