Parallel Processing in Electronic Music Production: Keep the Sound, Add More

I use parallel processing when I like the sound I've already got.

I just want more of something.

More weight.

More density.

More grit.

But I don't want to destroy the original sound to get it.

That's where the parallel comes in.

Keep the original.

Build another version underneath it.

Compress it harder.

Saturate it.

Distort it.

Then blend it back in.

Parallel Compression

I always parallel my drums.

It's just part of the way I mix them.

I'll send the drums to another bus and compress them hard.

Usually around 10 dB of gain reduction.

Then I subtly mix that underneath the original drums.

That's it.

The drums just become right to me.

More solid.

More held together.

The original drums still give me the attack and the groove.

The parallel compression adds density underneath them.

I don't want to hear the compressed bus.

I want to notice what happens when I take it away.

Parallel Saturation

Saturation depends on the sound.

Sometimes I'll add just a hint of saturation and mix a lot of it in.

Other times I'll push the saturation hard and only blend a little underneath.

That's what I like about doing it in parallel.

The amount of processing and the amount you mix back in are two different decisions.

You can have a little colour mixed high.

Or a lot of colour mixed low.

Same control.

Completely different result.

Reverb Is Already Parallel

I've always used reverb on sends.

Dry sound on the channel.

Reverb on an aux.

Blend the return underneath it.

I don't really think of that as a parallel processing technique.

It's just how I've always used reverb.

But technically, that's exactly what it is.

The original stays untouched.

The processed version runs alongside it.

Then you decide how much of each you want.

Parallel Distortion on Bass

Bass is another place I use parallel processing a lot.

I want the low end to stay solid.

Clean.

Holding the bottom of the track.

But sometimes I want more grit in the mids.

More character.

So I'll distort a parallel version.

Push it.

Then blend that underneath the clean bass.

The original holds the low end.

The distorted version gives me the harmonics.

You get the grit without losing the thing that made the bass work in the first place.

Keep What Already Works

That's really why I use parallel processing.

I like the sound I've already got.

I don't want to replace it.

I just want more of something.

More density.

More saturation.

More grit.

So I keep the original.

Add what it's missing underneath.

Then blend until it feels right.