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Parallel processing in nothing new to engineers and producers. It’s a technique that’s been used on countless records; sometimes it’s used on the room mics or overheads, other times it’s using on individual instruments.
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Vocals are a professional engineer’s bread & butter. For 90% of mainstream music, the vocals are the focal point of each mix.
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We’re complex individuals, aren’t we? Nobody likes just a single type of music, but as engineers and producers we’re subjected to strange mismatched sounds all the time.
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When you’re excited to dive into a new session, it’s easy to get lost in all of the options available at your fingertips. If your source audio is less ideal this process might start with editing individual tracks.
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You know what I’m talking about. That balls-to-the-wall rumble that slaps you in the face and holds your attention. So many of us go for it on our rhythm guitars and bass every chance we get, but did you know you can get that same depth on any instrument in your mix with surprisingly little effort?
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