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So you’ve learned the in’s and out’s of parallel compression and you’re ready to take it to the next level? Or maybe you’re just getting started with parallel processing and you’d like to see what could be done when pushed to the max.
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There are only so many things people can get completely wrong about recording and mixing music, but I don’t think we’re seeing the end of that list any time soon.
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We talk so much about fixing dense mixes filled with walls of guitars, stacks of vocals, and thick, punchy drums that it’s easy to forget the opposite end of the spectrum sometimes.
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As engineers and producers, we’re tasked to get the most we can out of the space between two speakers. Seems like a simple task, right?
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Unless you’ve gotten the chance to check out an anechoic chamber in person – everything you’ve ever heard has had some type of reverb or delay to it.
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