Parallel Compression FAQs for Modern Metal Producers

Parallel compression is one of those techniques you hear about all the time. It’s a staple in modern metal production for a reason: it’s the key to getting tracks to sound massive, punchy, and aggressive without sacrificing their natural dynamics. In a genre where every element competes for space and impact, this trick is less of a “secret weapon” and more of a mandatory tool.

If your drums aren’t hitting hard enough, your vocals are getting lost, or your bass just feels weak, parallel compression is often the answer. Let’s break down the most common questions metal producers have about it.

What is parallel compression?

At its core, parallel compression (sometimes called “New York” compression) is the process of blending a heavily compressed version of a track with the original, uncompressed version.

Think of it this way: you have your main track (the “dry” signal) which has all its natural punch and transient detail. You then create a duplicate of that track, smash it with a compressor until it’s a pumping, breathing, hyper-aggressive brick (the “wet” signal), and then you blend that smashed signal in underneath the original.

The result? You get the best of both worlds: the clarity and attack of the original track, plus the added body, sustain, and loudness of the heavily compressed one. It makes things sound bigger and more powerful without sounding squashed.

Why is parallel compression so important for modern metal?

Modern metal production standards are ridiculously high. Mixes are expected to be polished, dense, and punishingly loud. Parallel compression helps you achieve that polished, larger-than-life sound that defines the genre.

• Drums: This is the #1 application. For the inhumanly tight and punchy drums common in metal—whether you’re using Get Good Drums, Superior Drummer 3, or well-recorded acoustic kits—parallel compression adds explosive power. It brings up the sustain of the snare, the “whomp” of the kick, and the ambience of the room mics, making the whole kit sound like it’s about to jump out of the speakers.
• Vocals: Screamed and guttural vocals can have wild dynamics. Parallel compression adds consistency and aggression, keeping them front and center without destroying the raw performance. It can beef up a thin-sounding scream or add controlled power to a clean chorus.
• Bass: In a world of 8-string guitars tuned to Drop F, getting the bass to cut through is a constant battle. Parallel processing can add grit, harmonics, and consistency to the bass tone, helping it carve out its own space against a wall of low-tuned guitars. You can find more tips on this in our guide to metal compression secrets.

How do you set up parallel compression in a DAW?

The most common and flexible way is using a send and an aux track. Here’s the step-by-step:

1. Create an Aux Track: In your DAW (Pro Tools, Reaper, Logic, doesn’t matter), create a new stereotype auxiliary/bus track. Let’s name it “DRUM CRUSH”.
2. Set Up a Send: On your main drum bus, create a send that routes the signal to your new “DRUM CRUSH” track. Set the send level to unity gain (0dB).
3. Insert a Compressor: On the “DRUM CRUSH” aux track, put your compressor of choice.
4. Nuke the Signal: Annihilate the signal using the compressor. We’re not looking for subtlety here. We want extreme settings. (More on this below).
5. Blend to Taste: Pull the fader on your “DRUM CRUSH” track all the way down. While listening to the whole mix, slowly bring the fader up. You’ll start to hear the drums get fatter and more aggressive. Stop when it feels right—often, a little goes a long way.

Pro-Tip: Many modern plugins, like the FabFilter Pro-C 2, have a “Mix” or “Dry/Wet” knob built-in. This does the same thing inside the plugin, which is awesome for quick adjustments. However, using the aux track method gives you the bonus flexibility of being able to EQ or add saturation to your compressed signal independently.

What are the best compressor plugins for parallel compression?

The character of the compressor matters a lot. For metal, you want something that can get aggressive and add some color.

FET Compressors (1176 Style)

These are the kings of parallel drum compression. They are incredibly fast and have a bright, aggressive bite that’s perfect for metal.

• Why they rock: Their super-fast attack and release times can create an explosive, pumping sound that adds excitement.
• Go-To Plugins: Waves CLA-76, Arturia Comp FET-76, Universal Audio 1176 Collection.
• The Killer Trick: The infamous “All Buttons In” mode (or “Dr. Pepper” mode). It creates a distorted, over-the-top compression curve that is absolutely perfect for a parallel crush bus.

VCA Compressors (SSL Bus Comp Style)

Great for adding punch and “glue” to an entire drum bus or even a mix bus.

• Why they rock: Less aggressive than a FET but amazing at making things sound cohesive and punchy.
• Go-To Plugins: Waves SSL G-Master Buss Compressor, Cytomic The Glue, Brainworx Townhouse Buss Compressor.

What are some starting point settings for parallel drums?

Let’s use a classic 1176-style plugin like the CLA-76 for this example.

1. Ratio: Set it to the highest setting (20:1) or engage “All Buttons In” mode for maximum destruction.
2. Attack: Set it to its fastest setting (fully clockwise on most 1176 emulations). This will obliterate the initial transient on the parallel signal, which is what we want. The original track already has the transient. We’re adding the body.
3. Release: Set it to its fastest setting (fully counter-clockwise). This makes the compressor recover almost instantly, creating an audible pumping effect that brings up the decay and room sound of the drums.
4. Threshold/Input: Crank the Input knob until you are consistently getting 10-20dB of gain reduction on the meter. Seriously, don’t be afraid to pin it.
5. Blend: Bring the “DRUM CRUSH” fader up underneath your main drum bus until the kit feels powerful and exciting. If you can clearly hear the pumping compression on its own, you’ve probably gone a bit too far. Back it off until it just supports the main signal.

Should you EQ your parallel compression bus?

Yes! This is a pro move that takes the technique to the next level. EQing the signal before it hits the compressor changes how the compressor reacts.

Pre-Compression EQ

• High-Pass Filter (HPF): This is crucial. Use an EQ to cut out the sub-lows (anything below 100-150Hz) from the signal being sent to your parallel compressor. This stops the compressor from overreacting to the kick drum and low toms, letting it focus on the body and smack of the drums instead.
• Mid-Boost: Want more snare body? Boost around 200-400Hz before the compressor. Want more kick beater click? Boost around 3-5kHz. The compressor will react more aggressively to whatever frequencies you boost.

Post-Compression EQ

After the compressor has done its dirty work, you can use another EQ to shape the tone of the smashed signal. Often, extreme compression can make cymbals harsh and washy, so you might use a high-shelf to tame the extreme top end. Conversely, you might want to boost the mids to add even more punch before blending it in.

Can you use parallel compression on guitars and bass?

Absolutely, but the approach is a bit different.

Guitars

Parallel compressing a stereo bus of high-gain rhythm guitars can quickly turn into a washy, phasey mess. A more effective use is to add definition to low-tuned parts. Try sending a clean guitar DI signal to a parallel bus, compress it hard to emphasize the pick attack, and blend that underneath your main distorted tone. It’s a great way to add clarity without thinning out the tone. Getting that balance right is key, which is why we’ve put together a whole guide on EQing modern metal guitars for max impact.

Bass

Parallel compression is fantastic for bass. A common technique is to use multi-band processing. Split the bass signal into two parts: lows (below ~150Hz) and mids/highs (above ~150Hz). Leave the low-end full and dynamic, but apply aggressive parallel compression to the mid/high band. This brings out the string noise, clank, and distortion harmonics, helping the bass slice through the mix on any speaker system, without creating low-end mud.

Mastering techniques like parallel compression is what separates an amateur demo from a pro-sounding record. It’s one thing to read about it, but it’s another to see it in action.

Watching world-class producers like Will Putney, Jens Bogren, and Joey Sturgis (check out the full list of instructors) apply these concepts to real multitracks from bands like Spiritbox, Architects, and Meshuggah is the ultimate way to level up your skills. At Nail The Mix, that’s exactly what you get. Dive into our massive catalog of sessions and see for yourself how the pros build those punishingly heavy mixes from the ground up.