Last updated on Nov 20, 2024

What are the benefits and drawbacks of parallel compression and serial compression?

Compression is a powerful tool for audio engineers, but it can also be tricky to master. There are different ways to apply compression to a signal, and each one has its own benefits and drawbacks. In this article, you will learn about parallel compression and serial compression, two common techniques that can help you shape your sound and achieve your desired results.

1 Parallel compression

Parallel compression, also known as New York compression, is a technique where you blend a compressed version of a signal with the original, uncompressed one. This way, you can retain the natural dynamics and transients of the source, while adding punch, density, and loudness to the mix. Parallel compression is often used on drums, vocals, and bass, to make them stand out and sound more powerful. However, parallel compression also has some drawbacks, such as potential phase issues, increased noise, and difficulty in setting the right balance and level of compression.

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Ashish D.

Senior IT Recruiter | Data, Design & Audio Geek
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To my understanding, parallel compression is like having your cake and eating it too. You keep the original dynamics but add some punch. I love it for drums - you get that fatness without losing the transients. The downside? It can be tricky to balance and might eat up more CPU. Serial compression, on the other hand, is more straightforward. It's great for taming peaks and evening out performances. But push it too hard, and you might squash the life out of your track. Personally, I often use both. I'll do some light serial compression to smooth things out, then parallel for extra oomph. It's all about what the track needs, you know?

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Gérald MAURITIUS

Ingénieur du son | Consultant | Fondateur de Audiovisualis | Expert en expérience client, envie d'innover ? Je transforme vos projets en expériences uniques avec à des solutions innovantes. Une idée ?
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La compression parallèle, souvent appelée compression "New York", est une technique précieuse dans le mixage sonore, particulièrement lorsqu'on cherche à dynamiser et à clarifier le son d'un disque. Cette méthode, développée à New York dans les années 1980, consiste à mélanger un signal audio fortement compressé avec le signal original non compressé. Le principe est simple : on envoie le signal audio à travers un compresseur avec des réglages agressifs, réduisant significativement la dynamique et augmentant le niveau de fond. Ce signal compressé est ensuite mélangé avec le signal original, créant un équilibre où l'on préserve les nuances et la transparence du son tout en ajoutant de la densité et de la puissance.

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2 Serial compression

Serial compression, also known as stacking compression, is a technique where you apply multiple compressors in a series, each one with a different setting and purpose. This way, you can control the dynamic range and shape the tone of a signal more precisely and gradually, without over-squashing or distorting it. Serial compression is often used on vocals, guitars, and synths, to smooth out the peaks and valleys, enhance the character and color, and create consistency and clarity. However, serial compression also has some drawbacks, such as potential loss of transients, naturalness, and dynamics, as well as increased complexity and processing.

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Juan Carlos Suarez

Sound Engineer at Los Angeles City College
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One very popular method for serial compression is to mix "into" a compressor on the master bus. Once individual tracks get the appropriate compression for their respective signal, the whole mix then gets a coherent compression at the master bus. This gives the dynamics a sense of moving together. Many describe it as "glue" for a mix since the dynamics will respond as a whole.

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3 How to choose

Choosing between parallel compression and serial compression for audio engineering is not an exact science. It largely depends on source material, genre, style, context, and personal preference. Generally speaking, parallel compression adds energy, excitement, and impact to a signal without sacrificing its original dynamics or transients. Serial compression tames, refines and polishes a signal without making it sound flat and lifeless. Experimenting with both techniques and combining them if necessary is recommended. For example, you can use parallel compression on individual tracks or groups and serial compression on buses or the master channel. Furthermore, different types of compressors such as optical, FET, VCA or tube can be used to create different flavors and textures.

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Casper Cayrol

Ingénieur du son et fondateur de Rytgaard Audio Works | RAW 🔴 "Your sound, your way, your vision"
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Le plus souvent j'emploie la compression parallèle pour contrôler un ensemble de piste. J'envoie ces dernières dans une piste auxiliaire où j'y insère un plugin de compression, ce qui me permet de régler la quantité de compression ajoutée via un seul fader.

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4 How to apply

Learning how to apply parallel compression and serial compression requires practice and listening. As a general guideline, parallel compression involves creating a compressed version of the signal on a send or duplicate track. Use a high ratio, low threshold, fast attack, and fast release to create a heavily compressed sound and blend it with the original signal using a fader or knob. Serial compression requires multiple compressors in a chain on the same track or bus. Utilize a low ratio, high threshold, slow attack, and slow release for the first compressor to catch loud peaks and smooth out the overall level. The second compressor should have a higher ratio, lower threshold, faster attack, and faster release to shape the tone and add character. Additional compressors can be used if needed, but be wary of overdoing it.

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5 How to avoid pitfalls

Parallel compression and serial compression can be powerful tools when used correctly, however, they can also lead to some issues if not done properly. To avoid common pitfalls, make sure that the signals you blend together are in phase. Otherwise, you will lose some frequencies and create unwanted artifacts. Additionally, when compressing a signal, you also boost the noise floor and the unwanted sounds. Therefore, use a noise gate, filter, or plugin to reduce or remove the noise before or after compression. Finally, when mixing a signal with its compressed version or using multiple compressors in a series, be sure to maintain balance and naturalness of the sound. Utilize your ears and meters to check the level, dynamic range, and frequency spectrum of the signal.

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Brian Nicholls

Full Stack Developer at Marketfuel
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Have a good reason for applying compression, then you can have a vision of what you're trying to achieve. For serial compression I would also suggest paying particular attention to gain staging.

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6 Here’s what else to consider

This is a space to share examples, stories, or insights that don’t fit into any of the previous sections. What else would you like to add?

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Ann Charles

Radio Production & Technology consultant at Ann Charles Media
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I’d suggest adding definitions and examples of use and effect for terms like attack, release, threshold, low/high ratio etc.

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Scott N. Freeman, PhD

FDA Regulatory Affairs Expert | Orphan Drug and Rare Disease Specialist | Proven Track Record in Expedited Approvals and Strategic Leadership
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What about dynamic compression? Is that something that will be addressed within the article? I think it would be a worthwhile addition.

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What are the benefits and drawbacks of parallel compression and serial compression?

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1 Parallel compression

2 Serial compression

3 How to choose

4 How to apply

5 How to avoid pitfalls

6 Here’s what else to consider

Audio Engineering

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