NYC COMPRESSION EXPLAINED
Today we look at the New York City technique for parallel dynamic processing, what it is, and how it can add punch, presence and low-end to your mixes!
A little bit about parallel processing…
At a basic level, “parallel processing” refers to the routing of an audio signal from one channel to another (in parallel), processing the duplicate signal and blending it with the unaffected original signal.
Parallel processing can be achieved via a buss or an AUX channel in both the analog and digital formats. It can be applied to audio compression, limiting, overdrive, chorus, saturation, and much more.
Once you become familiar with the concept, the creative applications are limitless (at least in the digital domain).
Parallel Compression
With parallel compression, the duplicate signal is blended so that its level is below the original signal, but audible enough that it adds presence and punch.
When used effectively, this is a great technique as it allows the original signal to retain its dynamic range, but is also reinforced by the compressed channel.
A little bit of historic context…
Throughout the 20th century, the production of records was confined to analog studios in major creative cities. This created geographically defined schools of thought in the approach to and philosophy of audio engineering. These include the New York, Los Angeles, London, Nashville, Philadelphia, Memphis, Miami and San Francisco schools.
If this topic is of interest - I would highly recommend chapter 1 from Bobby Owinski’s The Mixing Engineer’s Handbook (and every other chapter from that book, for that matter). This historic narrative is exceptionally interesting, and deserves a blog article in itself, for now I will keep this brief and only relevant to NYC Compression.
NYC Compression
As the name would imply, this technique can trace its origins to the studios of New York City.
Here’s how you do it…
Route the original signal via a send or buss to your compressor of choice (this can be done in mono or stereo, depending on the audio content).
Set the compressor so there is at least -10dB of downward compression (Mr. Owinski says to try pushing this even further, and trust your ears, I often do not attenuate the signal this drastically as I combine the parallel audio with other compression methods).
Return the compressed audio to a new pair of input channels (only in the analog realm - this will be automatically routed in your DAW).
Add an EQ after the compression, be this on the return track in a DAW or the channel strip on a mixing desk. Use a shelving EQ to boost at 100Hz and 10kHz. (Mr. Owinski says to try boosting between +6 to 10 dB, but this is optional and dependent on the source audio).
Bring the fader levels of the duplicate signal up until they rest just below the original signal, where it is just audible. Use this fader to set the ratio between the original and affected signal.
Here’s some things to also consider…
The type of compressor
I would generally recommend a FET compressor, such as an 1176 clone (of which there are countless excellent emulations).
This is because of their fast attack and release settings, the harmonic distortion they add, and as they rely on output gain, they often naturally raise a signal’s noise floor.
The compressor settings
Experiment with varying ratios, thresholds, the type of compressor used. The relationship between these can have huge consequences on the sonic outcome.
Generally speaking, this technique lends well to a fast attack and fairly slow release.
See these as broad recommendations as opposed to objective answers to any mixing solution. Reapply the principles and modify them to whatever best suits your genre and source audio.
The stereo field
Take this technique to another level and experiment with with M/S compression and equalisation, allowing you to treat the middle and sides of the audio signal differently.
Depending on the source audio, it might be beneficial to experiment with sending the audio in mono instead of stereo. This is especially worth considering if you want to bring out frequencies below 200Hz (such as kick-drum or bass part).
If working with a drum bus, or complex stereo recording, be sure to pan your sends to cohesively emulate the original signal!
When identical signals are panned in opposite directions, we perceive them to be coming from the centre as opposed to being panned. This a byproduct of a psychoacoustic phenomenon known as a “phantom centre.”
The type of EQ
The aim of the shelf EQ is to emulate fixed frequency bands of the vintage mixing desks used when the technique came to prominence.
With this in mind, any analog emulations will do an excellent job adding tonality and character. You can find out more about some of my favourite EQs here.
Linear Phase EQ
As mentioned in previous articles, phase relationships and phase shift caused by equalisation can impact the sonic outcome.
As you are splitting signals and processing them differently, parallel processing intrinsically increases the risk of polarity degrading the quality of an audio signal.
With this in mind, this is one of the few instances I would recommend trying Linear Phase Equalisation.
Audio Demo
The audio below demonstrates the Dry Signal, Parallel Compression (without any EQ), NYC Compression (with minimal phase equalisation) and NYC Compression (with linear phase equalisation).
Listen out for how the processing effects the level of punch, presence, hi-end clarity, perceived loudness.
If you want to read more about linear phase processing - you can find our in-depth article here:
Caution!**
As buss processing would impact the dynamics, I have left the audio uncompressed and at pre-master volume (-24 LUFs). Please be wary of this and be careful with any audio you feed to your headphones or monitors afterwards as it might be significantly louder!
In the audio examples (above), I have routed the dry drum buss audio signal to Send Channel C, with the T-Racks Black 76 Limiting Amplifier and Linear Phase Equaliser on the Return Channel. I have used a less drastic ratio and threshold than recommended by Mr.Owinski as the source audio was already compressed via serial and buss processing.
Concluding remarks
Experiment and find what works for you!
Try out various combinations, you could send just the kick and snare, just the kick and bass, or whatever you can think of!
Your final sonic outcome will be shaped as much by the source audio, the nuances of the musical genre and production approaches, and the form of instrumentation you are routing into the NYC Compression.
Trust your ears! If the source audio is already compressed, you may not need such drastic ratios or thresholds.
In the audio examples (in the audible Soundcloud embed below), I tuned my compressor for only -3dB attenuation as the source material already had insert and buss compression.
The drum buss also had analog equalisation during the recording stage, so needed less reinforcement than the more drastic boosts at 100Hz / 10kHz would provide.
Trust your judgment (and your ears)
Take all of this with a pinch of salt. Just because the primary technique recommends around -10dB of attenuation, does not mean that you need to apply such drastic reduction.
See this technique as a broad approach, that you can modify to suit your genre style, the desired sonic outcome, and the signal that the processing is affecting.
Article Sources / Further Reading:Izotope. (2017). 5 Ways to Use Parallel Processing in Music Production. [Online]. https://www.izotope.com. Last Updated: August 31, 2017. Available at: https://www.izotope.com/en/learn/5-ways-to-use-parallel-processing-in-music-production.html [Accessed 16 February 2023].Owinski, Bobby. (2017). The Mixing Engineer's Handbook. 4th ed. Burbank, California: Bobby Owinski Media Group Publishing. Trumm, Aaron. (2021). What Is the “NYC Drum Trick”?. [Online]. https://flypaper.soundfly.com. Last Updated: June 10, 2021. Available at: https://flypaper.soundfly.com/tips/what-is-the-nyc-drum-trick/ [Accessed 16 February 2023].Studio Slave. (Publishing Date N/A). NY Style Parallel Compression | Quick Mix Tips. [Online]. https://studioslave.com. Last Updated: Publishing Date N/A. Available at: https://studioslave.com/ny-parallel-compression-mix-tips/ [Accessed 16 February 2023].