An Intimate Look at Parallel Compression (New York Drum Compression)

Now we’re going to take a look at parallel compression, which by some people is called New York drum compression.
What it does is very straightforward but extremely powerful in a mix.

At its core, parallel compression takes the same signal, keeps one version completely dynamic and untouched, and blends it with another version that is heavily compressed. The balance between those two versions is where the magic happens.

Understanding the Basic Concept

The idea behind parallel compression is simple:

  • You keep one original version of the signal
  • You create one compressed version of the same signal
  • Both versions are sent to the master bus
  • You balance them together in the mix

“We have one original dynamic version in the mix, and one compressed version, which we can then balance.”

This approach allows you to add density, body, and sustain without destroying the natural dynamics of the original sound.

Parallel Compression on Drums

In this case, we’re going to use a drum track.

There are multiple ways to set this up, depending on how your session is organized.

Using a Group Track for Parallel Compression

One common method is working with a group track.

How it works:

  1. Send your drum signal to another group
  2. Insert a compressor on that group
  3. Send that group to the master bus
  4. Keep the original drum signal going directly to the master as well

This gives you:

  • One dynamic drum signal
  • One compressed drum signal
  • Full control over how much compression you blend in

Selecting Which Drum Elements to Compress

If you’re working with separate drum tracks, such as

  • Kick
  • Snare
  • Overheads
  • Toms
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You don’t have to send everything.

You can choose only the elements you want to reinforce.

For example:

  • Kick
  • Snare
  • Overheads
  • Maybe the toms as well

This selective approach helps focus the compression where it matters most.

Using a Duplicate Drum Channel

Another simple method is duplicating the track.

“I’ve got the original one, I’ve duplicated that, and I’ve got a second version of it—it’s exactly the same.”

The setup:

  • The original drum track stays untouched
  • Duplicate the track
  • Pull the fader of the duplicate all the way down
  • Insert a compressor on the duplicate

Now you’re ready to shape the compressed version.

Crushing the Compressed Signal

Once the duplicate channel is set up:

  1. Solo the secondary drum track
  2. Bring the fader up slightly
  3. Increase the peak reduction
  4. Push the compressor hard

The goal here is not subtlety.

“This really compressed the living hell out of it.”

At this point, the waveform becomes almost a flat line—extremely controlled, extremely dense.

You now have:

  • One clean, dynamic drum signal
  • One aggressively compressed drum signal

Blending the Two Signals

Now comes the most important step: balancing.

  • Turn the original drum track back on
  • Turn the compressed track down
  • Slowly bring it up underneath the original

A/B Comparison

You can easily hear the difference by comparing:

  • Without the compressed drums
  • With the compressed drums

The compressed version should usually sit quietly underneath the original.

“If you got a whole mix going on, this would really give it a little bit more body.”

Shaping the Compressed Version with EQ

One of the big advantages of parallel compression is that the compressed signal can be processed independently.

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On the compressed track, you can:

  • Filter off the low end
  • Filter off the very high end
  • Focus on the midsection

This way, the compressed signal adds thickness and body without muddying the low end or harshening the highs.

“You just get that midsection, so you give it a little bit more body in the midsection.”

This is a very effective and musical trick.

Parallel Compression Using an Effect Channel

Parallel compression doesn’t have to rely on duplicating tracks.

Another approach is using an effect channel.

The process:

  1. Create an effect channel (mono or stereo)
  2. Insert a compressor on it
  3. Send your drum track to that effect channel
  4. Control the blend using the effect channel fader

This achieves the same result:

  • The original signal remains untouched
  • The compressed signal is blended in parallel

Independent EQ Control on the Effect Channel

Just like with the duplicated track method, the effect channel also gives you:

  • A full EQ section
  • Independent filtering options
  • Precise control over what part of the compressed signal is audible

You can again:

  • Roll off lows
  • Roll off highs
  • Focus on the mids

This keeps the parallel compression tight and controlled.

Applying Parallel Compression to Vocals

Parallel compression isn’t limited to drums.

It can also work very well on vocals, especially lead vocals.

“Sometimes with lead vocals, they just could use that little bit more body.”

Instead of compressing the vocal track more and pushing it louder in the mix:

  • Create a secondary channel
  • Insert a compressor
  • Send the vocal to it
  • Blend it in quietly
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This adds presence and density without over-compressing the main vocal track.

Why Parallel Compression Works So Well

Parallel compression allows you to:

  • Preserve natural dynamics
  • Add sustain and body
  • Control density without flattening transients
  • Shape the compressed signal independently

It’s flexible, musical, and extremely effective across multiple sources.

Additional Resources

There are sheets with compressor settings and more detailed information available for download.

You can find these sheets on the blog via the link in the description.

The next part of the tutorial takes a closer look at multiband compression.