The principle
In parallel processing the signal is split in two: a clean (dry) branch and a branch processed in an extreme way (wet), then the two branches are summed. The clean branch preserves the original attack, dynamics and tone; the processed branch adds density, harmonics or character in an amount adjustable with its fader. It is the principle of parallel compression (see “Parallel compression (New York)”) applied to all other processors.
How to set it up
- The plugin's Mix/Dry-Wet knob: the simplest way; the plugin also handles latency compensation between the branches.
- Send to a return track: the original track continues normally, a copy goes to a track with the processing at 100%. This allows EQ, automation and multiple sources on the same parallel (e.g. the whole drum kit in the same distortion branch).
- Patcher in FL Studio: two branches in the same slot, with separate levels.
- Phase: the two branches must stay aligned. Plugins with different latency (linear-phase, with oversampling) require DAW compensation; different minimum-phase EQs on the two branches can create cancellations.
Types of parallel processing
Parallel saturation and distortion
Wet branch with heavy distortion (Fruity Blood Overdrive, Saturn, Decapitator, RC-20), band-limited (HP 200–500 Hz, LP 5–8 kHz) and blended in at −15/−6 dB below the dry. It adds grit and presence without losing the clean low end.
- Bass and 808: distorted branch only above 200–300 Hz: the bass is heard on every system and the sub stays clean and mono.
- Drums: drum bus distorted and compressed in parallel for energy (“crush” style).
- Vocals: light parallel distortion (5–15%) for density in the choruses.
Parallel EQ
A branch with extreme EQ (e.g. +10 dB shelf at 8 kHz, or a band-pass at 1–3 kHz) blended in at a small amount. The result is a softer, more “musical” boost than a direct EQ, because the original signal stays intact.
Parallel effects
Reverbs and delays on sends are already parallel. Advanced applications:
- Compressed or distorted reverb on the wet branch only.
- Parallel chorus/ensemble on bass or vocals above 200 Hz.
- Parallel octaver or pitch shifter (one octave up at −20 dB) for brightness on leads.
Parallel transients and dynamics
- Branch with an extreme transient shaper (attack +100%) to define the hits without changing their body.
- Branch with a tight gate to extract only the hits from the room.
Starting settings
| Source | Wet branch | Wet filters | Wet level |
|---|---|---|---|
| 808 | Heavy distortion | HP 250–400 Hz | −12/−6 dB |
| Electric bass | Overdrive or fuzz | HP 300 Hz, LP 5 kHz | −15/−8 dB |
| Drum bus | Compression 10–20 dB + distortion | HP 80 Hz | −12/−6 dB |
| Rap vocal | Saturation or distortion | HP 300 Hz, LP 8 kHz | −18/−10 dB |
| Pop vocal | Tape saturation / heavy compression | HP 200 Hz | −18/−12 dB |
| Synth lead | Distortion + chorus | HP 300 Hz | −15/−8 dB |
| Piano | Heavy compression + EQ +6 dB at 3 kHz | HP 200 Hz | −20/−12 dB |
Common mistakes
- Misaligned branches: “phaser” sound or loss of body.
- Wet branch without filters: bass distortion creates mud and instability.
- Wet level too high: the advantage of parallel (preserving the dry) is lost.
- Parallel on the master without controlling phase and latency.
- Using parallel distortion on every element: the mix becomes harsh.
Starting settings
| Parameter | Value | Why |
|---|---|---|
| Wet level | −20/−6 dB below the dry | Character without losing the original. |
| Distorted branch filters | HP 200–500 Hz, LP 5–8 kHz | Grit without mud or harshness. |
| Alignment | Latency compensation on | Branches in phase. |
| Distortion on bass/808 | Only above 200–300 Hz | Audibility on small speakers. |
| Parallel EQ | Extreme boost, branch at −15/−20 dB | Soft boost. |
Frequencies to watch
| Range | What to do |
|---|---|
| Below 200–300 Hz | Excluded from the distorted branch of bass and 808: clean, mono sub. |
| 300 Hz–5 kHz | Useful region of the distorted branch: audibility and grit. |
| Above 6–8 kHz | LP on the distorted branch: no harshness. |
Example chain
| Step | Tool | Settings | Why |
|---|---|---|---|
| Source | Original track | Normal chain | Dry. |
| Send | Return track | Pre or post fader | Copy for the wet. |
| Wet processing | Blood Overdrive / Saturn / extreme compressor | 100% wet | Character. |
| Wet filters | Fruity Parametric EQ 2 | HP 200–500 Hz, LP 5–8 kHz | Band control. |
| Sum | Group bus | Return level | Blend. |
How to check the result
- Sub and Bass bands of the group unchanged within 1 dB with and without the parallel branch (the parallel must not touch the low end).
- Mid band (500 Hz–2 kHz) of bass and 808: 2–4 dB increase with the distorted branch (audibility).
- Group correlation unchanged: a stereo parallel branch must not widen the bass.
- Mono sum of dry and wet without loss of body (branches in phase).