Baby Audio Parallel Compressor - Download This product comes in the form of an automated email, containing the serial activation code and a link to the relevant website. This should arrive within a few minutes of your successful purchase. If you have not received your email within 20 minutes, please check your junk/spam folders first and then call or message us for assistance. Parallel processing plays a fundamental part in getting a “big” mix sound. By processing multiple copies of the same track and blending them together you can add more punch to a mix — in a more natural-sounding way. Parallel Aggressor is based on this simple concept. The plugin splits your audio into three equal copies: Dry - Your original signal Spank - A heavily compressed duplicate Heat - A heavily saturated duplicate Work the duplicates hard! Then combine all three signals to squeeze every drop of sonic juice out of your track. Workflow. Balance the three parallel signals from the main level mixer. Use the Spank and Heat knobs to dial-up the firepower of the parallel engines. The meters help you set the right amount of Spank and Heat for any audio signal. (Dial the main Spank/Heat knobs until the meters peak right before the orange line). The style knobs inject desirable sonic flavors into the parallel engines. Engage multiple at once. The solo buttons let you monitor each parallel signal individually for fine-tuning purposes. Turn on Auto Gain to get a consistent plugin output, roughly matching the input level. Output sets the global output level (post Auto Gain). Switch between three different color schemes by clicking the top left icon. Simplify your track count.You’re probably using parallel processing all over your mixes already. But Parallel Aggressor is designed to give you the maximum sonic impact with the lowest possible track count. No extra busses or mix faders needed. CAUTION: As with all our plugins, we’ve engineered Parallel Aggressor to inject some strong sonic colourations into your mix. It usually works best as a ‘flavouring tool’ on individual tracks in need of extra impact. If you end up using it on sources that are already very dense or processed (like a master bus), make sure to use it subtly!
