never tried this, but tend to do this because of ppl amount posting about here & there

this technique can use also multiple send not only with compressor but any fx.

send outputs can be eqed to layer them in freq range.

so u can have pumpy hard comressed low end
saturated mid range
and clean reverbed excited hi end.

tho one who's getting into that should have strong experience
so he should feel every knob move not to end with crap at the end.

I have been using parallel/new york style compression a lot recently. The technique you describe above will work fine and I just have a bit of advice to add, so you know what sound you are listening out for, as I've only just started noticing the effect. Now I hear it all the time, on most professional recordings. This is what I've learnt.
-
I've noticed, that when you compress your drums to gain rms volume, you destroy the finer parts of the audio, namely the transients. This will mean that the attack on your drums loses definition, and the impact is dampened as result. They end up losing a bit of punch.
-
Of course, how much this happens depends on your compression settings. If the attack is slow, then this occurs less, but then you don't stand to gain much volume with a slow attack. With a fast attack, you can increase headroom quite a lot, if your drum sounds will allow it. But the more you compress, the more you damage the transient, and lose clarity. Its very tricky to get the settings just right for the perfect balance of attack clarity and rms volume increase.
-
The new york style of compression gives up on trying and says 'fuck you' to the transients. Compress the hell out of the beats to get a large volume increase. Use a very small attack, like 0-5ms and a quick release, 50ms or below. It doesn't matter if it starts breaking up a little and getting distorted or crunchy. Its volume that you're after here. Smash those fuckers. It might help to roll off some weight (less than 100Hz) from the drums going in if the kick is causing more distortion than the snare. I typically try to get 12dB of gain from the compressor, the peaks being crushed by 12dBs also.
-
Of course, now it sounds horrible, but its loud. This is when we work the magic. We bring back in the original, uncompressed drums and mix the two. The uncompressed drums have crystal-clear transients, giving the drums the weight and punch they need. By mixing the two signals, we can achieve clarity and punch AND rms increase. The trick is to listen for that point where the balance between them is right. If find the best way to do this is simply to bring up the volume of the heavily compressed drums until they are giving an audible increase, but you can't really hear that they are distorted. Mute the compressed channel at different levels to hear the difference.
-
I find that when you get it just right, it becomes invisible. You can't hear the compressed drums at all, but when you remove them, the drums sound weak and weedy. I can't mix drums without doing this now, the results are too good to ignore. I find it gets the clearest, phattest drums.

great post man!