The method can be used artistically to "fatten" or "beef up" a mix, by careful setting of attack and release times on the compressor. These settings may be adjusted further until the compressor causes the signal to "pump" or "breathe" in tempo with the song, adding its own character to the sound. Unusually extreme implementations have been achieved by studio mix engineers such as New York-based Michael Brauer who uses five parallel compressors, adjusted individually for timbral and tonal variations, mixed and blended to taste, to achieve his target sound on vocals for the Rolling Stones, Aerosmith, Bob Dylan, KT Tunstall and Coldplay. Mix engineer Anthony "Rollmottle" Puglisi uses parallel compression applied conservatively across the entire mix, especially in dance-oriented electronic music: "it gives a track that extra oomph and power (not just make it louder—there's a difference) through quieter portions of the jam without resorting to one of those horrific 'maximizer' plugins that squeeze the dynamics right out of your song." While parallel compression is widely utilized in electronic dance music, "side-chain" compression is the technique popularly used to give a synth lead or other melodic element the pulsating quality ubiquitous in the genre. One or more tracks may be side-chained to the kick, thereby compressing them only when the beat occurs.