The range knob has crazy versatility, similar in scope to the filter knob on a RAT. The Waves SSL bus compressor on the other hand more often that not does this to a mix. It does what it advertises, and instruments are glued together yet distinct at the same time. I’ve had some interesting results on drum buses too. I find it to be more transparent than the SSL Buss compressor, which I just can’t stand anymore. The glue is fantastic when used the way it was designed–on a mixbus. Also, a range/mix (finally! parallel compression!) and a sidechain have been added allowing further control over the colouring. Non-linearities have been removed from the original design when they were determined to add nosie or otherwise degrade the sound. The Glue is another true to the original specs recreation of SSL with a few modifications. While I have never touched an SSL in real life, I have plenty of experience with the Waves collection. Interestingly enough my new baby, The Glue, is another SSL clone (a cross between E and G compressors).
Lately I’ve been achieving good results with the Waves API 2500 for individual tracks (and it too is a coloured compressor but of a different flavor) but I still need to get my 2-bus fix on. I think I can go elsewhere for my saturation now. The E-channel compressor is very destructive to audio when you hit it hard, and the G-buss compressor is just too coloured for my tastes.
If you use it on a master bus with a small attack and a quick release – this plugin will justify its name and will make your music louder.I’ve begun to have a falling out with the SSL Waves collection and have been looking around for some new plugins to try out. Despite the fact that the plugin was released in 2013, and received several updates – it is still loved for the shot algorithms of the analog compressor of the 80s. The Glue was modeled after the well-known SSL compressor, but it has a key feature – the ability to adjust the mixed signal (dry / wet). Be careful that the input signal does not go beyond 0dB, because these plugins will add unwanted distortion. Ampex ATR-102 offers various shades, boosting high frequencies, creating a sense of space and softening the sound. It also works well on AUX buses when you need a lightweight, and at the same time, processed effect. I did not look for a replacement, because they fully live up to my expectations. UAD Studer A800 and Ampex ATR-102 are tools whose quality is simply magical. I believe that when it comes to mastering, ribbon saturation can make the mix a lot nicer and louder. He often saves me with vocals to compress the range 7000-9000. This allows you to easily and painlessly compress the sound. I set the compression threshold so that the signal is not significantly suppressed. 元-LL is an extended version of the famous L2, but in a multi-band format. See also: Soundtoys Little Plate (EMT 140) – Free! - 3.
#Cytomic the glue saturation manual
It is easy to overdo it, so you should first familiarize yourself with the manual for finer tuning. I can accurately see how loud the material sounds compared to other works and immediately correct it. This tool is convenient for real-time analysis of RMS. It adds brightness and puts forward the sound, as they say, in the “forehead”. FabFilter Pro-LįabFilter Pro-L is certainly one of those limiters that fits most materials. UAD company really pleasantly surprises! 2. This does not change the dynamics in a negative direction, but increases the perceived balance of the track. It adds a sense of space and a bit of brightness to most processed sources. When using it on the master bus, reducing the volume by about 1.5dB, with a quick release, the output increases RMS without any artifacts. I was recently shown this plugin (which models the classic Neve) and I found for myself that it is doing something incredible, which few other compressors can do. Therefore, you should not assume that maximizers and compressors will somehow magically correct the information errors themselves. In addition, the sound processing itself and the techniques that I use have changed over time. For all the time I worked with sound, I identified five plug-ins for myself, which, when used correctly, can increase the perceived volume of the mix without distortion.
#Cytomic the glue saturation professional
It always took a lot of time, since it was not possible to order professional mixing and mastering. I connected my iPod to different sound systems, played one at a time, and wrote out the details that needed to be fixed. When I was younger, I always considered myself a failure after comparing commercial tracks and my work.
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