Also a sidechainable low pass EQ is handy, filtering out some bass end can make for a different sound and allows the compressor to work it's magic over the more audible mid-mid high which is optimal in most cases. This makes NY style compression tricks and parallel processing easy, as you can pump the compressor hard but run it underneath the dry uncompressed signal to give it some extra oomph without sounding too compressed and overdone. The best features of 'The Glue' are the range and wet/dry controls IMHO. These are the most frequent use of the compressor, although this plugin form gives more control and range, so it can also be used as a group compressor or even on individual tracks. Or it can be used in more brutal fashion to 'Smack' the mix up like a volume maximizer, which is quite common in certain genres such as heavy electronic music and even power pop. The buss compressor can be used subtly to 'glue' mixes together (hence the name), with longer attacks, faster release and set to trim around 2-3 dB of gain. It's a simple looking interface with a VU needle and some fixed attack and release times with an auto release. Review - The Cytomic Glue is a new take on the SSLMaster Buss compressor, as featured on thousands of hits from the early 1980's onwards and otherwise known as the 'good' button.
Tested on - PC VST tested on Ableton Live 7.0.16 Suite, Cubase 5.1.0, Soundforge 9.0e WHAT IS IT ? "The Glue is a high quality analog modeled plug-in based on the E and G series SSL 4000* buss compressor with some additional features." PROS : Sounds great, has a sidechainable high pass filter so you can filter out the bass end which often helps balance the sound better, has a wet/dry control and range control making it great for parallel compression/NY buss compression, has 'some' of the famous SSL 4000 G analog buss compressor characteristics, has an ultra fast 0.01 ms attack time not featured on the others, making it more versatile.ĬONS : Doesn't sound quite as authentic to the original hardware as the UAD, Waves and SSL versions, albeit having more control.
Once the mastering maximizer is on, the noise sits around -105db to -133 across the spectrum.Ī) Is this even an issue? Is it too quiet to do any harm, or is it eating up valuable room in my mix? I'm working in Ableton, which is 32 bit.ī) What is the 'Analog' feature in the Waves SSL compressor doing, beyond the simple explanation in the manual? Turning it off on my drum or synth bus definitely seems to lose a bit of 'warmth' and 'rounded edges'.Ĭ) Does anyone know if the Duende SSL Compressor creates the same floor noise, or even has an 'Analog' function? My friend has a UAD SSL Compressor and it doesn't even have the 'Analog' button.Available in : AU, VST (win and mac), RTASĬost $99.00 - free trial for 14 days, preset saving disabled.Īlternatives - UAD 4K, Waves SSL bundle buss compressor, SSL Duende Buss compressor, Bomb Factory 'Smack', Liquid Mix.
When I have a compressor on my drum bus, synth bus, and vocal, all the floor noise adds up quite a bit.
That seems like something I would want, but is creating issues with the floor noise output.
Reading the manual only describes the 'Analog' option as more accurately reproducing the analog sound or something along those lines.
I've noticed that the Waves SSL Compressor creates quite a bit of floor noise when the 'Analog' option is enabled.