Cytomic The Glue is a VST compressor plugin which emulates the classic SSL 4000 buss compressor. The SSL 4000 is known for its unique ability to cohesively mix elements musically and create rich and pounding mixes with little fuss. The glue VST plugin free download; The glue VST plugin free download. Most people looking for The glue VST plugin free downloaded: The Glue. 2.8 on 12 votes. The Glue is an analog-modeled compressor plug-in based on the classic 80's British big console.

The Glue compressor is a great plugin and a useful vst compressor. I usually use on drums, drop leads, synths, bass. For more information click here. Valhalla Room An Algorithmic Vision Of Perfection And Precision. It’s Grade A Class, Number One In Its Division. ValhallaRoom is a versatile, true stereo algorithmic reverb. In this article, we've listed eight of the best free VST plugins for vocal mixing. These include reverbs for vocal space creation, compressors for mixing glue, vocal doublers, and autotune – ensuring all those sweet notes hit the spot. FREE VST Plugins / 2020 / Updated list. Or at least doing my best to be. You want to glue all the elements of the mix together without changing the dynamics. The Best Bus Compressor Plugins in 2020 – Final Words. There we go – a review of what I think are the best bus compressor VST / AU / AAX plugins. What are your thoughts? Do you have some different favorites? Do you have any questions about any of the plugins? Let me know in the comments. . The 25 best VST/AU plugin synths in the world right now. The best drum machine VST plugins 2020: beatmaking software for your DAW We’ve been careful to encompass all price points, and as diverse a spectrum of form and function as possible. So there should be at least one model in our collection to suit your needs and budget.

Waves has been a staple in the audio community since they released the Q10 Paragraphic Equalizer in 1992. It was the first commercially available recording plugin that went on to spark a digital revolution that's still taking place to this day. Waves has since become synonymous with digital audio and mixing 'in-the-box.'

Today we're taking a look at some of their most iconic plugins—all faithfully executed emulations of classic studio hardware—and how they can help you achieve a killer drum sound. We'll be using the Scheps 73, an SSL E-Channel Strip, the dbx-160 compressor, API 2500 compressor, the InPhase phase corrector, and the PuigTec EQ to bring this session to life.

Shoutout to Glenn Fricker of Spectre Media Group for the amazing drum tracks.

Kick Drum: SSL E-Channel Strip and dbx-160

Waves' SSL E-Channel Strip—modeled after the original filter and EQ strip on SSL's 4000 series recording consoles—is great at removing excess drum bleed. By using the plugin's noise-gate, we've set slower attack times to allow the low-end of the kick to pass through and fast release times to keep it tight and punchy. Try to time the release of the gate to the tempo of the kick pattern.

You can hear how much cleaner this makes our kick demo tracks in our first playlist below, which also includes our isolated 'kick sub' track, where we've treated the kick drum's sub-harmonic frequencies. We used the E-Channel Strip's high-pass filter to get rid of the lowest sub frequencies. While every song you mix will be different, this is a good way to leave space at the bottom of the frequency spectrum for a low bass guitar or synth sound.

Since this particular song is a little heavier, we used the strip's EQ to hype the highs and lows, and scoop the mids. For this particular track we wound up boosting with a bell around 90Hz, making a big, wide-Q cut around 450Hz, and adding a significant boost with a high-shelf around 8kHz.

Next, we pulled up the dbx-160 compressor for a little extra punch, applying between 5dB to 10dB of gain reduction at a 4:1 ratio, as well as 10dB to 20 dB at an ∞:1 ratio in parallel. (Check out our basics of compression guide if you need a little more guidance here.)

Snare Drum: InPhase, SSL E-Channel Strip, dbx-160

Since this session includes two mics at the top of the snare drum and one snare bottom mic, the first step should be checking the phase relationship. InPhase by Waves lets you monitor two waveforms and make adjustments to correct for phase problems. Thankfully, Glenn is an excellent engineer, so all three tracks of these tracks were already in-phase and didn't require any adjustments—but checking any similar multiple-mic'd drums is easy with InPhase.

Next, we opened up the SSL E-Channel Strip again and removed any excess drum bleed using the noise-gate. Snares have less low-end and longer tails than kick drums, so we used a faster attack time and slower release time.

To dial-in the timbre of the snare using the EQ section, we started by rolling off any unnecessary low-end with the high-pass filter. Rock snares tend to have a meaty bottom-end, so apply a moderate boost to the low-mids using a bell. Next, let's scoop out some of the midrange with a hefty cut around 500Hz.

To bring out the snap and 'sizzle' of the snare, try a generous boost using a shelf around 10kHz. If you're still not getting the attack you want from the snare, try a gentle boost with a bell around 3kHz to 5kHz.

Next, we used the compressor to help control the dynamics of the snare and add a little snap while we're at it. We're aiming for 3dB to 6 dB of gain reduction at a ratio around 4:1. Slower attack times allow more impact, while faster attack times can help tighten up a performance. Release times should be set to the tempo of the track, with faster times adding more 'punch' and slower times adding more sustain.

Finally, for a little extra 'oomph,' lets send the snare channels to a dbx-160 for some parallel compression. Just like last time, we'll use a ratio of ∞:1 to apply 10db to 20 dB of gain reduction and blend it in to taste.

Toms: SSL E-Channel Strip, dbx-160

Toms can be really difficult to record well. They tend to sound muddy and capture a lot of bleed. Some tracks are downright unusable—in which case you'll want to replace them with samples. If you go that route it's important to make sure the samples are in tune with the original kit. Torque by Waves is the perfect tool for dialing in your drums. Arminator vst free. Thankfully, Glenn did a great job recording this session, so there's no need for samples.

To start, we loaded up our SSL E-Channel Strip and removed the drum bleed using the gate. We took a similar approach to what we did with the snare, using a fast attack and slow release.

Next, we got rid of the unnecessary low-end by using the high-pass filter. Rock toms have a similar EQ curve to the other drums in the kit—boost the lows, scoop the mids, and crank the highs. Of course, the exact frequencies will change depending on the drum, but we wound up somewhere around here.

Finally, we added a little compression to help control the transients. For the toms, we really want to bring out the snap and attack of the stick hitting the drum head, so let's apply 6dB to 10dB of gain reduction at a ratio of 4:1 using the dbx-160.

Overheads & Room Mics: Scheps 73, API 2500

Drums in this genre don't rely too heavily on the overhead mics, but we used the Scheps 73 to trim everything below 300 Hz, and add a little shimmer to the cymbals with the shelf at 12 kHz.

Next, we added some compression to help control the dynamics of the snare in the overheads. For this, we needed a little more control, so we grabbed the API 2500. First, to preserve the stereo image of the overheads, we set the left/right link percentage to IND, meaning the left and right channels will trigger the compressor independently.

Set the attack and release times to taste, and don't be afraid to experiment with the tone controls. The thrust detector can be used to control how aggressively the each frequency band is compressed, similar to a multi-band compressor. The tone type can be used to dial-in the style of compression. Feed-forward gives a modern, punchier sound, while feedback has a slower, more vintage sound.

We used the same signal chain for the stereo room mics, but with more aggressive settings to bring out the excitement and energy in the recording. The biggest difference between the overheads and the room mics will be in the low-end. For the room mics, you want to be able to hear the kick in the room loud and clear—the trick is to dial-in the perfect amount of low-end using the HPF and a low-shelf.

Drum Bus: PuigTec EQ, API 2500

To add the finishing touches, we've added some subtle shelving EQ using the Waves PuigTec. These units are modeled after vintage Pultec EQs, and use unique EQ curves to gently shape the sound of the kit.

Finally, let's glue everything together with a little bus compression. We used the API 2500 to apply about 3 dB of gain reduction (with much gentler settings than we used on the room mics). Remember, the goal here is control. Use the attack and release settings to control the overall amount of punch the kit has.

These particular tips may not work for every mix, but the concepts are universal. Achieving a good drum mix is all about balance. Balance within the frequency spectrum. Balance between the level of each individual drum. Balance within the stereo spectrum. Even the balance of time, like the length of a reverb tail, or the effects a compressor has on rhythm. Thankfully, Waves has a plug-in for every occasion.

No audio toolbox would be complete without a compressor. They are some of the most versatile pieces of gear with complex and simplistic functions alike.

Coloration, check…dynamic control, check…mix glue, check. Varied circuit designs in analog compressors make certain models better for one task than another and with the design of digital compressors, choosing the right tool for the job can become more difficult.

Plugins have been attempting to model their real-deal analog counterparts for years, but also offer some new innovations to the world of gain reduction. Check out these awesome plugins and listen to what a proper compressor can do for you.

FabFilter Pro C2

For those looking for a great “do everything” compressor, the FabFilter Pro C2 has exactly what you need and a ton more. This compressor manages to pack eight compression character styles, lookahead gain reduction, 4x oversampling, mid/side control, and the ability to affect each channel independently or linked as a stereo pair with the Stereo Link control into one of the most incredible interface designs plugins have seen.

The eight modes of the compressor allow the Pro C2 to add some coloration to your mixes. Version 2 adds five new modes: Vocal, Mastering, Bus, Punch, and Pumping to give you access to tailored responses to match what you are working on.

Mastering engineers will appreciate the new metering. The size and the accuracy of these meters have increased, and FabFilter adjusted the Pro C2 to comply with the EBU R128 loudness standard. Combine this with the 4x oversampling and GPU acceleration and you have one accurate plugin.

All of this functionality and versatility make this compressor a great choice for any engineer looking for a lot of features in one package. Check out the FabFilter Pro C2 for access to a large toolset within one beautiful plugin.

Waves SSL G-Master Buss Compressor

There are several reasons engineers have opted to use a stereo compressor on their master bus. When mixing into a compressor, engineers are often looking for more “glue” to their mix or they are after a certain coloration. Check out our article on Mix Bus Compression for more information.

One of the most legendary examples is the compressor from the SSL 4000 G console’s master section. Thanks to SSL and Waves, this emulation can bring you the tone of those boards for vintage coloration and the “glue” effect of this legendary console. To build on its accuracy to the original, Waves added modeled analog hum from the SSL 4000 G for even more coloration abilities.

This plugin is typically used for master bus compression, but also shines when your goal is to tighten up drums or piano. If you need a way to add the glue and polish to your mixes, check out the Waves SSL G-Master Buss Compressor.

Universal Audio Teletronix LA-2A

Among all hardware compressors, there are a couple that stand out as studio legends. One of those legends is the Teletronix LA-2A. The LA-2A is an optical compressor with a tube output stage. Featuring slower attack and release times, and vibe to spare, the LA-2A has become known for its warmth and character that can be heard on countless records. Universal Audio, the current manufacturer of the reissue hardware, decided that rebuilding the legendary compressor wouldn’t be enough. As a part of their UAD plugins, they took it upon themselves to get all of the famous sounds modeled into their Teletronix LA-2A.

As an optical compressor, most of the common uses of 2As include instruments with fewer transients and vocals. Bass and vocals have been commonly treated with this style of compression, both for its smoother gain reduction and in the case of the LA-2A, for the warmth of the tube output stage.

The plugin offers three variations of the compressor. The LA2 has the slowest attack and release like many 1950s compressors, while the gray and silver models have medium-fast attack and release for a more typical response similar to the vintage LA-2As that have earned their legendary status. Just like the hardware, there aren’t many controls. Output gain and peak reduction controls are available as well as the ability to change metering and switch between limiting and compressing. If warm, tune-aided optical compression is what you are shooting for, but you’re short the $3,000 to buy the hardware, check this out. There’s got to be some reason it’s on so many records.

PSP Audioware VintageWarmer2

PSP Audioware created a multi-faceted set of plugins when they created the VintageWarmer2. Having three modes of operation and precise emulation of analog equipment, the VintageWarmer2 is a great compressor for mixing and mastering with tons of analog saturation available.

The first mode, called MicroWarmer aims features speed, release, drive, low, high, knee, and output controls. With the addition of the shelving EQ section, this mode can be used for tone shaping while offering a scaled-back, CPU-friendly compressor. The second mode is a direct successor to the original VintageWarmer. It aims to keep low latency while adding brick wall limiting, multi-band compression, frequency selection for the EQ shelves, and more release settings. The third mode, VintageWarmer2, features the FAT mode. This mode allows the plugin to double sample incoming audio for more an improved analog sound.

The plugin has become known for its characteristics when overloaded. PSP aimed to make the VintageWarmer2 exhibit tape like qualities when pushed to overloading. Because of this, the plugin is very useful for coloration, saturation, and of course, compression. For a good emulation of analog processing that can be added effectively to a mix or master, check out the VintageWarmer2.

Tokyo Dawn Labs TDR Kotelnikov

For the engineers who want smooth compression that doesn’t sound too obvious, the TDR Kotelnikov is a good place to start. Not only is there an entirely free version, but there is also a lot of flexibility available here to tailor your compression characteristics to taste.

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The controls allow for threshold, peak crest, soft knee, ratio, attack, and two release times. Most of the controls function just as they would on other compressors. The Peak Crest knob can be viewed as a blend control for what the plugin is reacting to. The higher the setting, the more the Kotelnikov reacts to RMS level, the lower the setting, the more it reacts to the peak level. The control can be set to allow for only peak or only RMS, but the ability to blend the two reactions together allows for smooth and configurable reduction. The Kotelnikov allows for high pass filtering as well as stereo sensitivity. This allows for more precise control over what is making your compressor react.

The plugin function well in both bus and individual track scenarios. The tone of this plugin allows the original timbre and tone of your material to shine through. With no form of hardware emulation present in the plugin, the TDR Kotelnikov is a new type of digital compressor looking to make a name for its clean, uncolored gluing. Rounding out its features with oversampling and 64-bit processing, the TDR Kotelnikov is worth looking into for your transparent compression needs.

iZotope Ozone 8 Dynamics

iZotope has made a name for itself in the world of mastering and audio restoration. With plugin suites like RX and Ozone, it is clear to see why. The tools provided in these suites are second to none for critical audio work. Within Ozone 8, the Dynamics plugin stands out for its precise control and many options.

Combining the functionality of a quality limiter with a quality compressor is the first thing that makes this plugin so great. Fine-tuning how your mixes and masters sound with this level of accuracy ensures that your finished audio will sound just as you intended. Since its main goal is to act as a mastering compressor, it features mid/side processing, advanced metering, and variable look-ahead times.

The detection filter feature gives even more configuration options over how the incoming signal will affect the compressor’s detection algorithms. Using high pass and tilt modes, the signal can be tuned to have a greater or lesser effect on the compression being used. Other useful features such as learn mode can set where the crossover points used for multiband mode are.

This compressor lends itself to those who need clean compression with lots of versatility. Check this out when mastering as many of its features are geared towards polishing rather than coloring a mix.

Waves CLA-76

The Urei 1176 is one of the most popular hardware compressors in existence. It is capable of incredibly fast attack and release times due to its FET circuit, and infamously features “backward” attack and release potentiometers. Waves skipped no details and left those knobs exactly the way they were when designing this plugin.

The interface mirrors the controls of an analog 1176. The plugin allows for analog hum to be added at fifty or sixty cycles if desired. Depending on which revision mode you choose, you will have entirely different characters available in CLA-76. “Bluey” models the Blue Stripe revision which gives a little more edge to the sound due to hotter gain staging while “Blacky” models the 1176-LN model. Featuring less noise and smoother response, this mode gives a cleaner color to your tracks.

Due to its fast attack and release, this compressor can be useful for transient heavy material such as percussion. The punch that the CLA-76 adds to drums is great whenever you need big drum sounds. If you are after the sounds of the real deal Urei 1176, the Waves CLA-76 can get you started with presets from Chris Lord-Alge. If you have used the hardware before, you will feel right at home. Check out the legendary sounds of the CLA-76.

Softube Tube-Tech CL 1B

Another hardware emulation of a classic compressor. The Tube-Tech CL 1B is another great example of what a killer optical compressor can do for your tracks. Considered to be a “go-to” compressor for vocals of many genres, the CL 1B has demonstrated time and time again what smooth compression is great for. Softube did a painstaking recreation of the classic hardware and succeeded in maintaining its smooth and transparent tones.

The controls on the plugin mirror the hardware with a few small changes. In addition to gain, attack, release, threshold, and ratio controls, the plugin allows for parallel compression to be done from within the plugin. Save yourself an auxiliary track and use the knob to blend the perfect amount of compression into your mixes. On top of this, a sidechain low cut “switch” was added to the plugin for additional tweaking options.

This compressor has made itself known for its use with vocals, but many bassists have sworn by the CL 1B as well. It may be worth trying out on a master bus for the transparent and smooth tones it can yield. If a more transparent optical compression is what your mix needs, you won’t find much better than the CL 1B.

Klanghelm MJUC

Variable-mu compressors have been popular choices for bus compression for years. Hardware like the Fairchild 670 and the Manley Vari-Mu have become standards in high-end studios, and have graced many records with their smooth, colored tones. For those of us who cannot drop $30,000 on a Fairchild or even $4,400 for a Manley, Klanghelm has sought to help out.

The MJUC was designed to emulate the best of every variable-mu compressor Klanghelm could get their hands on. The result is a collection that reaches back to the 1950s in available sounds. Model Mk1 offers the most coloration, ranging into dense and thick textures. Model Mk2 looks to emulate designs from the 1960s. It adds four ratios to choose from as well as Density and IStage buttons for more color choices. The density switch adds a second vari-mu stage to reduce the dependence upon where you have your attack and release settings. Model Mk3 looks to be the most Hi-Fi and sounds similar to a 670 in the way that it adds punch.

The price of this plugin makes the desirable effect of variable-mu compression available to the masses. The MJUC’s versatility and inclusion of different levels of coloration make this a great plugin for any mix or master. For more information on variable-mu compressors, check out our article on Mix Bus Compression.

MeldaProduction MCompressor

Melda Production’s MCompressor is one of those plugins that surprises you as you use it. The feature set is very large, and the price tag is very small making complex issues much easier to handle for every engineer who faces them.

To start, the plugin features a transparent tone allowing for straightforward compression with no additional color. It features input/output gain, attack, release, RMS, threshold, and ratio controls as well as three knee modes with size adjustment. This section alone allows for many useful changes to make to your mixes and masters, but the MCompressor does not stop there. It adds mid/side processing, upsampling, a safety limiter, and automatic gain compensation for increased functionality.

The MCompressor can be linked to operate in stereo or unlinked for different compression of separate channels in your incoming signal. To make this plugin even more enjoyable to use, the entire UI can be edited to fit your style or to match your DAW. When transparency, a large list of features, and a small price tag are what your mix needs, Melda Production has your back with the MCompressor.

Conclusion: Whether you are new to engineering or you are a seasoned professional, compression can be one of the harder topics. Luckily, the options in sound quality, configurability, and features allow every engineer a toolkit to accomplish their goals. Whether mixing or mastering, compression becomes important for dynamics, color, and glue. These differences may seem small at first, but their impact on your mixes is noticeable.

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