Glue Compressor

TrabanT · 2014-04-19T20:25:27.000Z

Hello fellow Elektronaut Elite ,

i keep hearing that the new Glue Compression in Ableton 9 is the shit … blablblaba

the more I read about compression, the less I am interested in it, fairly spoken, I ve heared soooo often …

do this, do that, then the sound will be bblbalblaa

… i dont get it, i give up on understanding. …

so here is my question:

which settings do you use?

whenever I use compression, I cannot decide whether it sounds better with it or without it … blind testing it, i couldnt even say this is on / off …

do you not use it at all?

do you use anything else?

should I not care?

thanks for all help, also dont be too hard on me with your answers

poonti · 2014-04-19T20:35:30.000Z

I sniff the Glue Compressor from time to time, and I like it!

Does the job as well as most hardware, so I ended up selling my only hardware compressor…

ringokidf · 2014-04-19T20:47:09.000Z

I don´t really feel the glue efx but I think it improves something to have it on the master channel in Live9, used to have the multiband comp there.

Could be that I haven´t tweeked it enough or found the right settings.

I have a Kush Audio Fatso and it has a glue setting that you can really feel, very easy to use but very expensive.

Old_Dub_Dude · 2014-04-19T21:42:30.000Z

To begin with, compression was only invented so that a single mixing engineer could control a whole mix, without riding the gains of more than a few faders!
Do you often feel the need to move your faders during the different stages of a track?.. Is the lead allways too loud in the chorus - but not quite loud enough in the verse? That’s where you’d originally use a compressor… To smooth it out a bit - so you could leave the faders in place,
Later…compressors of varying designs began to give NEW options…just think what the French guys did when they discovered that a compressor on the bass - that listened to the kick…could give a new kind of pumping… And that the same trick could change the dullest pad synth to the most draggingly new feeling pumpypad…oh man…things started to happen… And with digital - you could squeeze your whole mix thru a tiny dynamic range of only 2-3 db…making it LOUD… Compression can be anything you need it to be - be it software, or hardware… Opto or vca…they all have their place… But be carefull - don’t kill the dynamic range…'cause that kills the drama, and without drama - no art!

But hey
I have an Overstayer Stereo VCA inserted on my master bus… Just chewing the occasional 2-3 db…adding that bit of GLUE that somehow makes everything sit right :))

I used to have all sorts of compressors - cause I love them
But in all honesty… I don’t do “real” drums, or singers or horns… Just synths, drum machines, samplers and stuff… And find it much better to just make sure my sounds don’t need compression to control levels… Only to add glue/extreme paralell comp/and a touch of loudness…

I said it… I love compressors…and weeed and Chardonnay ;))))

rockreid · 2014-04-20T00:33:18.000Z

first off, “The Glue” was a VST plug in invented a few years back by the guy at Cytomic software and sold individually as a VST for use in any DAW. It is still is. I don’t know if it can be licensed for use in stand alone machines like Elektron but what I can tell you is that almost universally the reviews for this VST have been very positive comparing it to the real SSL bus compressor.

As far as compression itself, it has a profound effect on the sound source, often in amateur hands crushing the life out of any sound and making it sound dull. In the right hands, it can lift a sound or mix to incredible heights and add real excitement and life. It takes practice to use compression effectively as it is often WAY overused. If you don’t think a sound or mix needs compression, then don’t use any. But if you are having a problem with levels or trying to tame an unruly dynamic , compression is a lifesaver.

ignatius · 2014-04-20T08:13:32.000Z

the Glue compressor is fantastic. i use it a shit ton and have for years befor eit was part of live. nice to have it in live though… but i love it on the 2bus and often on drum bus as well… depends on the track and the sound i’m going for but it’s a really outstanding compressor.

compression is something that can take a while to figure out how best to use. sometimes it’s a dead simple thing and sometimes more creative.

the fabfilter compressor is nice too and the video demo is a great walk through for compression in general.

for compression i find that less is more unless i’m really just trying to kill something… but in a mix i usually end up compressing a few things… and that… in combination w/EQ, panning etc really helps a mix sound right. for me anyways…

here’s the fabfilter compressor walk through.

TrabanT · 2014-04-20T12:14:38.000Z

hey allya!

thanks for all the input, especially the link recommendation introduction to FabFilter Pro-C compressor

…

i was looking for somebody who says … i have attack on X, release on XY and parameter Z on XX … but I assume its far too difficult, depending on the type of music your are producing, beats , base, sidechain, brickwall and what not …

thanks

wintermute · 2014-04-20T12:33:11.000Z

If you want a glue compressor, this is the glue compressor

sbc_large.jpg1121×1637 289 KB

There’s a reason why SSL consoles are responsible for more platinum records than all others combined. And that’s one of the main ones. The 4000 G+ reamins the best desk I ever recorded with, except for maybe a Neve 5316.

But if you can’t afford it, Waves and UAudio do great software versions, and the Alan Smart hardware clone is great too.

But my main go to compressors are the 1176 or LA2A (especially in conjunction)

Less is more, and parallel compression is your friend!

poonti · 2014-04-20T13:27:17.000Z

""TrabanT"":

hey allya!

thanks for all the input, especially the link recommendation introduction to FabFilter Pro-C compressor

…

i was looking for somebody who says … i have attack on X, release on XY and parameter Z on XX … but I assume its far too difficult, depending on the type of music your are producing, beats , base, sidechain, brickwall and what not …

thanks

Here’s a good article on compression (good ole’ SoS!!). I like to use guidelines as a starting point, but compression also requires tweaking of these values based on what you hear. In other words, the material/audio itself and what you’re trying to achieve (loudness, glue, punch, etc) ultimately affects what settings you use.
http://www.soundonsound.com/sos/1996_articles/apr96/compression.html

ignatius · 2014-04-20T19:00:52.000Z

""wintermute"":

If you want a glue compressor, this is the glue compressor
sbc_large.jpg1121×1637 289 KB

There’s a reason why SSL consoles are responsible for more platinum records than all others combined. And that’s one of the main ones. The 4000 G+ reamins the best desk I ever recorded with, except for maybe a Neve 5316.

But if you can’t afford it, Waves and UAudio do great software versions, and the Alan Smart hardware clone is great too.

But my main go to compressors are the 1176 or LA2A (especially in conjunction)

Less is more, and parallel compression is your friend!

though a lot people would track on a Neve or API or something else w/lot’s of color then mix on SSL… but those days are gone for most.

SSL super flexible. the cytomic Glue compressor is really good though. i used to have an API 2500 bus comp that i really liked. so good for everything. the waves plug in version is actually pretty good.

easy to go down the rabbit hole w/pro audio stuff once started down that path. for what it’s worth the neve portico compressor is a smoker. really nice on drum bus and the 2bus.

wintermute · 2014-04-20T20:41:00.000Z

""ignatius"":

[quote=“wintermute”]If you want a glue compressor, this is the glue compressor
sbc_large.jpg1121×1637 289 KB

There’s a reason why SSL consoles are responsible for more platinum records than all others combined. And that’s one of the main ones. The 4000 G+ reamins the best desk I ever recorded with, except for maybe a Neve 5316.

But if you can’t afford it, Waves and UAudio do great software versions, and the Alan Smart hardware clone is great too.

But my main go to compressors are the 1176 or LA2A (especially in conjunction)

Less is more, and parallel compression is your friend!

though a lot people would track on a Neve or API or something else w/lot’s of color then mix on SSL… but those days are gone for most.

SSL super flexible. the cytomic Glue compressor is really good though. i used to have an API 2500 bus comp that i really liked. so good for everything. the waves plug in version is actually pretty good.

easy to go down the rabbit hole w/pro audio stuff once started down that path. for what it’s worth the neve portico compressor is a smoker. really nice on drum bus and the 2bus. [/quote]
True, the days of having a budget to do that magic tracking/mixing desk combo are sadly gone but now a days you can just have a rack of 1073’s and use them as pre-amps.

There’s a company in London called Funky Junk (http://www.proaudioeurope.com/) they’re pretty much the go to place for high end vintage recording gear in UK and probably europe. They can put all kinds of old Neve/Decca/EMI gear into racks for front end tracking

They have a studio here: Control Room — Snap Recording Studio
Last place I did sessions in, the place is insane. basically 20 years of collecting the most rare/exciting gear and if I were to book studio time, I wouldn’t go anywhere else (way cheaper than you think, with astroturf carpet!)

One good thing of this “Bedroom studio revolution” is lots of options, having things like Thermionic Culture in your own room.

Even this thing: FMR Audio RNC 1773 – Thomann United Kingdom
It’s less than €200 and sounds really really good on pretty much everything!

SB-SIX · 2014-04-20T20:58:52.000Z

Try a compressor on a field recording first, it makes much more difference on a real world sample than on a pure saw or square wave. Set the ratio to max, low attack, low release, and slowly lower the threshold. This way you’ll hear what compression does. If the effect is too dramatic, decrease the ratio. If you want to leave the start of the sample uncompressed, turn up the attack . I think this will help to understand what you can achieve with compression.

L4rs3rik · 2014-04-20T21:23:57.000Z

I use The Glue all the time in Cubase. Sounds and works great on most stuff. As an insert to push an individual track and on groups and the master channel to glue things together.

I don’t know about Ableton but at least in the VST plugin version there is a good set of presets to get you started. They are categorized and named accordingly. You still have to tweak some to get the “best” out of it , at least the treashold and the makeup depending on your material.

zfigz · 2014-04-20T23:27:36.000Z

In the past, I compressed a lot of my elements, but lately I’ve compressed less and less.

I’m really curious about OTO’s new Boum compressor. I hope it’ll be versatile as I’d like to incorporate it into my hardware only setup.

TrabanT · 2014-04-21T06:26:03.000Z

""SB-SIX"":

Try a compressor on a field recording first, it makes much more difference on a real world sample than on a pure saw or square wave. Set the ratio to max, low attack, low release, and slowly lower the threshold. This way you’ll hear what compression does. If the effect is too dramatic, decrease the ratio. If you want to leave the start of the sample uncompressed, turn up the attack . I think this will help to understand what you can achieve with compression.

aaah … very VERY helpful!

TrabanT · 2014-04-21T06:38:54.000Z

and also THANKS to

wintermute, poonti, ignatus, sbsix, LarsErik, Zfigz

for the suggestions to the different hardware compressors, the links, and the thoughts as to how to use it with presets, where to put it in the mix …

really appreciate it! … i stumbled across the FMR RNC 1773 … but it doesnt have those beautiful (to the eye) analog instruments with the needle that pump to the beat …

I have to start another thread regarding compression / limiter… Limiter OT MD A4 KP3 Hannibal + TheWanShow

zfigz · 2014-04-21T11:59:07.000Z

For bass, I’ve always set my threshold, ratio, and attach first. Then, move onto the release and adjust it to taste.

udenjoe · 2014-04-21T13:26:09.000Z

To me it depends on personal taste.

If you want to sound the the Velvet Underground or anything Lou Reed, don’t use a compressor.
If you want to sound like Com Truise compress the hell out of it.
Sometimes I don’t even use them.

The SSL clone I use is good for bringing drums together, especially if they are real drums through mics. I would suggest trying it on your drum tracks. The LED meter seem more simple to me and easier to find and build . Having built two I felt the need to use one recently. Otherwise you don’t really need compressors.

Genjutsushi · 2014-04-21T13:41:28.000Z

I am an Ableton user, and use the Glue compressor a lot.

Its a compression plugin that seeks to emulate the gentle overdriven sound of ‘classic’ master bus compressors. So in that sense, when you use it, you shouldn’t really notice it adding much audibly to the sound. Its more a case of an incremental ‘sprinkle’ on top that just brings the elements in your mix together to be more coherent together.

I use two other sources of compression, a TLA Ivory 5051 channel strip for vocals and synths (to add a little beef to proceedings), and the Octatrack’s own compression. In particular i think the OT is lovely - really brings something special to a sound without too much coloration.

Re: using the Glue / settings. I usually try to have as little as possible. I start by bringing the threshold down so that it is just activating when the track is at it’s loudest. Ratio at 2:1. Gain compensation just enough to bring the track up to peaking at -1db.

JNS · 2014-04-21T14:18:51.000Z

I don’t like the glue compressor, it’s good when you really need to boost the shit out of something.

For all the other compression tasks i uses Brainworx Vertigo. Really love it, works like magic on kicks and percs.
Even with minor settings it still beefs up the whole package.

greets