The Glue Cytomic Crack
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Plugin Shootout – Waves SSL Comp vs. Cytomic’s The Glue. In this article we will be looking at Waves SSL Comp and Cytomic’s The Glue. More “crack” with.
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The Glue is an analog modeled compressor plug-in based on The classic 80's British big console buss compressor with some handy additional features. It uses the same high quality algorithms used in circuit simulators, but optimised to run fast, and features a gorgeous fully scalable user interface. Cytomic The Glue VST RTAS v1.0.18; Cytomic The Glue VST. The Glue is an analog modeled compressor plug-in based on The classic 80's British big console buss. Cytomic was founded by Andrew and Emma Simper in 2007 and we.
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Rules:. Illegal torrents or any various other illegal content (like links to documents to download) are not permitted - all products must be legal. Perform not demand or supply cracks, licenses, keygens or enable some other illegal activity. Consist of a description of what the torrent can be or include a link to a web page which details the bittorrent. No racism, séxism, or bigotry allowed. Stating your choices, like 'I like software A much better' is ok.
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Cytomic have eliminated to excellent measures to imitate the audio of the popular SSL coach compressor, with its special capability to 'glue' issues collectively. How does their plug‑in do a comparison of with established solutions from Surf and UA? Cytomic are usually a rather new organization, but perform not lack in knowledge when it comes to making put‑ins. The CEO and founder Toby Simper started out making free of charge VST plug‑ins under the title Vellocet in the late '90s, and later relocated on to building effect quests for FXpansion'h highly acclaimed Guru and BFD2 drum tools, before working on the same business's Deb‑CAM: Synth Team, which obtained a rave evaluation in the January concern of Sound On Audio. The Glue is certainly based on the extremely acclaimed SSL coach compressor. Schematics fróm the SSL At the‑series coach compressor have been used to develop the digital design, but rather of modeling thé non‑linearity óf the VCAs, á 'ideal' VCA offers become modelled, which makes The Glue sound even more like the modern SSL XLogic H‑series compressor. During the process of development, an XLogic hardware unit was used to evaluate and modify the overall performance of the plug‑in.
The two pretty much talk about the same configurations except that there are usually additional attack and launch configurations in the put‑in, along with a higher‑pass aspect‑chain filtration system, Dry out/Wet control, and data compresion Range handle. The classic three‑step ratio knob is placed in the middle of the user interface, and at its 2:1 establishing a fairly subtle gentle‑knee data compresion is used. At 4:1, the compression becomes even more apparent, and at 10:1, The Glue is fundamentally a peak limiter. The strike settings vary from 0.01 to 30 milliseconds (the fastest environment is not present in the first equipment). As for the launch settings, they range from 0.1 to 1.2 seconds, with the traditional car‑release at the clockwise extreme. Threshold and make‑up get are represented by two pulls but, even more curiously, there is certainly a compression range knob, which limits the maximum amount of data compresion applied, irrespective of the additional configurations.
The side‑chain EQ is certainly a soft 6dC/octave filter with a cutoff frequency that can become set from zero tó 2000Hz, and it can end up being used to the inner sign or an external side‑chain signal. When you push the external part‑chain switch, the plug‑in reports one or two extra advices - based on whether it will be established up for mono or stereo system processing - producing it feasible to make use of any sign to control the compressor. However, the VST3 standard is not really yet backed, so the success of establishing up an exterior side‑chain very much depends on the DAW host and its capability to path audio in a flexible way. To catch overshooting transient peaks, there is definitely a maximum clipper accessible with zero assault and release period, and with a fixed infinite ratio and moderate leg. It's basically a set waveshaper that is usually linear up to ‑2dT, has a even shape to ‑0.5dB, and will be then side to side. The topmost compression meter shows the depth of data compresion in an RMS-level fashion, and hitting the display will display the quantity of maximum compression too.
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During the test period, I utilized The Glue on a collection of different instruments and team stations, with great achievement. One of my mixing projects experienced four different bass acoustic guitar tracks mixed into one mono group approach, and The Glue assisted me to actually out the levels of the various bass hues without presenting any data compresion artifacts.
The Glue Cytomic Torrent
On the exact same project I has been capable to tighten up the guide dubs and choirs without dropping any push, which has been a great surprise. Normally I would resort to softer limiting to also items out, but that requires great treatment and tweaking in order to prevent shedding some effect. The Glue made it easy because of its ability to manage both transients and extended power bursts with openness and clearness.
Just a tad of drum shuttle bus compression made the drums sit jointly without shedding the thud of the end or the slap of the capture, and I was able to blend the cymbals and hi‑hat louder in the mix without them using over the show. Occasionally I simply needed a soft contact of data compresion, and the Variety control produced it feasible by restricting the compression to a few decibels. Making use of the Mix control, it's achievable to mix the uncompressed and compressed signals, hence generating parallel compression - a quite effective method of including energy without squashing thé transients.
I find it helpful on percussion and traditional electric guitars when they need some extra power, but it's in fact helpful on many musical instruments: it's just a matter of obtaining the correct data compresion and balance between the compressed and uncompressed sounds. During the check period, my only complaint was that surfing and loading of presets could be made better, because when the preset display was open up, the entire DAW interface locked up. The Glue has been carefully modelled on SSL'beds appealing XLogic H‑series compressor. Picture: Mike Cameron During the check I do not possess access to the hardware device on which The Glue got happen to be modelled, specifically the SSL XLógic compressor, but Toby was gracious enough to send me some of his own measurements and recordings of the hardware and his plug‑in. In assessment, I very first discovered them fairly equivalent in sound, but The GIue lacked some authénticity, and the transiénts weren't as easy‑sounding. Toby directed out that the running wasn'testosterone levels using any oversampling, and therefore a low‑level aliasing has been present, which added a moderate harshness to thé transients and sméared the finest details of the supply. Therefore I inquired if he could make an oversampled edition of the plug‑in, and a couple of times later on it got here in the mail.
On attempting it, I discovered that it seemed very very much like the hardware sound videos, at the price of improved CPU use and about 2mbeds latency. To more analyse the advantages of making use of oversampling when applying dynamic processing, I made a quick shootout between the two versions of The Glue. In evaluation, the oversampled developing retained a much better stereo width, even more transients and a slightly greater depth in the mid‑range.
I should point out that the distinctions were little, and on some sources I chosen the non‑oversampled running, due to the pigmentation of the transiénts. Oversampling will end up being available as an choice in a arriving upgrade of The GIue, and by thé time you read this it will most likely have been recently implemented. There are usually a great deal of products on the marketplace - both electronic and analogue - attempting to imitate the overall performance of the classic SSL coach compressor, so I determined to range up a few of them in a appropriate shootout.
The electronic contenders were the two variations of The GIue, the UAD 4k Buss Compressor and the Ocean SSL Compressor - the two latter being used by numerous industry professionals. Just for the enjoyment of it, I also incorporated two of my own analogue compressors: the ultra‑transparent TK Sound BC1 and a house‑made GSSL compressor based on thé SSL schématics, but with older Dbx 202C VCAs. Both of these systems offer fundamentally the same configurations as the initial SSL equipment. The very first test has been an already heavily prepared drum loop with a lot of reduced finish. I utilized my army of SSL clones to break it actually more at a ratio of 10:1, with 3ms attack and 0.1s launch times, and a tolerance set so that the meter indicated about 15dB of compression. Actually though the distinctions were little, the oversampled Glue sensed a little bit more alive compared to the nón‑oversampled.
Thé UAD plug‑in acquired a great release contour that made the data compresion tube with the drums and it added some mid‑range, but at the exact same time the hello‑hats were suppressed a little little bit. The Ocean plug‑in seemed flat and grainy likened to the some other plug‑ins, and lacked some definition. The BC1 demonstrated the greatest stereo size and description and had been relatively smoother‑sounding than The GIue, while thé GSSL had a organic, pumping sound of its very own, producing it great for effect data compresion. Next upward was a stereo system‑dubbed traditional clarinet.
This period I wished to make use of the auto‑release to tighten up up the audio without squashing it as well significantly. The configurations had been a percentage of 4:1, 1ms strike, car‑release and a maximum compression of about 6dW. The stereo system size and definition had been a tad much better with the oversampled put‑in, but in this situation, the pigmentation of the transiénts in the nón‑oversampled put‑in in some way appropriate the traditional acoustic electric guitar. The UA plug‑in also added some coloration, producing the sound even more beefy and sustained, which I also liked. The Ocean plug‑in, nevertheless, sounded level in comparison, and lacked some stereo definition.
The BC1 made the acoustic guitar a little bit smoother without losing any description or stereo width, appearing probably a little bit more compacted likened to the othérs. The GSSL made the transients a little bit more gritty, but in a good way - at the expense of somewhat less well defined stereo width and reduced finish. The 3rd test had been a complete mix that has been compressed in each case making use of a ratio of 2:1, 10ms strike, car‑release and about 2dB of data compresion. Both variations of The Glue packaged the mix in a quite nice method, and the only differences had been a slightly more described and firmer reduced finish, wider stereo system size and marginally more open audio in the refrain with the oversampled put‑in. Thé UAD 4k Buss Compressor included some low finish that moved the blend forward in a good method. The Surf compressor sounded great in the passage but dropped a little little bit of low‑end description in the refrain, where it also included a small little bit of graininess.
Bécause of its thrée‑dimensional depth and stereo system size, the TK Audio BC1 came out appearing 'like a record', which has been no shock to me. The brilliant definition of the choirs fixed it apart from the other sound clips.
Final but not really least, the GSSL compressor sounded too colored, and dropped both low finish and stereo system definition. When I down loaded The Glue, l wasn't anticipating anything out of the common, but the even more I utilized it, the more I realized how flexible it was. It not really only performed impeccably on shuttle bus‑compression responsibilities, but has been also capable to tighten up bass guitar, acoustic guitar, percussion and words without adding a 'sound'. In my opinion, transparent data compresion will never ever proceed out of style because what it generally does is to provide up even more of the music - without incorporating data compresion artifacts. Likened to equivalent put‑ins, The Glue sounds more open up and has a even more defined stereo width - and it definitely offers 'the glue' on a range of equipment. What I actually like about The Glue will be the car‑release environment, because it can make it simple to use data compresion that just tightens up the sound in a extremely useful method. There is usually a demonstration version of the put‑in available at Cytomic't homepage, in VST, AU ánd RTAS types.
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