In comes The Glue, a clear-sounding plugin that adds subtle, textured compression to The Glue Compressor is a new effect - an authentic model of a legendary 1980s. The SSL-style is a very famous compression technique that attempts at gluing a mix using the mixing desk’s bus compressor. Cytomic’s The Glue emulates the SSL-style bus compressor sound adding a few extra controls.
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Warm Audio’s latest entry in the world of analog compression takes inspiration from one of professional recording’s most famously used pieces of hardware: The stereo bus compressor from Solid State Logic’s large format consoles. Whether in compressing single tracks, busses, or entire mixes, this plugin will give you enough versatility to create the industry’s tried-and-true. Inspired by SSL 4000 hardware, The Glue is a clear-sounding plugin with a wide array of applications. Texas-Size ToneThe Glue, By Cytomic, is designed to provide your mixes with that final punch and tightening. We’re pretty fond of our writing but for the illiterate or impatient, Click HERE to get straight to the audio at the bottom of the review. 7 Crack for Windows and Mac is a complete and famous Digital audio studio.
Strapped across a stereo mix or subgroup, the Bus-Comp delivers a first-class, totally analog path of gluey squish, squeeze and polish. Meet The WA-Bus CompressorThat’s the sound that Austin, TX-based Warm Audio has set out to bring within reach of every even halfway-serious studio.The Warm Audio Bus Compressor is exactly what it says on the tin. And, for once, every member of the band stops saying they need to be louder (for an hour or two at least). Untamable Kilimanjaro-esque peaks become a bunny hill. Elements that won’t “sit right” suddenly fold their napkins politely in their lap. Subscribe this channel 223.Often referred to as “the glue”, this design has an almost mythical ability to put meat on the bones of even the skinniest of mixes.
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However, amplitude from bass-heavy instruments like kick drums, subs and low-end bass notes can force the compressor into what’s often called “pumping” or “breathing”. Even SSL’s own stereo rack-mount version costing thousands more overlooks what is a very critical part of using this compressor to its fullest potential.If you’re scratching your head at some of this, we’ll lay it out quickly (or you can check the glossary at the end): A compressor’s RMS detection circuit is triggered by the full spectrum of a mix. Wait, did you just say “sidechain frequency”?A frequent critique of this style of compressor is the lack of an internal high-pass filter for sidechaining the detection circuit. Six sturdy detented knobs click in the “usual suspects” parameters – but with the addition of a selectable highpass sidechain frequency. Housed in a sturdy black 1U steel chassis, the stereo-only unit keeps controls to just a dummy-proof set of bare necessities.
Warm Audio had the flash of genius to make this accessible at the push of a button, letting the user quickly decide between the two. When slapped around with too much signal activity at once, things can get wild and wooly – but not in a bad way.This is the sort of thing that has given birth to dozens of nebulous audio industry buzz-words: “Depth”, “Warmth”, “Heat” and the dreaded “Mojo” come to mind. When engaged, the intent is to give the soundstage depth, while bringing out pleasing, subtle second- and third-order harmonics. Oh, The Iron-yThe Bus-Comp features a switchable discrete op-amp stage with two chonkin’ USA-made Cinemag iron 1:1 transformers. The Bus Comp lets you dial this in all the way from 0 (off) to 185hz in roughly 30hz steps, more than enough range to find the sweet spot – letting the kicks and subs occupy their own crucial space below deck without sucking the other elements down with it. Cool for your whole stereo mix? Probably not.Setting a variable high-pass filter as a sidechain tells the compressor to “ignore” the rumble in the jungle below a certain point.
Bring your threshold down to just above where the gain reduction meter shows the compressor engaging with the attack and ratio at twelve o’ clock. Rack it up, plug it in, flip the switch on the front panel and the Bus-Comp is ready to go to work.Getting your basic settings is the same here as it is with most other compressors, whether they cost half or twenty times as much. Inputs and outputs are available interchangeably on balanced TRS ¼” and XLR connectors, with the sidechain input on XLR only. Warming It UpSetting up the Warm Audio Bus Compressor is a fairly standard affair, with a beefy internal power supply fed by the included IEC cable.
Getting On The BusThe other decision to be made here of course, is WHAT stereo bus is being compressed. Then? Bring the threshold back to the land of the living and promise that you “won’t be that volume war guy”. It’s important to keep switching the unit in and out to compare the compressed and uncompressed signals.Some engineers (and I count myself among them), pull the threshold down until the circuits cry uncle and use that to dial in the attack and release times, as well as where to engage the sidechain (if at all).
ObservationsThe very first thing I noticed is just how well the Bus-Comp exemplifies that famous, ‘grabby’ VCA sound. All close cousins of the unit being reviewed today, and all processors I am as intimately familiar with as I am the actual SSL console itself. Pulling up a mix project I’m doing for a particularly “punchy” metal-type band, I was eager to see how it performed… especially compared to similar plug-ins and hardware compressors in my rack.Notably, the Bus-Comp was sharing space with one of my own GSSL builds using the original DBX 202 “Blackmer” VCA, as well as Cytomic’s “The Glue” and Waves’ SSL 4000 G Bus Compressor plug-ins. Let’s Get This Bus RollingI set the Bus-Comp up as a hardware effect insert in Steinberg Cubase Pro, allowing me to quickly assign (and time-align) the unit on any stereo source in the mixer. You could use it as a mono unit on things like bass guitar or synth – just remember that this IS a stereo only compressor without dual-mono operation.
Hearing the transients push the overheads out of the way then letting the cymbals and room wash back ashore gave the drums a huge presence in the mix – a previously unrealized bit of Bonhamesque bombast.Switching in the transformers, things like the cymbal overtones became less “shrieky” and I found myself opening back up a few channels’ low-pass filters a bit. Above that, the separation was just a little too… separate. On DrumsOn the drum sub-mix, I high-passed out away the lowest registers of a particularly chesty 24″ kick drum, finally landing at 125hz, effectively splitting the drum’s effect on the compressor in half. That’s certainly not a way you typically describe the way a metal band’s drum mix sounds in this day and age, but it was a refreshing change to hear the drums sound just a little bit more like, uh… drums. Instantly the room began to breathe more after every kick, hit and crash – stepping aside for the transient and falling in back on itself to give the overall kit sound some snark and presence. You won’t necessarily hear the compressor “working” with more conservative settings, but you’ll certainly miss it once it’s switched out, like getting out of a hot shower on a freezing cold morning.I tried the Bus-Comp on a stereo pair of room mics spaced about 14 feet from the kit in a medium room that had been recorded through a pair of OktavaMod mk12’s.
Pull the threshold and gun it on the ratio and we’re dealing with a whole new beast. Tricks like this means less compression on the stereo mix.Now that we’ve talked about how the Bus-Comp plays nice, let’s ponder for a moment how good it is when it’s used less responsibly. I wound up just triggering one each of the cabinet mics and letting the other two stay constant. Sending the kick, snare and tom attacks to spike the compressor let me pull the guitars closer – though it was easy to overdo. On GuitarsJust for grins, I also strapped the Bus-Comp across the guitar submix (a grand total of four tight-miked cabinets over two separate performances).
Having cut my baby teeth on compressors half this good for twice as much, I would have to say “absolutely nothing.” It’s really that good, especially when you realize just how on-the-level it is with similar units costing five times more (and don’t have the HPF or transformers… which are VERY nice to have). I took that drummer’s advice and let the Warm Audio guys that this one would not be coming back.Sigh.
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