In the spirit of other effect threads, I thought it would be fun to share thoughts on using compression. Although the original had no much dynamic response, this virtual emulation let you recover some dynamic by. It is based on reactive synthesis and captures that reed EP sound by reproducing both the reed motion and pickup response. Glue Reeds is a faithful recreation of an electric piano that used sticky pads to trigger the reeds.
Fixed Random crashes on exit. Changes since The Glue v1.0.11. Next Boz Digital Labs HoserXT v1.1.0 WiN-OSX Incl Keygen-R2R.Cytomic has released released public beta version 1.0.13 of The Glue, an analog modelled bus compressor plug-in for Windows and Mac. Previous PreSonus Studio One 3.
It’s hard for me to tell how pairing a guitar compressor pedal with my Eurorack system would sound based on youtube demos, for example. Board dimensions: 16.25 in x 9.0625 inI’m especially curious to hear about people’s strategies towards using compression with electronic instruments and synthesizers because there’s a lot less written about that on the internet, compared to guitars. Fits these models: Vector Plasma One Vector Nova Vector Plasma (Screened) Vector Plasma (Grill) Vector Classic Available options pack of 10 glue boards or case of 100 glue boards.
No doubt obvious to everyone but me- haha.Mixing/Bus Compression: I love opto compression for glue but i always wanted a more radical tool, when i stumbled upon the elysia mpressor i knew i was there. The only downside has been using it to record tracks for an album—it makes more sense to record uncompressed mixes, no matter how good some compression sounds—so you can add some consistency in the mastering process. It’s also effective for balancing parts of a patch—especially when I’m mixing field recordings and traditional synthesis. It’s an amazing tool for playing live—mostly to tame unruly resonances and feedback loops, but also to glue mixes together with light compression. At some point, I sold Streams for an Intellijel MSCL, and it’s been permanently on my mixbus since then. My emphasis is playing live and single-pass studio recording, so once I had a stereo compressor on my mix bus—it became an essential part of my workflow.
Then i had this big confusion when inthebox compressors didnt sound like i wanted and it took 20 years, the tools gotten better and i became more confident.Remember, from the late 9ies until 2012 we had this loudness war going on in Broadcast-limiters like the hardware Jünger were the shit then. Since now this is the case the mpressor is a marvelous companion but its concept needs understanding and adapting.When i started in the 8ies the overeasy use of a hardware 1176 on voice was phenomenal. It took a good 20years in my recording career to grasp the concept of a compressor and actually know what i‘m doing. I use this to eat peaks or in extreme settings in parallel.
Unless i did Musicmastering in the last 10years, i would not touch a limiter but for the bare boosting level to zero.I have a hard time with stock ableton dynamic plugins-to me they sound thin (multiband limiter especially) and dont take me where i want to go. I took 3-4 years of adapting but as of now i‘m happy again like in the 8ies. Luckily in 2012 we were introduced to the R128 norm of leveling.
Sort of a ‘room mic’ thing …As mentioned in the original post, I feel, often synths are very constant in dynamics and don’t need compression as such, but I like to use it as glue. Usually with on board tools — envelope followers, attenuverters, VCAs.For more percussive elements I also compress/limit a copy of the signal and mix it back in with additional reverb. Long delays, either side chaining the delay input signal agains the delay mix out or percussive/kick elements agains the whole ‘voice’) to clean up a bit. Big fan …In the modular I tend to use side chaining on parts of the mix (e.g.
Multing a voice trough an envelope follower and the resulting CV into a VCA (with offset/attenuation for more control).
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