Cytomic “The Glue” + Other SSL Bus Compressor Plugins Generally, it’s used to describe a type of processing that is usually applied to the master buss or sub-groups that helps the individual elements sound as if they ex Play Video 2. ➥ Mixing Pop with Ian Vargo is available now You’ll hear the term “glue” thrown around a lot in discussions about modern music mixing. How to Use Tape Saturation to Enhance a Mix Here are my favorite plugins that I use to glue a mix together. It’s not uncommon for me to process my sub-groups and/or master buss with at least one instance of processing specifically chosen to help the mix achieve a greater sense of cohesion. Combine this mostly digital workflow with the patchwork approach to assembling performances, samples and loops, and we risk being left with music that lacks cohesion.Įnter the plugins that offer those qualities that “glue” a mix together.ĭigital reproductions of hardware offer old-school engineers who have migrated to a DAW-based workflow both a sense of nostalgia, and a mostly faithful reproduction of the unique sonic textures that these classic units offer. The sound of music being massaged by analog circuitry is greatly missing in productions created in today’s lo-fi, laptop-based studios. I’ve been on audio forums in which I’ve read that certain pieces of hardware can sprinkle “fairy dust” onto a mix. The drums and bass start to work more in concert and seem tighter, the stereo image is more defined and the vocals sit better in the mix. Hardware sounds great on individual elements, but also does something very special to sub-groups or entire mixes. Even if a band is afforded and decides to take a more organic approach, there is still something about the digital process - countless overdubs, using playlists/comping, capturing nearly unlimited tracks, augmenting drums with samples, virtual instruments, complex automation, and of course the inherent sound of digital audio are just a few factors that leave us with a product that sounds and feels much different than the days of musicians together in a room, committed to tape.īecause the fast turnaround times and high amount of revisions common to modern productions, I don’t always have the opportunity to work analog gear into my process, but I prefer to, if possible. This isn’t a criticism of that style of production, merely an acknowledgment that the process of creating music is far different than it was decades ago. The very same teenager may be using a primarily sample-based approach to produce their record, meaning they’re using audio recorded in a variety of studios, by numerous musicians and engineers to create a final product that is more of a sonic collage than it is a representation of an actual performance. An inexperienced teenager can conceivably write, record and distribute an entire album to an audience of millions. We’ve witnessed the democratization of the music industry. Today - computers, software, hard drive space and recording technology are easily accessible and relatively cheap. One could argue that because studio time and tape were so expensive, bands (and engineers) took their jobs more seriously, showed up more prepared, and were more capable of together generating that elusive musical spark. Half a century ago, most music was produced by placing a well-rehearsed band of talented musicians in a proper recording space, then choosing microphones, preamps, and outboard gear that would best serve the songs, and capturing the band using a large format console and analog tape. I have a theory why “glue” processing has become so popular amongst modern mixers. Generally, it’s used to describe a type of processing that is usually applied to the master buss or sub-groups that helps the individual elements sound as if they exist within the same sonic context. You’ll hear the term “glue” thrown around a lot in discussions about modern music mixing. ➥ Mixing Pop with Ian Vargo is available now