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1. #CYTOMIC THE GLUE ALTERNATIVE FULL#
2. #CYTOMIC THE GLUE ALTERNATIVE SERIES#
3. #CYTOMIC THE GLUE ALTERNATIVE FREE#

A VCA style compressor, this unit has sports fast attack and release times useful for transient laden material. Dangerous Music Compressorĭangerous Music’s Compressor has gained popularity for transparency even when pushed to its limits. The color of this compressor is part of the sound of the 4000 console, giving your mix an expensive analog character as well as the glue it has become a classic for. Other features include an auto release and ratios from 1.5:1 all the way up to 10:1 making this a great bus compressor for all styles. Using its built in high pass filter, you can make sure that your low end isn’t triggering the gain reduction. The G-Series is known for bus compression that makes a mix sound huge and punchy. With so many forms, it is easy to integrate this unit into any studio.

#CYTOMIC THE GLUE ALTERNATIVE FREE#

Now free from the master section of the original console, this legendary VCA unit comes in a 1U rack unit, 500 series, and SSL X-Rack module.

#CYTOMIC THE GLUE ALTERNATIVE SERIES#

Originally a feature of the SSL 4000 console, the G Series Bus Compressor has gained popularity over its signature tone and glue that it imparts on mixes.

#CYTOMIC THE GLUE ALTERNATIVE FULL#

The 670 will add its famed color to your mix without squashing your dynamics, leaving it with a smooth sound full of tube character. Like other tube compressors, the attack time on the 670 is not going to yield the fastest response to quick transients, often leaving it off of the list for hard transient taming, yet its ability to glue mixes together remains among the best. Similar to the Manley Variable Mu, the ratios that are set will actually increase as the amount of signal going into the circuit goes up.

It is known for its coloration due to its variable mu method of gain reduction. This legendary unit has provided glue and punch for many mix and mastering engineers alike. Fairchild 670Īll tube, heavy, and a little pricey…just what we all want to hear right? The thing with the Fairchild 670 is that this compressor is exactly what we all want to hear. This compressor is a classic for a reason and will tighten up your mix with some API color as an added bonus. Transient heavy material will sound punchy and be caught by the 2500 easily. In terms of attack and release, the VCA design will allow for very quick times. While VCA’s are often viewed as fairly transparent, the 2500 definitely adds a color that gives mixes the API sound. There are three modes that allow for low end rolloff and high end boost to give the appropriate amount of punch to your mix through reduction of low end sensitivity. On top of the ability to stereo link from 50-100% and select “Old” feedback compression or “New” feed-forward compression, the 2500 has a unique “Thrust” feature used to shape the low end of your mix. API 2500Ĭonsidered to be a classic bus compressor, the API 2500 is a VCA style compressor with many features that allow it to fit whatever kind of mix you may be working on. Its attack and release time are on the slower side in comparison to VCA or FET circuits so this may not be the tool for taming harsh transients, but the warmth, clarity, and glue are worth giving this compressor a try on your mix-bus. When you use the unit to limit, the effect and color become much more apparent, but even when pushed, the signal will not suffer from artifacts as result of the effect. Opposed to many other compressor styles, the ratios in the Vari-Mu go up slightly as the amount of gain reduction applied increases.

This unit is found in many mastering studios throughout the world because of its ability to add the final glue that many mixes benefit from. This compressor is known for bringing clarity and warmth to your mix, achieving this through the use of tubes to perform the gain reduction. The Manley Vari-Mu compressor is a shining example of what real tubes can do to your mix-bus.

Here are some popular choices for mix-bus applications. There are tons of compressors available, but they are not all created equally. Applying this technique to your own mixes can be challenging. We all like a punchy mix that sounds cohesive, and mix-bus compressors have achieved this for many engineers. Mix-bus compression has been used in countless recordings.