nasstealth.blogg.se - Cytomic the glue saturation

Cytomic the glue saturation upgrade#
Cytomic the glue saturation plus#

Waves - CLA-76 (Best Compressor for Pop and EDM Vocals) - $249 Both of these bundles include an entire suite of mastering tools that are well worth the investment. This plugin comes as a module within iZotope’s Ozone 8 Standard bundle ($249), or as its own plugin as part of iZotope’s Ozone 8 Advanced bundle ($499). One of the most exciting features of this compressor is the button that matches effective gain when the plugin is bypassed this allows you to make well-informed mixing and mastering decisions without worrying about loudness bias. Much like FabFilter’s Pro-C 2, iZotope Ozone’s Dynamics plugin puts a great emphasis on the power of digital processing. There’s also a solo and bypass button for each band.

It lets you choose from peak detection, envelope detection, and RMS detection mode, which significantly changes how the compressor responds to the input signal. IZotope’s Multiband Dynamics plugin allows you to apply multiband compression to the center and sides of your stereo image independent of one another. Alternatively, you can apply compression in a way that highlights transients, making the kick even punchier. If you set a band’s center frequency to 160 Hz and apply peak compression to the transient kick, you’ll be able to tuck it into the mix. Perhaps you’re mastering a song, and the entire track sounds good, but every time the kick hits around 160 Hz, it’s too punchy. iZotope - Ozone 8 Dynamics (Best Multiband Compressor) - $249 If you can only afford one compressor, get the FabFilter Pro-C 2. It’s the Frank’s RedHot of compressors and sounds good on just about anything. When I’m looking for a reliable compressor that will undoubtedly perform well, I reach for FabFilter’s Pro-C 2. There’s an Audition button that solos audio triggering the compressor, a Mix setting that scales the gain change from 0% to 200%, smooth lookahead up to 20 ms, up to 4x oversampling, a custom knee, and loudness level meters.

Cytomic the glue saturation plus#

The Pro-C 2 includes a sidechain EQ section with customizable high-pass and low-pass filters, plus an additional freely adjustable filter. Each algorithm provides a unique style of compression, so the Pro-C 2 is like 8 compressors in one.įabFilter has included all the features you could wish for in a digital plugin compressor. It provides 8 different compression algorithms that include Clean, Classic, Opto, Vocal, Mastering, Bus, Punch, and Pumping.

Cytomic the glue saturation upgrade#

And last but not least I used the Maximizer to give it some volume.If you’re looking to upgrade from your digital audio workstation’s stock compressor, the FabFilter Pro-C 2 is a versatile option.

Next, I used a multi band compressor for some transparent compression.

Then I used gentle high and low shelf filters to boost the lows and the high’s.

First I did a bit of EQ, filtering out some of the super low’s and super high’s.

What’s doing the heavy lifting is iZotope’s Ozone 7.

On the master channel I have the Glue Compressor compressing just a dB or 2, nothing major.

I used it as an insert to put the keys in a larger space.

Then I used the Slate Digital Verbsuite Classics Reverb Plugin powered by LiquidSonics.

This time I used the tape plugin for wow and flutter, it almost gave it a chorus effect and made the keys wider in a nonlinear way.

First in line is the Universal Audio Ampex ATR.

After I was done processing the signal, I did some light side chain compression against the kick to help the kick stay present in the mix.

I used the Waves L1 Limiter at the end of the signal chain to level out the peaks just a bit.

So I compressed the low’s just a bit and pushed up the gain. I wanted a bigger low end, but controlled.

Then I used the Waves C4 Multiband Parametric Compressor.

I pushed into it pretty hard, but this time it’s not in parallel mode, because I wanted a good amount of tape character.

Universal Audio Studer A800 was the first plugin I used.

Since I’m using “analog” modeled plugins, it’s important to have good headroom.

An important note: I used a utility plugin to drop the level -10dB before hitting any plugin.

The samples sounded pretty well treated, so I didn’t feel the need to process them individually. I did not do any processing on individual channels.Then I used the Glue Compressor in Ableton, which is made by Cytomic to glue things together.I pushed the tape plugin pretty hard, but it’s 40/60 parallel mode. Then I used a Universal Audio Studer A800 for some tape saturation and compression.First I used the Soundtoys Decapitator for saturation to make it a bit dirty.I grouped the Kick, Hi Hat Loop and Claps.The samples are downloaded from Hope you guys find it useful! Have fun making great music! Ableton Live Mixing Tips: Funk Beat, Analog Vibes In this video I go over the processing I did on this funk beat.