KVR Audio

Tp3 · Post by **Tp3** » Mon Jan 14, 2013 6:23 am

Andy

With former versions of the Glue, one was able to "audition" presets (ie. press the "load" and upon SELECTING a preset, controls would change accordingly). now one has to actually load each and every preset.

Why is that ? (I don't know since what version this behavior started)

Thanks

Oden · Post by **Oden** » Mon Jan 14, 2013 6:36 am

andy_cytomic wrote:
Oden wrote: Thankyou, now I understand how it works.

Oden wrote: What are some famous feed forward comps then? DBX160?
From a quick look the schematic the DBX 160 looks like an RMS feed forward compressor: http://www.gearslutz.com/board/attachme ... dbx160.jpg

I don't know which compressors are famous, so it's very hard for me to tell you which famous compressors are feed forward. If you can provide me a link to a schematic you are interested in I can have a quick look at it for you, but...

If you don't mind explaining then why are you asking this in the first place? Judging a compressor just on if it is feed forward or feed back doesn't make sense to me since there are many more important aspects to the design that determine a units behaviour and tone. The SSL G-Series bus comp and the 1176 are both feed back compressors, but I would never use them in the same role as they sound completely different and are good at completely different things.

I guess I just want to know because of the inner geek in me. Is there any plans to emulate the SSL G-series Channel comp in the future?

I don't even quite understand what's the difference between channel and bus compressors in general. Is it just that bus comps should be relatively transparent?

And thanks again. I didn't know DBX was an RMS comp. Certainly explains the PUMP. Do you have any idea how long the RMS-size is?

andy-cytomic · Post by **andy-cytomic** » Mon Jan 14, 2013 7:57 am

Tp3 wrote:Andy

With former versions of the Glue, one was able to "audition" presets (ie. press the "load" and upon SELECTING a preset, controls would change accordingly). now one has to actually load each and every preset.

Why is that ? (I don't know since what version this behavior started)

Thanks

I'm half way through overhauling this at the moment and will finish it right after I finish the last filter models for The Drop. I've switched over to operating system standard dialogue boxes for greater compatibility and accessibility for regular load and save operations, and I'll still to add the preset browser where you can search and preview presets. I also want to integrate the preset selection mechanism with different plugin standards to allow preset switching from hosts as best I can manage.

andy-cytomic · Post by **andy-cytomic** » Mon Jan 14, 2013 12:20 pm

Oden wrote: I guess I just want to know because of the inner geek in me. Is there any plans to emulate the SSL G-series Channel comp in the future?

I may do a model at some time in the future, but I've got other things that interest me more at the moment.

Oden wrote:I don't even quite understand what's the difference between channel and bus compressors in general. Is it just that bus comps should be relatively transparent?

Channel compressors are on each channel of a mixing desk, and there is typically only one bus compressor, but in the end it's completely up to the designer of the mixing console to decide if there are any sonic differences between them. Normally a driving design decision is that you want some kind of gate / expander on channels, which means you need to use a feed forward design.

Oden wrote:And thanks again. I didn't know DBX was an RMS comp. Certainly explains the PUMP. Do you have any idea how long the RMS-size is?

You're welcome again

I'm not really sure the fact it's RMS explains much, and you can't simplify things into an "RMS size", it just doesn't work like that in the circuit. If you want to know how the RMS is computed you need to analyse the DBX RMS 208 chip as well as the circuit it is placed in, neither of which I've done. If you are interested in doing so yourself the nearest current equivalent is the THAT Corp 2252 chip, the specific part you will need to understand is outlined in the section "Computing the Mean", where you can see that the actual output voltage is roughly the log of the exponentially windowed mean of the square of the input current, but as the signal approaches DC this changes smoothly to something else: http://www.thatcorp.com/datashts/THAT_2 ... asheet.pdf

putte · Post by **putte** » Mon Jan 14, 2013 12:43 pm

Hey there Andy.

Just wanted to say that i never ever felt so comfortable with a compressor. Thanks a lot for your work, keep it up and cheers to you.

putte

PascalVB · Post by **PascalVB** » Mon Jan 14, 2013 1:02 pm

andy_cytomic wrote:I have no plans to add any saturation to The Glue for v1.x

At some time in the future I do plan to update The Glue and add some cool new stuff, I'll see at that time what to include. On top of the list is improving the tone of the Range knob, and adding a knob for smooth linked to dual operation.

My workaround at this moment is adding the Slate VCC Brit 4K on every channel and the bus.

AudioGuy720 · Post by **AudioGuy720** » Mon Jan 14, 2013 1:11 pm

PascalVB wrote:
andy_cytomic wrote:I have no plans to add any saturation to The Glue for v1.x

At some time in the future I do plan to update The Glue and add some cool new stuff, I'll see at that time what to include. On top of the list is improving the tone of the Range knob, and adding a knob for smooth linked to dual operation.
My workaround at this moment is adding the Slate VCC Brit 4K on every channel and the bus.

+1 And coupled with either the Waves SSL pack or IK Multimedia's British Channel you have an SSL desk in the box. Kinda.

IIRs · Post by **IIRs** » Mon Jan 14, 2013 1:45 pm

For all the meticulous detail in which Andy has modeled the behaviour of the Glue on the analogue SSL unit, there is one way in which its radically different to the hardware version:

Hardware compressors do not have presets.

I would recommend fixing this by removing all preset support completely. The only reason our plugin compressors have presets at all is because they share the same plugin formats as our synths and reverb units.

Alternatively keep the presets menu, but as soon as the user attempts to load any preset it instead runs a script that deletes every known dynamics plugin from the user's plugin folder...

PascalVB · Post by **PascalVB** » Wed Jan 16, 2013 6:31 am

IIRs wrote:For all the meticulous detail in which Andy has modeled the behaviour of the Glue on the analogue SSL unit, there is one way in which its radically different to the hardware version:

Hardware compressors do not have presets.

I would recommend fixing this by removing all preset support completely. The only reason our plugin compressors have presets at all is because they share the same plugin formats as our synths and reverb units.

Alternatively keep the presets menu, but as soon as the user attempts to load any preset it instead runs a script that deletes every known dynamics plugin from the user's plugin folder...

In that case: the hardware compressor is also wired. He could make the plugin only work on input channels so that you'd have to link a cable from 2 of your audio interface outputs back into the computer for proper analog feel

kmonkey · Post by **kmonkey** » Wed Jan 16, 2013 6:51 am

Nielzie wrote:
HcDoom wrote:I never understood people who want presets for compressors and eq's. In 99% of cases they wont work on your source material.
As a starting point. Presets can be tweaked to fit the source material better of course.

In that case any init settig is starting point. I have to agree i don't see a point in presets in limitersm EQ, or comp... Reverb or synth, another story but dynamic and freq processing that is just weird.

kylen · Post by **kylen** » Wed Jan 16, 2013 10:52 pm

kmonkey wrote:
Nielzie wrote:
HcDoom wrote:I never understood people who want presets for compressors and eq's. In 99% of cases they wont work on your source material.
As a starting point. Presets can be tweaked to fit the source material better of course.
In that case any init settig is starting point. I have to agree i don't see a point in presets in limitersm EQ, or comp... Reverb or synth, another story but dynamic and freq processing that is just weird.

Unless Mr. Developer wanted to provide a .wav file for a particular preset example sounding good. Could be a new job for the beta testers, provide preset & .wav file.

If I sent in my .wav file then I could kick back whist my preset was being hand crafted...

djshire · Post by **djshire** » Wed Feb 27, 2013 1:51 am

I just bought this and absolutely love it! It sounds wonderful.....

Aiynzahev · Post by **Aiynzahev** » Fri Mar 29, 2013 4:36 am

Can anyone tell me what the recent transfer policy on this is?

Sami

sqigls · Post by **sqigls** » Fri Mar 29, 2013 9:14 am

I have a feeling that transfers are not permitted anymore. But seriously, it's not really the sort of plugin you're going to stop using.

andy-cytomic · Post by **andy-cytomic** » Mon Jul 15, 2013 1:53 pm

News: I've finally finished and update to The Glue, hopefully this will fix any annoying intermittent crashes to do with oversampling. I highly recommend grabbing this update since it should be the most stable and functional version of The Glue to date.

v1.2.7 (15 Jul 2013)
www.cytomic.com/glue

New: preset menu now contains a list of available presets sorted by categories
New: optional dc blocking in the main signal path
New: updated to latest Juce framework for greater compatibility
Fixed: bug in oversampling that could cause silence or crashes under certain conditions

Cytomic 'The Glue' Compressor