What are your favorite “glue” plug-in’s?

[Ploki]

True to that.

Ploki, this is the second time you kinda "propelled" me to buy a plug (I just could not click with PW since it came long time ago. no more).
I'll have to report you to the authorities for "Aural solicitation which resulted in monetary deficit"

I don't give a flying fack around "Gluing" or whatnot. I just built a basic preset based on your suggestion... paired it with arbitrary limiter (for now : with SoftLimit. yea I know... to some it may appear as BLESSPHAMY... but to paraphrase Arnold Schwarzenegger : "It just wrox !") - and how do you say in English ? : "Low-End Be-hole"

Thanks, dude.

glad you like it. which was the first one?

btw you can check out my free Presswerk skin - it offers a different presswerk experience to the original.

[Michey]

True to that.

Ploki, this is the second time you kinda "propelled" me to buy a plug (I just could not click with PW since it came long time ago. no more).
I'll have to report you to the authorities for "Aural solicitation which resulted in monetary deficit"

I don't give a flying fack around "Gluing" or whatnot. I just built a basic preset based on your suggestion... paired it with arbitrary limiter (for now : with SoftLimit. yea I know... to some it may appear as BLESSPHAMY... but to paraphrase Arnold Schwarzenegger : "It just wrox !") - and how do you say in English ? : "Low-End Be-hole"

Thanks, dude.

glad you like it. which was the first one?

I can absolutely not remember which one is it. I just vividly know it was the second one (otherwise I wouldn't have bother to reply).

btw you can check out my free Presswerk skin - it offers a different presswerk experience to the original.

Oh... I have it for ages (just as the mesmerizing Verve skin for Podolski), used it with the demo (which, as I said, was - for a long time, and still is - just too much controls to fiddle with. luckily, thanks to your starting point, and my wanting to experiment a little more than I usually do, I managed to find a setting that is perfect for me. and I shall touch it no more. saved it and it's a recall thingy from now on).

I opted for your dark theme, so now I have Zebra Dark Edition and Presswek Dark Edition

Thanks, Sir

[counterparty]

Maybe slightly OT but I use a lot:
Make it sound like the sounds are in the same space (with a reverb, or multiple similar reverbs to place the instruments at different locations in the same space).
Make the transients of percussive sounds that you want to group together similar (with a compressor, transient designer or adjust at source).
Make the brightness/darkness/weight etc of sounds you want to group together similar (with an eq).
Process sounds as a group (compression/eq/saturation/etc) to bring them together.
A bit of dynamic EQ on a group of sounds can help them move together.

[dan_flash]

I really liked Reason's Master Bus Comp back in the day but since switching to Linux I've not been able to use that obviously. Then I mostly used Renoise's Bus Comp which is really good I think.

Anyway a bunch of recent projects are being done in Reaper instead of Renoise so I did a bit of a shootout testing some Linux native stuff and the best results for me were Airwindows Pressure5 or GVST Gcomp2 (weirdly).

One of the JS Bus Comps sounded really good too, think it was the express one. Likewise the x42 and LSP compressors even though I'd usually use them on individual channels instead of buses. I have the Overtone FC70, which sounds boss on most buses, but I'd like to test the other plugs from Overtone because they look impressive.

I didn't really like the sound of Presswerk or ReaComp which was unexpected as I'd read great stuff about Presswerk.

[kurainagare]

L-Bus comp 2 compressor by Tim Petherick is usually my goto for glue duties.

[The Noodlist]

L-Bus comp 2 compressor by Tim Petherick is usually my goto for glue duties.

Without the Preamp?

[Aiynzahev]

There's quite a few that do a good job, mostly mastering type compressors:

Elysia Alpha
Mia Labs 918 MKII
Weiss Master compressor
Tone Projects Unisum
Vertigo VSC-3
The Lindel API 2500 plugin SBC something
and of course the SSL Bus Comp can do a good job here
The IK Multimedia Tape plugins are good for this too but of course very colored.
Ableton Live's OTT preset on a very low setting, below 10%
PSP Old Timer
EDIT
I forgot TDR Kotelnikov and also NI Varicomp

[chagzuki]

OP started this thread in 2018. Anyhow, there's a Dan Worrall YouTube video demonstrating the glueing effectiveness of using saturation on every instrument/channel, but specifically in relation to a jazz recording. The benefits are clear in his example, however, I generally don't seem to like much saturation in making electronic music, perhaps because I like a kind of crispness which saturation blunts.
One thing which does seem to work to me is spectral compression, of a subtle application. It introduces nonlinearities which tends to break to flattening effect of the linearity of most types of synthesis/sample playback whilst retaining the hifi ultra-crispness that I like.
I was sceptical about gullfoss and teote based on descriptions and tried neither, however I got Mspectraldynamics mainly for Trackspacer-type duties, and then found I liked the spectral compression aspect on individual tracks and the master bus. Perhaps Gullfoss and Teote can contribute slightly to a glueing effect on the master bus... Sonible Smart Compressor and EQ might also produce some benefits in this area.

[boygeorge176]

My favorite is the built in ableton glue comp, its a great free compressor that is Cytomic's plugin just repackaged.

[s28]

ableton glue comp is excellent

super useful

i wouldn't say free - a given if you own ableton live

[chagzuki]

I was just exploring more with Klanghelm SDRR and realising it can work better as a master bus compressor than a standard compressor. Previously I liked to use it subtly in dual mono mode with a compressor following, but actually the dynamics control allows for tuning it like a compressor, letting transients through. The result ends up being very organic when pushed quite hard (in tube mode).

[Hettoblaster]

I was just exploring more with Klanghelm SDRR and realising it can work better as a master bus compressor than a standard compressor. Previously I liked to use it subtly in dual mono mode with a compressor following, but actually the dynamics control allows for tuning it like a compressor, letting transients through. The result ends up being very organic when pushed quite hard (in tube mode).

Nice 1, will give this a go.
I was very late to the SDRR party, and didn't immediately click with it, prob because it's so diverse.
Heard others talk about the transient preservation thing. will have another good go with SDRR

[yinz]

Ableton the glue and the same one by cytomic on other daws.

[simon.a.billington]

OP started this thread in 2018. Anyhow, there's a Dan Worrall YouTube video demonstrating the glueing effectiveness of using saturation on every instrument/channel, but specifically in relation to a jazz recording. The benefits are clear in his example, however, I generally don't seem to like much saturation in making electronic music, perhaps because I like a kind of crispness which saturation blunts.
One thing which does seem to work to me is spectral compression, of a subtle application. It introduces nonlinearities which tends to break to flattening effect of the linearity of most types of synthesis/sample playback whilst retaining the hifi ultra-crispness that I like.
I was sceptical about gullfoss and teote based on descriptions and tried neither, however I got Mspectraldynamics mainly for Trackspacer-type duties, and then found I liked the spectral compression aspect on individual tracks and the master bus. Perhaps Gullfoss and Teote can contribute slightly to a glueing effect on the master bus... Sonible Smart Compressor and EQ might also produce some benefits in this area.

You're right how saturation can take away some of the digital qualities. But I think when used in a small amount it can help give thin sound instruments some presence and weight.

Another thing to look at is oversampling. It helps to turn it OFF if you want to preserve some of the digital nature. There will be a lot of purists that will frown at this statement, but the same purists are trying to remove any digital aesthetics about a sound.

Not everything has to sound 100% analogue 100% of the time. The digital sound is still a valid aesthetic. You watch, once everyone had done over-romanticising the 80s they'll turn towards the 90 and start romanticising it's primitive digital sound quality.

To some part some of the lofi crowd is already there

[peterdh]

Any new kids on the block?