Unfortunately, the VST3 standard is not yet supported, so the success of setting up an external side‑chain very much depends on the DAW host and its ability to route audio in a flexible way. When you press the external side‑chain button, the plug‑in reports one or two extra inputs - depending on whether it is set up for mono or stereo processing - making it possible to use any signal to control the compressor. The side‑chain EQ is a gentle 6dB/octave filter with a cutoff frequency that can be set from zero to 2000Hz, and it can be applied to the internal signal or an external side‑chain signal. Threshold and make‑up gain are represented by two knobs but, more interestingly, there is a compression range knob, which limits the maximum amount of compression applied, regardless of the other settings. As for the release settings, they range from 0.1 to 1.2 seconds, with the classic auto‑release at the clockwise extreme. The attack settings range from 0.01 to 30 milliseconds (the fastest setting is not present in the original hardware).
At 4:1, the compression becomes more obvious, and at 10:1, The Glue is basically a peak limiter. The classic three‑step ratio knob is positioned in the middle of the interface, and at its 2:1 setting a relatively subtle soft‑knee compression is applied. The two pretty much share the same settings except that there are additional attack and release settings in the plug‑in, along with a high‑pass side‑chain filter, Dry/Wet control, and compression Range control. During the process of creation, an XLogic hardware unit was used to compare and tweak the performance of the plug‑in. Schematics from the SSL E‑series bus compressor have been used to build the digital model, but instead of modeling the non‑linearity of the VCAs, a 'perfect' VCA has been modelled, which makes The Glue sound more like the modern SSL XLogic G‑series compressor. The Glue is based on the highly acclaimed SSL bus compressor.
#CYTOMIC SCREAM REVIEW FREE#
The CEO and founder Andrew Simper started out making free VST plug‑ins under the name Vellocet in the late '90s, and later moved on to developing effect modules for FXpansion's highly acclaimed Guru and BFD2 drum instruments, before working on the same company's D‑CAM: Synth Squad, which received a rave review in the January issue of Sound On Sound. How does their plug‑in compare with established offerings from Waves and UA?Ĭytomic are a rather new company, but do not lack in experience when it comes to making plug‑ins. Because Trash 2 is designed to be semi-modular, you don't even have to enable distortion, period.Cytomic have gone to great lengths to mimic the sound of the famous SSL bus compressor, with its unique ability to 'glue' things together. Then, on the other Filter section, I can have up to 6 more filters going, at once. For example: I can have a Screaming Low Pass Filter being modulated by an internal LFO, while within the same filter section, have a Saturated Filter running at the same time, being modulated by sidechain. Within both filter sections, there are options for more than one type of filter, as well. And, there's even more coolness with Trash 2. However, within Trash 2, there's not just one, but multiple filters that can be be active and modulating within just one patch. Izotope's Trash 2 is generally known as a distortion plug-in. So, here's the 2014 list of uber filters, just for you. With that being said, we at AskAudio thought it would be nice to throw down a list of the plugs we're digging, and. So, in a sense, filters are really becoming instruments on their own. These days there are filter plug-ins that are so powerful, that when you just play a single note of a keyboard through, suddenly, you've got an entirely new sound, and rhythm. These days, when you label a plug-in as a filter, it can mean far more than just killing some high frequencies, or making a 303 scream.
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