Glue compressor

Glue compression is a distinct type of compressor which is most effectively used on busses, including the master bus. Let’s talk about what glue compression is, how it differs from a conventional compressor, and when and how to use it.First, what is glue compression and what makes it different from “regular” compressors?Like a lot of plugins, glue compressors are modeled after a piece of analog gear. In this case, virtual glue compressors are emulating Solid State Logic’s analog bus compressor which itself was a component as part of the greater SSL 4000 G-Series Console.The compressor was noted for its effective ability to create cohesion between the tracks on a bus or the entire mix, “gluing” them together, hence the name.A glue compressor differs from other compressors in that it utilizes a voltage control amplifier (VCA) to control and compress the signal.Unlike some other types of audio compressors, this type of compressor makes for a relatively clean and transparent compression, even when you’re feeding it a lot of signal.This makes them ideal both for taming peaks and smoothing out audio which is a bit too dynamic.As such, they’re workhorses and work especially well on busses, particularly when you want to add a little extra cohesion to your bus or overall mix on the master channel.Best Glue CompressorsThere are a number of solid options when you want a glue compressor.My personal go-to and arguably the standard amongst VSTs is the Waves SSL G-Master Buss Compressor.It perfectly emulates the aforementioned Solid State Logic hardware, even adding some of that analog color if that’s what you want via the “Analog” button. I like using this feature in particular on the master bus to give the entire mix some light saturation, unifying the sound beyond the compression itself.This glue compressor also has a number of presets from Grammy winning and nominated producers, helping you dial in the sound you want that much faster with some great starting points:All you need to do is set the threshold!That said, the plugin is easy to use and the controls are pretty straightforward and similar to those which you’ll find on a standard compressor (see my audio compressor settings chart for more information).Outside of Waves, there are plenty of good options. Most DAWs have serviceable stock glue compressors featured in their libraries nowadays.Ableton Live’s “Glue Compressor” is the most famous example of a stock glue compressor. While the interface looks different, you’ll notice the controls are pretty similar to those of Waves:Rather than giving you a slider like on a more conventional compressor, we’re locked into a static 2:1, 4:1, or 10:1 compressor ratio.We have static positions for the attack and release, as well (including an automatic on the release). You can add a little soft clipping to help maintain transient punch, but other than that it’s just about where you want to set your threshold.How to Use Glue CompressionLet’s dial up some settings for a couple instances when you might want to create a little extra cohesion in

Massage them into the mix.Use a release time between 100–1,200 ms so that the compressor breathes with the tempo of the music. Choosing a release time that’s too fast can lead to pumping effects, distortion, and killing the natural dynamics of your mix. Too slow, and you’re at risk of volume inconsistencies and reduced clarity. You can apply some makeup gain to loudness match the signal running in and out of the compressor to make an accurate A/B comparison. On the topic of loudness, the main purpose of glue compression isn’t necessarily to maximize loudness. That’s sometimes a byproduct of glue compression, depending on how fast you’ve set your attack time, but its main function is to provide your mix with a sense of cohesion.The Bettermaker Bus Compressor is well suited for master bus compression because it has a musical sound that manages to maintain clarity, which can be desirable when mastering. One of the most interesting things about this bus compressor is that regardless of how fast you set the attack, it manages to maintain the perception of clear and punchy transient material, which is usually what you want when applying glue compression. 2. Drum bus compressionApplying bus compression to your drum bus can enhance the impact and energy of the drums in your mix. This process is particularly effective in bringing together the various elements of a drum kit, such as the kick, snare, hi-hat, and toms. Drum bus compression can make the difference between drum kit recordings

This and adjusting the Rate-S to taste.Glue Compressor for Parallel CompressionYou can use a glue compressor for parallel compression, as well. Try these aggressive settings on an aux/return track for sends to absolutely squash whatever signal you send to it, then blend it in alongside your dry audio:Threshold – Generally we’re setting this pretty low so we can make sure any and all signal we send to it gets essentially compressed to the same output.Ratio – This is where we really get aggressive, pushing the ratio to the max at 10:1 which will make the output near uniform with anything we throw at it.Attack – Let the dry instance of the audio represent the transients, we’re just looking for that compressed sausage here, so we want to start fast.Release – A fast release generally works well for parallel compression to keep it responsive. Try experimenting with different options here.Analog – This one (assuming you’re using the Waves G-Master) is preference. Since we’re blending it in and this signal is squashed, I don’t mind adding some more harmonics via the analog emulation.Blend this in via a send on busses or even individual tracks to add some energy. This is more of a “feel it” rather than “hear it” situation, though you can automate it up to add some extra energy or interesting effects at choice times.These are a few common scenarios where you might reach for a glue compressor, but don’t be afraid to try it on virtually any bus in your mix for a little added cohesion!Glue Compression TipsGlue compression is a specific type of VCA compression which is based on the built in compression component on the SSL 4000 G-Series Console. It was discovered to be very effective on busses in particular for gluing together the contents of an instrument or greater mix bus to provide extra cohesion.You can use a glue compressor with more aggressive settings to tame an overly dynamic instrument, or more conservatively to “glue” the components of a bus or your entire mix together.Glue compression works especially well on the drum bus or entire mix bus, but give it a shot on any busses you feel are lacking energy or cohesion.Dial up more aggressive settings like using the 10:1 ratio and a lower threshold as blended parallel compression for any bus you want to blend in for more energy.Remember that less is more when you are using glue compression (or any effects) on an instrument bus or on the entire mix’s bus (minus parallel compression).

Maintain the snappy character of sounds and a relatively slow, non-linear release that sounds natural.The Bettermaker Bus Compressor includes plenty of controls that allow you to fine-tune the sound of compression applied, while the NEOLD U2A, though easier to use, requires you to match it to an appropriate processing task. The compressor you choose can also have a drastic effect on the tonal character of your bus.Throughout the remainder of this blog, you’ll discover six ways to use a bus compressor in your mix, gaining comprehensive insight into when and how to apply various types of bus compression. Additionally, you’ll learn about selecting an appropriate type of compressor for different scenarios. 1. Glue compressionIt’s quite common to apply bus compression to the stereo bus or master track of your mix. Doing this can “glue” your mix together, providing all of your sub-groups with a sense of togetherness. If your vocal bus sounds like it’s living in a different space than your guitar bus, some gentle stereo bus compression might be the answer.You don’t want to use extreme compression settings when applying bus compression in this way. A little compression goes a long way. The effect should sound subtle but noticeable when bypassed. Select a ratio setting of 2:1 for laid-back tracks or 4:1 for more aggressive songs.Set the attack time around 30 ms to allow transient material to pass through the compressor. If the drums in your mix sound too pokey or stabby, you can reduce the attack time to

A dime. They even just released a new version, so pick it up for free and try it on your vocals.VCA CompressorWhat Are VCA CompressorsVCA, or Voltage Controlled Amplifier compressors offer fast, low distortion, and transparent compression. They are similar to optical compressors in that they won’t color your audio much. At the same time though they can operate much faster, making them effective for taming peaks on individual tracks or busses without altering the sonic quality of your audio.When to Use VCA CompressorsAs I just mentioned, VCA compressors are good for taming aggressive transients and peaks when that’s all you want.Use it on an individual track or a bus which is still a bit too dynamic.Best VCA CompressorWaves SSL G Master Bus Compressor – When I need a bit of bus glue, I like the Waves SSL to tie things together. Based on the SSL 4000 G console and as the name suggests, this is great at or near the end of your master bus chain to provide that extra bit of unity to a mix that needs a touch more control and impact.Free VCA CompressorMost DAWs come with serviceable free VCA compressors. Ableton Live in particular comes with a solid VCA which is simply called the “Glue Compressor”.Vari Mu CompressorWhat as a Vari Mu CompressorA Vari Mu compressor, also known as a variable mu compressor, is amongst the oldest forms of compression and is based on tubes. As such, a Vari Mu compressor imparts that warm and saturation

Quickly the compressor reacts to sounds that exceed the threshold, allowing you to either smooth out or emphasize the initial “punch” of a sound. A slower attack lets the transient of a sound pass through before compression kicks in, creating a more pronounced, punchy effect. Conversely, a fast attack reduces the transient for a smoother, softer sound.Release time affects how long it takes for the compressor to disengage after the sound drops back below the threshold. Short releases create a tighter sound, while longer releases allow the compression effect to sustain, giving the sound a more flowing, continuous feel.By balancing attack and release times, you can shape not only the initial hit of a sound but also its tail.Dual compressionVocals often require extra dynamic control to sit comfortably in a mix. Dual compression is a technique where two compressors are used in sequence, each with different settings. This approach spreads the workload between two compressors, resulting in a smoother, more natural sound than if one compressor were doing all the work.For instance, the first compressor might catch quick volume spikes with a fast attack and release, smoothing out sudden changes, while the second compressor applies gentler, more consistent compression to maintain overall volume. This layered approach is especially useful for vocals, where clarity and consistency are essential.Glue compressionOnce individual elements are balanced, glue compression helps bring the whole mix together. This technique applies subtle compression across multiple sounds, creating a more unified and cohesive feeling. Often applied on the master channel, glue compression gives a subtle “lift” to the mix, making everything feel like it belongs together.The goal with glue compression is subtlety. Too much compression on the master can flatten the dynamics, so settings should be dialed back to avoid over-compressing. A good starting point is a low Ratio with moderate Attack and Release times to enhance the track’s natural rhythm and groove.Maximizing loudnessThe final step in most mixes is maximizing loudness without introducing distortion. By setting the limiter’s threshold just below the clipping point (commonly around -1 dB for streaming standards), you ensure that your track remains clean and free from distortion while reaching optimal loudness.Increasing the gain after setting the limiter threshold can make the track louder, but care should be taken not to push the limiter too hard, as this can introduce unpleasant artifacts. The aim is to find a balance where the track sounds powerful