Watch Jacquire King’s episode of our exclusive Lifeboats series, only on puremix.
#Cytomic scream mix buss full
Adds tone and weight to the vocal by carefully tweaking the UAD 1176AE compressor, taking full advantage of the 2:1 ratio.Uses tape saturation on background vocals.Adds space to guitar and synth elements using multiple styles of delay and reverb.Controls the kick drum using SSL Channel compression and demonstrates how he hears the compression before the low-resolution meter displays what is happening.Adds stereo width to synth bass, and demonstrates using EQ pre and post-process.Sets a Distressor for parallel drum compression.Sets up his mix bus processing at the beginning of the mix.Discusses the importance of elements pushing the speakers versus pulling them.Addresses the commonly overlooked phase relationship between kick and snare.Address phase and polarity issues on multi-mic’d sources such as bass DI versus bass amp microphones and the drum kit.Uses his 16 Channel Modified Quad console for out of the box summing.Has his assistant, Danny Pellegrini prepare a session for mixing.In this 3 hour tutorial, learn how Jacquire: The Glue is badass.In Episode 6 of our Lifeboats Series, Grammy Award Winning Engineer, Jacquire King, opens the multitrack for the Will Knox song, "Lifeboats", and takes us all the way from hearing the song for the first time, to a completed powerful and energetic mix with his signature sound imprinted upon it. This thing is easy to use and great sounding.
#Cytomic scream mix buss series
Lastly the sidechain compressor, well you guys know where I stand when it comes to sidechain compression–right next to my buddies Toro y moi and Washed Out. There are numerous options for those seeking a virtual imitation of SSL's famous hardware bus compressor, including Universal Audio's 4K Buss Compressor, the Waves 4000 Series bundle, and, of course, the official Stereo Bus Compressor for SSL's own Duende DSP system.But these are all pretty expensive, so the arrival of Cytomic's effort, The Glue, at a very reasonable 99, certainly caught our. You can dial in perfect parallel compression with the mix knob. I find that Range at -10 to -20db works great on a mix paired with higher compression ratios like 10:1 for massive yet not attack degrading compression, and up to -80db is a good starting point paired with a low ratio of 2:1 for a different soft extreme. Range determines the maximum compression applied which is useful in maintaining attack while still keeping the overall compression constant. The range knob has crazy versatility, similar in scope to the filter knob on a RAT.
The Waves SSL bus compressor on the other hand more often that not does this to a mix. It does what it advertises, and instruments are glued together yet distinct at the same time.
I’ve had some interesting results on drum buses too. I find it to be more transparent than the SSL Buss compressor, which I just can’t stand anymore. The glue is fantastic when used the way it was designed–on a mixbus. Also, a range/mix (finally! parallel compression!) and a sidechain have been added allowing further control over the colouring. Non-linearities have been removed from the original design when they were determined to add nosie or otherwise degrade the sound. The Glue is another true to the original specs recreation of SSL with a few modifications. While I have never touched an SSL in real life, I have plenty of experience with the Waves collection. Interestingly enough my new baby, The Glue, is another SSL clone (a cross between E and G compressors). Lately I’ve been achieving good results with the Waves API 2500 for individual tracks (and it too is a coloured compressor but of a different flavor) but I still need to get my 2-bus fix on. I think I can go elsewhere for my saturation now. The E-channel compressor is very destructive to audio when you hit it hard, and the G-buss compressor is just too coloured for my tastes. I’ve begun to have a falling out with the SSL Waves collection and have been looking around for some new plugins to try out.
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