The Glue

The Glue main screen
Price: $99.00

The Glue is a high quality analog modeled plug-in based on The classic 80's British big console buss compressor with some additional features. It uses the same high quality algorithms used in circuit simulation packages but optimised for real time use. It's quick and easy to use and has an uncluttered interface.

Additions over the original circuit include an ultra-fast attack time of up to 0.01mS and a Range knob which backs off the compression to give incredibly natural sounding attacks and limits the maximum amount of compression applied. Also included are external sidechain support and an adjustable sidechain highpass filter.

The Glue - Installation and Quickstart.pdf (300kB)

Audio Units RTAS VST Mac OS X Universal Binary Windows Vista Computer Music Value Award Future Music Platinum Award

Trial

Existing customer?

If you are an existing customer looking to upgrade your copy of The Glue do not download the trial version. Please head to the download section of your account, and if you do not have an account yet then please create one using your original purchase email to automatically be allocated your serial number.

Want to trial The Glue?

You can download the trial version of The Glue with one of the links below, but please note it has the following limitations:

  • 14 days total use in 2 blocks of 7 day long chunks that don't have to be used consecutively
  • No automation / automap / mapping of hardware controller to parameters, gui only control of parameters, none exposed in host
  • No saving or copying of presets

Download one of the following versions, unzip it and read the included Installation And Quick Start Guide for further details.

Trial Version 1.0.18

Audio

Electronic

Kasper Keys Dry

Kasper Keys Glued

Pumping of the synth using a sidechain from the drums to give the synth rhythm, which is soloed at the start of the clip with the drums turned down so you can clearly hear the effect. Some gentle mastering compression rounds off the whole mix. Synth by Magnus Lidström using SynPlant, drums and compression by Andrew Simper using MicroTonic and The Glue.

Doof Dry

Doof Glued

Ahh, so that's how they do it! This slightly flat sounding doof doof song is turned into a slamming dance tune - and all done with a single copy of The Glue on the entire mix. By fjolle.

Thuric Subdoloth Dry

Thuric Subdoloth Glued

Heavy master buss compression to lift and ambience and make the whole loop pump with life. Automatically generated pattern by the The µTonic Patternarium for MicroTonic.

Freon Surfer Dry

Freon Surfer Glued

Heavy master buss compression to make the synth pump through the drums. A preset loop from MicroTonic

Acoustic Drums

Three very different sounding acoustic drum loops have been processed with the same setting of The Glue, and are display first dry then limited with The Glue in three pairs below. The light grey waveforms are the dry audio and the yellow waveforms are the limited ones. As you can see the levels vary greatly on the dry waveforms and are very consistent on the yellow, peaking at around -6 dB.


Drums Roomy Dry

Drums Roomy Limit

Drums Kick Dry

Drums Kick Limit

Drums Snare Dry

Drums Snare Limit

Three different acoustic drums loops are processed with the same setting of The Glue. You shouldn't hear much difference between the dry and limit versions but as you can see from the image above there is a big difference in the peak levels. Drum pattern and sounds are from BFD Eco

Drums Roomy Glue

Drums Roomy Analog

Drums Kick Glue

Drums Kick Analog

Drums Snare Glue

Drums Snare Analog

A/B examples between The Glue and the analog hardware its based on with an extreme setting to highlight any possible differences in character between the two. If the two sound identical to you then this is a good thing since the analog hardware is over 30 times the price! Drum pattern and sounds are from BFD Eco

Looking for the uncompressed dry and processed 24-bit wav versions? Here they are!

the-glue-drums-ab-wavs.zip

Vocal

These examples show how The Glue can be used as a channel compressor to add presence and even out the levels of vocals in a transparent way.

Warning: some of the following clips contain explicit language.

Deadly Hunta

Transparent vocal taming, dry then wet. Vocal courtesy of DJ Subject

Silk

Transparent vocal taming, dry then wet. Vocal courtesy of DJ Subject

Specifications

Summary

  • Accurate analog model of classic 80's British big console buss compressor
  • Ultra-fast attack time of up to 0.01 mS
  • Range knob to naturally control the maximum compression applied
  • Peak Clip to optionally hard limit transients
  • DSP coded using C++ and assembler, Interface coded using the Juce framework (C++)
  • Serial number copy protection with generous license agreement

Minimum System Requirements

  • Vst 2.4, Au, or Rtas compatible host that can handle 4 input 2 output plugins (stereo sidechain)
  • Mac: ppc OS 10.4, Intel OS 10.5
  • Win: XP / Vista / 7 with SSE2 CPU

Circuit Modeling and DSP

The Glue features the same circuit modeling techniques use in professional circuit simulation packages but optimised for real time use. The signal flow structure including all feedback loops and useful non-linearities of the original circuit has been preserved. The algorithm uses actual values for resistors, capacitors, diodes, and other circuit components. The voltages and currents are solved in real time and match as closely as possible to the analog circuit in both the time and frequency domains.

Classification

  • Effects, Dynamics (Compressor / Limiter)
  • Mastering Processing
  • Side-chain Processing
  • 4-in, 2-out Stereo Compressor (second stereo input for external side-chain processing)

Plugin Formats

  • Mac OSX Universal Binary Effect: VST, RTAS, Audio Unit
  • Windows Effect: VST, (RTAS version coming soon)

Meters

  • Gain reduction meter (dB) 0 to -20
  • Peak clip led

Parameters

  • Threshold (dB): 0 to -40
  • Range (dB): 0 to Full (-oo)
  • Makeup (dB): 0 to 40
  • Attack (mS): 0.01, 0.1, 0.3, 1, 3, 10, 30
  • Ratio: 2, 4, 10
  • Release (S): 0.1, 0.2, 0.4, 0.6, 0.8, 1.2, Auto
  • Compression In (Switch): On, Off
  • Mix (%): Dry 0 to Wet 100
  • Peak Clip (Switch): On, Off
  • Side-chain HP (Hz): Off, 20 to 2000
  • External Side-chain In (Switch): On, Off

Kudos

“I heart the glue... finally, a compressor with the short attack times i've always wanted plus side chainy goodness to deliver the meat to my productions that my butcher cannot.... Cytomic does no wrong here!”
- Joel Zimmerman (deadmau5)
“You won't see my name associated with many products but I'm proud to be on your website. The features and purity of sound of The Glue show a deep understanding of how compressors work. Your balance control invites experimentation with parallel compression and your range control allows the Glue to grab the sound early without over compressing. The Glue not only moves more like analogue compressors but most surprisingly it also has a nice ‘tone’ which is always a characteristic of different analogue boxes but missing on other plugins I've tried. I don't know how you're doing this but congratulations and thank you.”
- Mike Stavrou (author of Mixing With Your Mind)
“I'm in a mix right now and using The Glue. This vst is hot!!!!”
- Teddy Riley (Black Street)
“The Glue is a must have in my set up, it is simply on every track i've done so far since i have it. As a master, or sidechain, its simply wonderfull, punchy or smooth. I come from a 100% hardware environment, and so it took me a while to find a good alternative.”
- Sebastien Leger
“I've never been an advocate of expensive outboard gear, but I never found a software compressor that had the ‘magic’ of outboard buss compressors... until I got The Glue. The difference between it and the typical software compressor is not subtle - it clamps and tames your signals without any of that transient coloration, or sterile clamping found on most software compressors. Don't let the low price fool you, if you give it a test-drive I'm pretty sure you'll hear why everyone is raving about it!”
- Steve Duda (Xfer Records, BSOD)

Reviews

Computer Music Value Award
“...both the Mix and Range controls add a host of options for dialling in the compression flavour, and in practice we found this made The Glue an incredibly flexible compressor not just for use on the master bus, but for individual instruments too... The Glue is a world-class pulg-in and, at $99, we reckon it offers amazing value.”
- Computer Music Magazine Issue 164, view online version at Music Radar
Future Music Platinum Award
“...it's time to measure it up against my own SSL. I fed both compressors the same loops and they squashed and snapped the audio like two peas in a pod. Cytomic have got very close to the SSL flavour, but with the advantage of faster attack times, and the extended range control to bring it up to date for the virtual studio.”
- Future Music Magazine Issue 221
“Let me cut to the chase. The Glue is a magic lamp. It's one of those tools that immediately makes you go, ‘So that's how they do it!‘ It's also mindlessly simple to use... If you're making music that relies on thump-you-in-the-chest punch, this could be the only compressor plug-in you'll need for a long time. Seriously.”
- Keyboard Magazine

FAQ

GENERAL

Q: What is The Glue?
A: The Glue is a compressor plug-in modeled on a cross between an E and G series SSL(c) buss compressor but with some extra features. It uses the same high quality algorithms used by circuit simulation packages but these are optimised for real time use. Careful attention to detail makes the compressor quick and easy to use, with a well thought-out uncluttered interface. In addition there is an ultra-fast attack time of up to 0.01mS and a Range Knob which backs off the compression to give incredibly natural sounding attacks and limits the maximum amount of compression applied.
Q: What does a compressor actually do?
A: Compressors allow you to tame levels of a recording and enhance them in a pleasing way. This can range from peak reduction applications where only the most prominent peaks are turned down and without looking at the waveform you wouldn't know the difference through to heavy pumping effects in dance music. Good compressors impart their own tone and character on a sound and should put a smile on your face when you use them on your recordings. They can make things sound better.
Q: What do you mean by 'natural' and 'transparent' in descriptions of The Glue?
A: The words natural and transparent are used to describe a sound that is still compressed, but the compression only enhances what is in the sound with the aim that if you hadn't heard the original you would just think it sounded like that. Top analog compressors behave like this and at almost all settings impart a useful variation to the sound. A natural sounding compressor is one that puts you in control of creative decisions rather than forcing you to scrap around for ages to find a setting that doesn't ruin your audio too much.
Q: How much CPU does it use?
A: Not much - on average one copy takes 2.2% cpu of one core of a Mac mini 1.8 GHz Core 2 duo. The Glue has been optimised to cut down the CPU use and wherever possible including the GUI and DSP and is streamlined to allow you to use many copies on a track.
Q: What sort of music does The Glue work best on?
A: It's useful on all types of music, either on direct channels or busses. The original design was mostly used as a mix buss compressor, which is a compressor enabled all the time on the final output during the entire mixing process. It holds together even on a mix with sub bass and dance kicks.
Q: Can you use The Glue on other audio - for example, speech?
A: Yes, The Glue is great for evening out and enhancing tricky recordings of speech with natural sounding results.
Q: Do you give discounts for bulk/student purchases?
A: Considering it is already at least half the price of most other compressors The Glue just has the one fixed price. However, if you are purchasing in bulk eg for education or studio use please contact Cytomic via email to talk further.
Q: What model computer do I need to run The Glue?
A: For Mac you need OS X 10.4 / 10.5 with an Intel or PPC CPU. For Windows you need Windows XP and Intel or AMD CPU that support SSE2.
Q: Is there a manual/guide?
A: Yes, the manual is the same as the installation and quickstart guide. It's easy to find online at the cytomic web page.
Q: Are there presets?
A: Yes, there are 76 usefully named presets giving a wide range of sounds and a good basis to learn from if you are new to compressors and what they can do. You will need to trim the Threshold and Makeup on each one to suit your audio material. Although doing your own preset takes no time at all, it's nice to be able to save your own settings for easy recall later on.
Q: How will I receive new updates once I have purchased this product?
A: You can download updates from your account at any time by logging in and heading to the 'My Account > Downloads' section of the Cytomic web page. You can also adjust your contact information to allow you to receive product update emails.
Q: Can you tell me what all the acronyms stand for please?
A: Yes, here is a table:
DSP = digital signal processing
SSL = Solid State Logic
USB = Universal Serial Bus
GUI = Graphic User Interface
CPU = Central Processing Unit
PPC = Power Personal Computer
LED = Light Emitting Diode

COMPARISONS

Q: How does The Glue compare to the analog hardware? And where is the hiss of the hardware?
A: It sounds as close to the original as can be, minus the hiss and unwanted distortion, but adds all the benefits of a digital plugin including total recall in your project, automation, multiples instances, and no extra boxes to lug around. The Glue does not model non-linearities of the transformers or the voltage controlled amplifier chips used (That2181), in the hardware, and therefore doesn't have the hiss introduced by them. Non-linear behaviour from the chips is not desirable - more expensive chips behave more linearly. Multiple That2181 chips are used in parallel to improve the signal to noise ratio and linearity of the compressors. The Glue uses a perfect That2181 chip in its model which is impossible in analog. Where non-linearities are a feature of the compressor instead of a drawback they have been modeled.
Q: Which sounds better, the original analog device or your product?
A: Most people find it difficult to tell which is which in blind tests even with heavy processing. The two sound almost identical as The Glue is a straight-out physics-based circuit simulation, paying careful attention to preserve the exact structure of the circuit and all of its sidechain non-linearities. The original hardware, if calibrated correctly, should sound slightly better than the model, but there are many advantages to having such a close copy as a plugin including running multiple instances, total recall in your song, having perfect stereo imaging, and having no hiss.
Q: How does Cytomic do its circuit modeling?
A: The Cytomic approach is to use the same types of algorithms physicists, electronic engineers and other scientists use to simulate circuits, but optimised to run with much lower CPU. The core approach used is a modified version of what is outlined here: http://qucs.sourceforge.net/tech/technical.html , with additional DSP techniques used where required. Mathematics packages are used to test the optimised algorithms which are then ported to C++ for final optimisation. Inside the model are actual values of resistors, capacitors, diodes and op amps, and the digital voltages in the model match closely to those measured against the original hardware. The structure of the model matches that of the circuit, which is essential for circuits with feedback and non-linearities. Finally, once the model is done, the sound is double checked at even the most extreme settings to make sure it matches against the original hardware.
Q: How does The Glue compare to other digital compressors?
A: The Glue sounds as close as possible to the original analog circuit it is modeled on, so this is what it should be compared to.
Q: How does The Glue compare to different analog compressors?
A: The Glue sounds as close as possible to the original analog circuit it is modeled on, comparing to a different compressor would be like asking what sounds better, a guitar or a piano - they are both instruments with strings but that's about where the similarity ends.
Q: Will I get much use out of The Glue?
A: Almost everyone that has a copy, and this includes high profile artists, have reported they end up using The Glue in some capacity on almost every track they write. It's a very useful plugin.
Q: Will The Glue make my mix sound more gritty and detailed?
A: The short answer is "yes". The slightly longer answer is that The Glue will bring out the grit or the quieter background sounds in your recordings, which in most cases is a good thing as this gives to a more complex, detailed and textured sound. It won't add noise, so you can think of it as a detail highlighter rather than grit maker.

FEATURES

Q: What benefit does the high-pass filter provide?
A: The Glue has a built in sidechain highpass filter specifically designed to ease off pump from kicks and other low frequency content. You may not need to use it much since the "Range" knob can already handle this in a natural sounding way. There is also an external sidechain button, so you can apply any filtering you want to the sidechain signal.
Q: What does the Sidechain do?
A: The sidechain is the section of the compressor that detects transients in the signal, and generates a voltage to change the volume of the main signal. By default the sidechain uses the same signal that is being compressed (internal), but another signal (external) can be used by enabling the external sidechain in button and routing audio in your host to the second set of inputs the plugin has.
Q: Does the sidechain highpass filter without using an external input?
A: Yes. The highpass filter works on the sidechain signal, whether it be the internal (the same signal as is being compressed) or external signal. The highpass filter only effects the sidechain signal, so it will not highpass the signal being compressed, it will only change how the compressor reacts to low frequencies.
Q: Is a sidechain signal always a different signal to the one being compressed?
A: No. A common but misleading shorthand way of refering to using an external signal for a compressor is to say it's being 'sidechained'. The sidechain of a compressor is actually the section of the compressor that detects transients in the signal and adjust the volume of the main signal. It can be either internal, which means the sidechain uses a copy of the main signal to detect, or external, where any signal can be used.
Q: What does the Range knob do?
A: The Range knob affects both the way attacks sound and also limits the total depth of compression to give a more natural sound. The range set at full is good for limiting applications or if you want loads of pumping when using an external sidechain signal of a kick drum on a synth. Try over compressing a sound with a severe setting with the Range knob on full, then reduce the Range to around -20 or -10 dB and listen to the difference.

SECURITY/LICENSING

Q: Why aren't you using a dongle or i-Lok?
A: Although dongles have their advantages they are also offputting for a number of reasons and introduce an element of hardware which would change the Cytomic business model detrimentally.
Q: What copy protection are you using?
A: Currently copy protection is a simple serial number approach. When you purchase your full version your serial number, registration name and email address are securely encoded directly into your private download, so you don't even need to copy and paste it.
Q: Won't it be easy to crack The Glue?
A: If someone really doesn't want to buy a copy legitimately it is impossible to stop them making and using a cracked copy of the software. I would rather not penalise customers who have done the right thing and bought my software by making them suffer with a complicated copy protection system. In the end it's up to people to support the software they use by buying it.
Q: Can I use The Glue on more than one computer?
A: A single license of The Glue allows you to run it on up to two machines at once for a single composition or a single client. There is no limit to the physical location of the two machines.
Q: Can I sell my license?
A: Yes, subject to the following: Transfers only allowed only after 6 Months has passed since the most recent of the purchase or the last transfer or the most recent downloaded update. A charge of 10% of the current purchase price will be applicable to process the transfer. In effect a license transfer will become a new purchase and the old serial number will be blacklisted. Please read the documentation included with your copy of The Glue for the full details of your end user license agreement.
Q: Can I transport The Glue from one computer to another?
A: You can load your copy of The Glue onto a USB key and get your host to look for it by adding a custom plugin folder, please check your host documentation to see if this is supported and how to do this. Optionally you can secure your USB key so people can't copy your plugin. A free USB key encryption application such as: http://en.wikipedia.org/wiki/TrueCrypt can be used for this.
Q: Can I change my email address with you without incurring license transfer restrictions?
A: Yes. You can change your email address at any time by logging into your account at Cytomic and visiting the 'My Account > Edit' section.

TECHNICAL

Q: Why is there no 0.3 S release setting like there is on the hardware unit?
A: The release time of 0.2 S is the same time as that labelled 0.3 S on the original hardware.
Q: Is there an adjustable knee?
A: No there is no separate control to adjust the knee of the compressor, but the shape of the knee becomes sharper with higher ratio settings. The model, as with the original hardware has this feature and it simplifies using the compressor.
Q: What setting of the Range knob matches the original SSL compressor?
A: Depending on the model of the compressor you can set the Range to -78 dB for modern units with 18 V power lines for the sidechain, or to -65 dB for older units with 15 V power lines.
Q: What input output arrangements can it support?
A: The Glue can support mono and stereo operation with and without an external sidechain input. In all this means The Glue has four configurations: 1 in 1 out, 2 in 1 out, 2 in 2 out, and 4 in 2 out.
Q: How did you come up with the idea behind the Range knob?
A: When I modeled a few analog compressors I noticed a difference in transient sounds than my initial models which was especially evident with long attack times. The sound of the analog units was more natural sounding on the attacks than my models and I wanted to know why. I tracked down what it was and worked out how to give end users control of the depth of it: the Range knob was born!
Q: What is the difference between Makeup and Range?
A: The Makeup knob is a final volume control to increase the level of output signal and Makeup for the volume reduction caused by compression. The Range knob controls the maximum gain reduction that is applied to the signal, and its effect is quite evident on the sound of attacks as these are the largest signal. This same limiting is applied in analog circuits but you usually have no control over it. It is very useful for mastering and other subtle compression where you would previously be forced to use a parallel compression with a wet / dry knob. The Range knob, to me, is the most useful feature added to The Glue that is not in the original.
Q: How do I use the HP Filter?
A: If you have bass heavy material that is causing the compressor to pump more that you want you can increase the frequency of the high pass filter and this will gently lessen the amount the compressor reacts to low frequencies. If you want more drastic surgical filtering you can use the external sidechain input and apply any processing or filtering you like.
Q: How do I make the most of the Range knob?
A: When you want to back off how much compression is being applied, but still react to the initial bite of a sound you can use the Range knob. This effects both makes the attacks more natural sounding, and also limits the total depth of compression that is applied. This really helps limit how much the compressor dives when using ultra fast attack times. It gives a completely different sound to using parallel compression via the Mix knob, so next time you want to soften how much compression is applied try setting the Range knob to around -20 dB and listen to the stunning results!
Q: Why aren't there input and output meters on The Glue?
A: The compression amount needle is very fast at updating and models the physics of the original. It moves more slowly than a digital meter and There is also a peak clip led, which when the peak clip is on, lights very quickly when it starts engaging, so you just push the makeup until it just starts glowing and that's it, nothing more to do. I prefer to keep things minimal and elegant to keep your mind focused on only what you need to get the job done. Hopefully once you get a feel for it you will be happy with the way you can get many jobs done quickly and easily. The needle is a very accurate physical model of what the actual analog needle looks like, rendered at a very high frame rate, including motion blur. Between the needle and the peak clip LED, hopefully you won't even miss digital metering. I didn't want want visual distractions cluttering your mind and getting in the way of a great sound. You can still put your own metering plugin both before and after The Glue, but in the end, after you have used The Glue on a few productions, I hope you will appreciate the clear, elegant, and stripped down design. The needle calculation is done efficiently at audio rate. And it works in render mode, and still looks useful when your CPU is almost dying from loads of use and your GUI is crawling because of it. The "smear" shows the minimum and maximum needle position from the last time the needle was drawn. The main white line shows the current position of the needle. It's a quick way to at a glance see what is going on with your compression.
Q: How do I use the Peak Clip and how does it work?
A: The Peak Clip is not a limiter, it's a waveshaper that only acts at the very highest peaks of your signal near full level. It has a linear shape, then it bends at the edges till it's full clip. It is not anti-aliased and so should only be used to waveshape spiky transients. To be safe, if you are unsure about how to use the Peak Clip, I recommend leaving it switched off since it causes distortion.
Q: Does The Glue have latency/look ahead?
A: No. It has zero, absolutely no look ahead.
Q: Is The Glue going to be released as x64bit plugin also?
A: No. It will be 32 bit only to start with. In time, if sales go well I will look into doing a 64 bit version.
Q: Does The Glue come in Universal Binary for Intel Mac?
A: Yes.
Q: Which plugin formats are supported?
A: The Glue on Mac comes as a Universal Binary with Vst, Au and Rtas, versions, and for Windows as a Vst and in the future Rtas.
Q: How can I see actual numbers on the GUI?
A: When you mouse over a control the values of the controls appear on the interface.
Q: What does the LED do?
A: The LED at the bottom of the gain reduction meter lights up to show you are are close to full scale digital on the output. It lights up dimly at first and then bright when you are at full scale. If the Peak Clip function is on then the LED lights up red and the signal is soft clipped and will drive if pushed hard. If the Peak Clip is off the LED will light up amber and do nothing to the signal. I find it most useful with the Peak Clip on and you just start getting it to twinkle and shape off the highest peaks that get through the compressor. These peaks typically add nothing to the sound and I've made the Peak Clip shape nice and smooth while preserving as much linear range as possible before it starts.
Q: There is only a ratio of 2, 4 and 10. Why not 6, 8 and 20 too?
A: The short answer is: I felt that adding more ratios didn't add enough to overall sound to justify the extra clutter both visually and mentally. As an example for every 10 dB over the threshold you are the extra compression you get from a ratio of 20 compared to 10 is only -0.5 dB.
Q: Is there some sort of harmonic distortion effect being added when the settings are really high?
A: All compressors introduce distortion because of the amplitude modulation they are doing at audio rate. This drive along with the peak clip algorithm is being used on quite hard settings, which all introduce some distortion. All of this is completely optional and you can dial up a setting to taste.
Q: If I set my range to -5dB the needle does not reach that value on the meter, I have to take it to -6dB so it can reach the -5dB value. Why is this?
A: Due to the nature of the way the circuit works there are different offsets and levels and corrections all going on that make the compressor have a slightly different behaviour with different settings. In effect the Range knob is accurate to within +- 1 dB and will change with different attack / release and ratio settings.

Compatibility

Minimum System Requirements

  • Vst 2.4, Au, or Rtas compatible host that can handle 4 input 2 output plugins (stereo sidechain)
  • Mac: OS 10.4/10.5, ppc cpu with altivec or intel cpu with sse2
  • Win: XP/2000, intel cpu with sse2

Tested And Working Hosts

If your host is not listed below then please make sure the trial version is working correctly before you purchase The Glue.
  • Logic v7.x, 8.x, 9.1.2
  • Live v6.x, 7.x, 8.1.1
  • Pro Tools v8.0.3
  • Cubase v5.0.1
  • Reaper v2.58
  • Sonar v7.0
  • Wavelab v6.x

Update History

v1.0.15 (26 Feb 2010)

  • New: Windows Rtas support
  • Fixed: removed duplicate entry in Pro Tools menu
  • Fixed: mono mode in Digital Performer now works
  • Fixed: menus not showing in full screen mode of Live
  • Known Issue: you cannot use the vst and au version at the same time in hosts that support both formats (eg Live)
  • Known Issue: bypass not working in some Audio Unit hosts
  • Known Issue: Logic v5.5 and Wavelab v5 (host limitation) plugin will not load as these hosts don't support 4 input vst plugins

v1.0.14 (29 Jul 2009)

  • New: dB values now displayed to 0.2 dB increments
  • New: Shift drag now supported for fine movement
  • New: Show current now highlights the current preset in the OS file browser
  • Fixed: needle freezing in some hosts
  • Fixed: Rtas mouse offset
  • Fixed: mono versions crashing some hosts
  • Fixed: preset menu vanishing
  • Fixed: Second RTAS menu entry now displayed at The Glue SC for sidechain
  • Known Issue: Protools v8cs3: interoperability issue with needle not animating in projects with Digidesign Transfuser
  • Known Issue: Cubase v4.5.2 interoperability issue with needle not animating in projects with Battery v3
  • Known Issue: Logic v9 it's reported the external sidechain version of the plugin stops animating when a project is recalled
  • Known Issue: Logic v5.5 and Wavelab v5 (host limitation) plugin will not load as these hosts don't support 4 input vst plugins

v1.0.13 (11 Jun 2009)

  • Fixed: Random crashes on exit
  • Fixed: Added back all io configs (4-2, 2-2, 2-1, 1-1) to support hosts that don't support external sidechaining. This will mean on some hosts that you see multiple copies of The Glue, one will be with and one without external sidechaining
  • Known Issues: Cubase 4 problems with needle redraw if used on instrument tracks added via the devices window
  • Known Issues: Mac Rtas mouse pointer offset. A workaround to this is to move the mouse off the bottom of the plugin window and move it back again
  • Known Issues: All hosts preset load / save dialog boxes flickering and / or disappearing on dual monitor setups
  • Known Issue: Logic v5.5 and Wavelab v5 (host limitation) plugin will not load as these hosts don't support 4 input vst plugins

v1.0.12 (10 Jun 2009)

  • New: Factory Bank 1 presets
  • New: Mac Rtas version
  • New: Au now supports mono and stereo operation and typed units for automation
  • New: Any single Mac copy can be renamed to .vst .component or .dpm and it will work as a vst au or rtas respectively so you only need to download it once
  • Fixed: updated post envelope follower low pass filter algorithm more closely match the analog response
  • Known Issue: Logic 8 reported random crashes
  • Known Issue: Mac Rtas mouse offset on first open of interface which clears after about 1 second of mouse movement over the interface
  • Known Issue: All hosts preset load / save dialog boxes flickering and / or disappearing on dual monitor setups
  • Known Issue: Logic v5.5 and Wavelab v5 (host limitation) plugin will not load as these hosts don't support 4 input vst plugins

v1.0.11

  • New: Cubase v4/5 mono version
  • Fixed: Live 7 funny problems with needle update and crashing with Mac 2 x Quadcore
  • Fixed: Cubase v4/5 enter key stolen by plugin, needle freezes sometimes, crash on exit
  • Known Issue: Cubase v4 Needle update problems on project load
  • Known Issue: All hosts problems running at the same time as d16 plugins because we both use the Juce framework and have found a fix for the next release
  • Known Issue: Live v6 needle update problems on project load with multiple copies of The Glue
  • Known Issue: Logic v5.5 and Wavelab v5 (host limitation) plugin will not load as these hosts don't support 4 input vst plugins

v1.0.10

  • New: updated compression algorithm based on SSL 4000 schematics
  • New: improved accuracy of circuit model for slower attack times
  • Fixed: external sidechaining broken in some hosts
  • Known Issue: Live 7 funny problems with needle update and crashing with Mac 2 x Quadcore
  • Known Issue: Cubase v4/5 enter key stolen by plugin, needle freezes sometimes, crash on exit
  • Known Issue: Logic v5.5 (bug in Logic) plugin will not load as this version of Logic doesn not support 4 input vst plugins

v1.0.9

  • Fixed: Logic v8 crash on moving the plugin to a different channel or effect slot or swapping between songs, more evident on some machines than others
  • Fixed: Live v7 crash on moving the plugin to a different channel or effect slot or swapping between songs, more evident on some machines than others
  • Known Issue: external sidechaining broken in some hosts
  • Known Issue: Live 7 funny problems with needle update and crashing with Mac 2 x Quadcore
  • Known Issue: Cubase v4/5 enter key stolen by plugin, needle freezes sometimes, crash on exit
  • Known Issue: Logic v5.5 and Wavelab v5 (host limitation) plugin will not load as these hosts don't support 4 input vst plugins

v1.0.8

  • New: less intense motion blur
  • New: soft clip made more gradual from between (-1.0, -0.5) to between (-2.0, -0.5)
  • Fixed: enter key stolen by plugin and switches A/B button
  • Known Issue: Logic v8 crash on moving the plugin to a different channel or effect slot or swapping between songs, more evident on some machines than others
  • Known Issue: Live v7 crash on moving the plugin to a different channel or effect slot or swapping between songs, more evident on some machines than others
  • Known Issue: Cubase v5 quad bus operation for external side-chain not working, enter key stolen by plugin, needle freezes on song load
  • Known Issue: Cubase v4 needle sometimes does not refresh
  • Known Issue: Logic v5.5 and Wavelab v5 (host limitation) plugin will not load as these hosts don't support 4 input vst plugins

v1.0.7

  • Known Issue: Logic v8 crash on moving the plugin to a different channel or effect slot, crash on re-opening of saved song, enter key stolen by plugin and switches A/B button
  • Known Issue: Cubase v5 enter key stolen by plugin and switches A/B button
  • Known Issue: Cubase v4 needle refresh problems
  • Known Issue: Ableton v7 crash swapping between two tracks with the plugin running
  • Known Issue: Logic v5.5 and Wavelab v5 (host limitation) plugin will not load as these hosts don't support 4 input vst plugins

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