The trance glue compressor, explained.

Range -50 dB to 10 dB · Typical starting point 0 dB

How loud the bus has to get before the glue acts. Lower it to glue more; the needle shows how much gain reduction you are getting.

• Lower: works the bus harder — too far and it clamps non-stop, the glue turns to squash
• Higher: barely catches — too high and there is no glue at all

Range -10 dB to 24 dB · Typical starting point 0 dB

Manual makeup gain — give back the level the glue takes so you A/B at matched loudness and judge the glue, not a volume jump.

• Lower: quieter than bypass — you will think the glue dulled the bus
• Higher: louder than bypass — louder always sounds better, match the bypassed level first

Range -70 dB to 0 dB · Typical starting point -70 dB

Caps how much gain reduction the glue can apply. At 0 dB it cannot compress at all; pull it down toward -70 dB to let it work fully (-60 to -70 dB emulates the original hardware, and is the default). It never clamps past wherever you set it.

• Full (-70): no real cap — the glue can clamp all the way, where it over-glues and pumps (-60 to -70 dB emulates the original hardware)
• Capped (0): caps the glue hard — at 0 dB no compression gets through at all, dead safe but it barely moves

Range 0% to 100% · Typical starting point 100%

Blends glued with dry. 100% is full glue; pull it back for parallel glue — squash the wet hard and keep the dry punch underneath.

• Drier: the glue barely shows — mostly the dry bus
• Fuller: all glued — at 100% there is no parallel blend left

Typical starting point 4:1

How hard it glues, in three fixed steps. 2 is the gentle bus setting, 4 firmer, 10 near-limiting.

• 2 : 1: the gentlest glue — the usual bus setting, just pulls it together
• 10 : 1: hard, near-limiting — rarely wanted on a bus, it flattens the whole thing

Typical starting point 10 ms

How fast it grabs the transients. Slow lets the hits punch through (the classic glue move); fast clamps them and dulls the bus.

• Faster: grabs the transients — too fast and the punch dulls, the bus goes soft
• Slower: lets the hits through — keeps the punch, the classic glue setting

Typical starting point Auto

How fast it lets go. Auto follows the music and is the safe no-pump default; the manual times let you tune the pump to the groove.

• Faster: quick recovery — too fast and it pumps and breathes with the groove
• Slower: smooth, holds the glue — Auto follows the music and never pumps

Range 20 Hz to 18000 Hz · Typical starting point 200 Hz

The frequency the sidechain filter pivots around. Set it where you want the glue to listen hardest — handy for stopping the kick or sub driving the whole bus down.

Range 0% to 100% · Typical starting point 100%

Blends the external trigger with the bus signal as the detector. 100% reacts purely to the sidechained track; lower mixes its own peaks back in.

Range -24 dB to 24 dB · Typical starting point 0 dB

Boosts or cuts the external sidechain input so it crosses the threshold harder — a fast way to set how deep the duck goes once a sidechain is routed.

Range 0.1 to 5 · Typical starting point 0.71

How sharp or narrow the sidechain filter is — wide for a broad tilt, narrow to make the glue react to just one band.

On (Soft) clips the output to a fixed −0.5 dB ceiling — catches the loudest peaks and adds analog-style density. A handy safety cap, but it is wave-shaping, not transparent — it colours the loudest peaks, so watch your level into the next device.

Triggers the glue from ANOTHER track instead of the bus itself. Mix Lock pumps with volume, but explore freely: key the bus off the kick for rhythmic movement, or off a dry channel.

Picks which track does the triggering once External is on. Choose the kick to pump the bus to it, or a dry channel to ride a wet return. Left at No Input by default.

Makes the glue listen to only part of the spectrum when deciding to act. Brilliant on a bus: stop the sub or low end from driving the whole group down, so only the mids trigger it.

Chooses the filter shape (low-cut, high-cut, bell…) for what the sidechain hears. Pair it with Freq and Res to aim the glue at exactly the band you care about.

Blends the external trigger with the bus signal as the detector. Only relevant with an external sidechain.

Boosts/cuts the external sidechain input so it crosses the threshold harder. Only matters with a sidechain routed.

How sharp or narrow the sidechain filter is.

Ratio

4:1

Attack

30 ms

Release

0.4 s

Threshold

-10 dB

Range

-70 dB

Makeup

3 dB

Keep the ratio low and the gain reduction shallow so the Glue bonds the claps, hats, snares and perc into one kit rather than squashing them, and use a slow attack so the clap snap and hat tick punch through before the compressor grabs. There is no kick to fight here — in trance it routes direct, never through this bus — so this is pure cohesion: the kit as one, transients intact.

Yes — the classic glue. Pull the claps, hats, snares and perc into one block.

• Threshold, too low: dropped too low it grips the whole kit hard — the groove squashes and starts to pump
• Threshold, too high: set too high it barely catches anything — no glue, the kit stays loose and separate
• Ratio, too low: the gentlest setting — soft, easy glue, the usual choice for this bus
• Ratio, too high: the hardest setting clamps like a limiter — flattens the kit, almost never wanted here
• Attack, too low: too fast and it grabs the transients — the kit softens and the punch dies
• Attack, too high: slow lets the hits through — the bus stays punchy, the classic glue setting
• Release, too low: fast and it breathes with the groove — useful for pump, but it can get jumpy and restless
• Release, too high: slow or auto holds the glue smooth — auto is the safe no-pumping default for this bus
• Makeup, too low: set quieter than bypass it sounds smaller — you will undersell the glue and reach for more
• Makeup, too high: pushed louder than bypass it just sounds better because it is louder — match the bypassed level
• Range, too low: opened wide it can clamp fully — easy to over-glue, pump, and flatten the kit
• Range, too high: capped tight near zero it can only glue a touch — very safe, but it can feel too timid

Ratio

2:1

Attack

30 ms

Release

Auto

Threshold

-14 dB

Range

-70 dB

Makeup

2 dB

Keep this glue light, the sub and mid bass want to feel like one weight, not get squashed. If the gain-reduction needle is jumping only on the sub hits, switch on the SC Filter and lift its high-pass up off the very bottom so the detector stops riding the sub and the glue catches the mid bass instead.

Light glue if sub + mid bass share a group.

• Threshold, too low: pulled too low it grips the whole low end — the bass squashes and starts to pump
• Threshold, too high: set too high it barely catches — nothing glues, the sub and mid bass still sit apart
• Ratio, too low: the gentle setting is the usual bus glue — anything harder and you lose the soft touch
• Ratio, too high: the hard setting clamps like a limiter — far too aggressive, the low end flattens
• Attack, too low: too fast and it grabs the transients — the bass and sub soften and the punch dies
• Attack, too high: slow lets the hits through — the bus stays punchy, the classic glue setting
• Release, too low: fast recovery breathes with the groove — sometimes wanted, often it just wobbles the low end
• Release, too high: slow or Auto holds the glue smooth — Auto is the safe no-pump default here
• Makeup, too low: set quieter than bypass and the low end sounds thin and gutless
• Makeup, too high: pushed louder than bypass it fools you into thinking it is better — match the bypassed level
• Range, too low: left wide open it clamps fully — the low end over-glues, pumps and flattens
• Range, too high: capped near zero the glue can never over-squash — very safe, sometimes too timid to bite

Ratio

2:1

Attack

10 ms

Release

Auto

Threshold

-16 dB

Range

-70 dB

Makeup

2 dB

Turn on the Sidechain EQ inside the Glue and high-pass the detector, lifting it up off the very low end until the comp stops chasing the pad and low-end energy. Now it glues on the body of the leads and plucks instead, so you get just a touch of movement on the needle and the top stays open and breathing.

Light glue — pulls leads, plucks and pads into one layer.

• Threshold, too low: dropped too low it leans on the whole layer — the synths flatten and the openness shuts down
• Threshold, too high: set too high it barely catches anything — no glue, the synths stay loose and separate
• Ratio, too low: the gentlest setting is the bus default — soft glue that holds the synths without squeezing, leave it
• Ratio, too high: the hardest setting chokes near-limiting — far too much for music, the leads lose life
• Attack, too low: too fast and it grabs the transients — the plucks soften and the punch dies
• Attack, too high: slow lets the hits through — the bus stays open and punchy, the classic glue setting
• Release, too low: fast lets go between hits — it can pump and breathe with the groove, only if you want that
• Release, too high: slow or Auto holds the glue smooth — Auto is the safe no-pumping default here
• Makeup, too low: set under bypass it just sounds quieter and weaker — that is level, not the comp
• Makeup, too high: pushed loud it always seems better — match the bypassed level or it fools you
• Range, too low: left wide open it can clamp fully — the top end pumps and the layer turns to mush
• Range, too high: capped tight it can barely move — very safe but the glue may feel too timid to do anything

Ratio

4:1

Attack

10 ms

Release

0.2 s

Threshold

-16 dB

Range

-70 dB

Makeup

3 dB

Glue on a tops bus is a gentle job, so keep the ratio low and the attack slow enough that the hat snap and ride air get through before the comp grabs. If the rides own low-mid body is pumping the detector more than you want, switch on the Glue sidechain filter and sweep its high-pass up until the meter only moves on the bright perc.

Often — glue hats, rides, shakers and perc into one groove.

• Threshold, too low: dropped low it grabs every hat and shaker — the groove flattens and the top starts to pump
• Threshold, too high: set high it barely catches — no glue, the perc sits loose and unglued
• Ratio, too low: two is the gentle bus setting — it nudges the perc together without squashing the snap
• Ratio, too high: ten clamps like a limiter — the hats lose life and the top dulls, rarely wanted here
• Attack, too low: too fast and it grabs the transients — the hats soften and the snap dies
• Attack, too high: slow lets the hits through — the bus stays crisp and rhythmic, the classic glue setting
• Release, too low: fast recovery rides the groove — it can breathe nicely or tip into audible pumping
• Release, too high: slow or Auto holds it smooth — Auto is the safe default that does not pump
• Makeup, too low: quieter than bypass and the perc shrinks back — the groove loses its push
• Makeup, too high: louder than bypass it just sounds bigger — match the bypassed level or it fools you
• Range, too low: left wide it can clamp fully — risks over-gluing, pumping and flattening the top
• Range, too high: capped near zero it can only glue gently — very safe, sometimes too timid to do much

Ratio

2:1

Attack

10 ms

Release

Auto

Threshold

-16 dB

Range

-70 dB

Makeup

2 dB

The useful move here is restraint: keep it to a hair of glue with Auto release and the low ratio, match Makeup to bypass, then watch the needle let go fully in the gaps between phrases. If it hangs after a loud line it hauls the breaths, room and reverb tails up with it, and the blend stops sounding natural.

Yes — glue lead, harmonies and chops into one consistent vocal.

• Threshold, too low: pulled down it works the voices too hard — the blend squashes and breaths and room push up
• Threshold, too high: set high it barely catches — the voices never knit and still drift apart
• Ratio, too low: the gentle setting just rounds the voices together — the everyday bus choice that stays natural
• Ratio, too high: the hard setting clamps near limiting — the blend chokes and goes lifeless, rarely wanted on voices
• Attack, too low: too fast and it grabs the consonants — the words dull and the upfront edge dies
• Attack, too high: slow lets the words through — the voices stay present and natural, the classic glue setting
• Release, too low: fast and it recovers between phrases — breaths and room swell up, rarely wanted on voices
• Release, too high: slow or Auto holds the glue steady — smooth and seamless, Auto the safe no-pumping default
• Makeup, too low: set under bypass and the voices just sit quieter — match the level, do not guess
• Makeup, too high: pushed loud it only seems better because it is louder — match the bypassed level to judge true
• Range, too low: left wide open it clamps all the way — the blend over-glues, pumps and flattens
• Range, too high: capped tight it can only glue a touch — very safe, but the blend may stay loose

Ratio

2:1

Attack

30 ms

Release

0.6 s

Threshold

-18 dB

Range

-70 dB

Makeup

0 dB

On a wet space bus the useful move is restraint: keep the glue light so it barely moves, and if the tails still pump on every beat, lengthen the Release so the compressor does not recover between kicks and start chasing the groove. That holds a steady, even sense of space instead of breathing in time with the beat.

Sometimes — glue the wet returns so the space sits as one.

• Threshold, too low: dragged low it works the wet bus hard — the space pumps and the tails swell on every kick
• Threshold, too high: set high it barely catches — almost no glue, the two returns sit loose and unjoined
• Ratio, too low: the gentle two just nudges the two returns into one space — the usual bus setting
• Ratio, too high: the hard ten clamps near limiting — the space flattens and pumps, rarely wanted on tails
• Attack, too low: too fast and it grabs the wet front edge — the reflections soften and the space loses its shape
• Attack, too high: slow lets the hits through — the space stays open and three-dimensional, the classic glue setting
• Release, too low: fast and it pumps the reverb up between hits — the tails swell and surge with the groove
• Release, too high: slow or Auto holds it smooth — the space stays steady, Auto is the safe no-pump default
• Makeup, too low: pulled down the wet bus sits quieter than bypass — the space shrinks back behind the mix
• Makeup, too high: pushed up it reads louder than bypass — fuller for a second, then it fools you, match bypass
• Range, too low: uncapped it can clamp the space hard — over-glued, the tails pump and the room flattens
• Range, too high: capped near zero it can only ever kiss the tails — very safe, sometimes too timid to join them

Ratio

2:1

Attack

30 ms

Release

Auto

Threshold

-12 dB

Range

-70 dB

Makeup

1 dB

Open the Glue sidechain panel and switch on its EQ high-pass so the kick and sub stop pulling the whole mix down on every beat; you are filtering the detector only, not routing anything in, so the low end keeps its punch while the glue works the mids and highs. Roll the filter up just until the gain-reduction needle stops pumping in time with the kick, then leave it light.

A real split: some glue gently from the start; many keep it clean for mastering.

• Threshold, too low: pushed down hard it grips the whole mix — the life and movement squash flat
• Threshold, too high: backed right off it skims the peaks — no real glue, the mix sits loose and unbonded
• Ratio, too low: the gentle setting — soft glue that pulls the mix together without choking the energy
• Ratio, too high: the hard setting clamps like a limiter — rarely wanted on a bus, the groove goes stiff and lifeless
• Attack, too low: too fast and it grabs the transients — the kit softens and the punch dies
• Attack, too high: slow lets the hits through — the bus stays punchy, the classic glue setting
• Release, too low: too fast and it pumps — the mix breathes and surges with the groove, sometimes wanted
• Release, too high: slow or Auto holds the glue smooth — Auto is the safe no-pumping default
• Makeup, too low: set too quiet and it just sounds smaller than bypass — nothing gained
• Makeup, too high: louder than bypass always tricks you into thinking it is better — match the bypassed level
• Range, too low: opened wide it can pull down hard — over-glues, pumps, and drains the energy flat
• Range, too high: capped tight near zero it can only glue a touch — safe, but sometimes too timid to move the mix

Ratio

4:1

Attack

10 ms

Release

0.4 s

Threshold

-16 dB

Range

-70 dB

Makeup

3 dB

Switch on the SC Filter in the Sidechain panel and set its Type to a low-cut, then bring the Freq up off the floor so the glue stops reacting to the loop's own kick and sub and starts riding the snares and hats instead. Keep the gluing gentle and let the slow attack protect the bounce — the filter is there to stop the low end pulling the gain down on every beat, not to do more squashing.

Often — glue a full drum loop or sampled break so it sits as one.

• Threshold, too low: dragged low it grips the whole loop — the bounce squashes and the swing flattens
• Threshold, too high: set high it barely catches — no glue, the loop sits loose and unprocessed
• Ratio, too low: the gentle 2 just hugs the loop together — the usual glue, mostly leave it here
• Ratio, too high: the hard 10 clamps like a limiter — the groove chokes, rarely what a loop wants
• Attack, too low: too fast and it grabs the hits — the loop softens and the snap dies
• Attack, too high: slow lets the hits through — the loop stays punchy, the classic glue setting
• Release, too low: fast and it breathes with the loop — pumps in time if you want it, flutters if you do not
• Release, too high: slow or Auto holds steady — smooth glue, no pumping, the safe bet on a loop
• Makeup, too low: under bypass the loop just sounds smaller and duller, not actually glued
• Makeup, too high: past bypass it sounds bigger and better — that is only the volume fooling you
• Range, too low: uncapped it can clamp the loop hard — over-glues, pumps and flattens the groove
• Range, too high: capped near zero it can only nudge the loop — very safe, sometimes too timid to glue

Ratio

10:1

Attack

0.1 ms

Release

0.1 s

Threshold

-30 dB

Range

-70 dB

Makeup

8 dB

Dry/Wet

40%

On the parallel Glue, switch its sidechain EQ to the high-pass shape and lift the cutoff above the sub, so the low end does not duck the whole crushed copy between hits. Then ride the return up only until the bus feels heavier, and back off the moment the off-beat starts to fill in, the dry bus is already carrying your punch and pump.

Crush a copy and blend it under the dry for weight and density (New York style).

• Threshold, too low: dig it down and the wet copy crushes flat and dense — pure weight under the dry
• Threshold, too high: lift it too high and the comp barely bites — the parallel copy goes limp and adds nothing
• Ratio, too low: the gentle setting keeps the wet soft and rounded — often enough, let the threshold do the crushing
• Ratio, too high: the hard ratio slams the wet into a solid slab — dense and brutal under the dry, what this copy wants
• Attack, too low: fast clamps the wet flat and dense — fine here, the dry up top still carries the punch
• Attack, too high: slow lets the hits poke the wet through — adds transient you do not need, less useful on this copy
• Release, too low: fast lets the wet breathe with the groove — exciting, but it can start filling the off-beat
• Release, too high: slow or Auto holds the wet steady and solid — safest, just make sure it does not bleed into the gap
• Makeup, too low: barely matters here, the blend fader sets the level — too low and the crushed copy just vanishes
• Makeup, too high: too loud and the crushed copy floods in and swamps the off-beat — the blend fader, not makeup, sets this level
• Range, too low: leave it uncapped and the wet clamps full and flat — what you want, just keep the blend low so it does not fill the pump
• Range, too high: cap it tight and the wet only squeezes a little — too timid for a copy meant to be crushed