The very same teenager may be using a primarily sample-based approach to produce their record, meaning they’re using audio recorded in a variety of studios, by numerous musicians and engineers to create a final product that is more of a sonic collage than it is a representation of an actual performance. An inexperienced teenager can conceivably write, record and distribute an entire album to an audience of millions. We’ve witnessed the democratization of the music industry. Today - computers, software, hard drive space and recording technology are easily accessible and relatively cheap. One could argue that because studio time and tape were so expensive, bands (and engineers) took their jobs more seriously, showed up more prepared, and were more capable of together generating that elusive musical spark. Half a century ago, most music was produced by placing a well-rehearsed band of talented musicians in a proper recording space, then choosing microphones, preamps, and outboard gear that would best serve the songs, and capturing the band using a large format console and analog tape. I have a theory why “glue” processing has become so popular amongst modern mixers. Generally, it’s used to describe a type of processing that is usually applied to the master buss or sub-groups that helps the individual elements sound as if they exist within the same sonic context. You’ll hear the term “glue” thrown around a lot in discussions about modern music mixing. ➥ Mixing Pop with Ian Vargo is available now

Cytomic the glue demo