Loudness
Momentary, short-term and gated integrated loudness, LRA, 4× true peak and PSR, to BS.1770-4 and EBU R128. Aim at Club −6 or Stream −14.
Auto Glaze
Press it. Play the loudest part.
Glaze listens for 12 seconds, works out the settings off the audio thread, and loads them into the A/B slot you're not on, with a card explaining every choice.
- 1
Low end set around your sub's fundamental.
- 2
Tame switched on only if it hears ringing.
- 3
Limiter style and release picked from how often the hits come.
- 4
The least drive that reaches your target, at the ceiling you set.
Lightclip ≤ 3 · limit ≤ 1.5 dB
Mediumclip ≤ 5 · limit ≤ 3 dB
Hardclip ≤ 7 · limit ≤ 4 dB
ClipLimit
It sizes the glaze to the mix: how far it is from the target and how much crest it has left. If the target would cross a level's caps, it stops short and tells you so.
The chain
Everything a master needs, in order.
Input
Low end
Tame
Match EQ
EQ
Dynamics
Imager
Clip
Limit
Dither
Output
Latency is fixed at 6.0 ms at 48 kHz and never changes with settings, so your host never restarts the plugin.
The tour
One big card, seven tabs.
The dot on a tab is its module's switch: lit while it works, click it to bypass.
- Bell, shelves and 24 dB/oct cuts, plus a tilt about 1 kHz.
- Stereo, mid or side for every band.
- Dynamic bands: Range up to ±24 dB moves the gain while the band's frequencies are over Threshold.
- Drag the nodes: across for frequency, up and down for gain, scroll for Q.
- Four bands, split by Linkwitz-Riley crossovers that sum flat.
- Threshold, ratio, attack, release and gain per band, with solo.
- Mix for parallel compression; Upward lifts quiet parts by up to 12 dB.
- Crossover flags you drag left and right across the spectrum.
- Width in four bands, from mono to twice as wide.
- Stereoize makes width for sounds with none, and folds back to mono cleanly.
- Recover sides puts back some of what narrowing takes out.
- Polar, level and Lissajous scopes.
- Mid/side spectrum of the master.
- Match EQ moves your tone towards a reference's, through 30 third-octave bands.
- Tame, Hexa's resonance suppressor, catches ringing peaks with no latency.
- Low end: a sub high-pass and mono below a frequency you set.
- One row per song: every Glaze open in the session.
- Loudest part, true peak, PSR and how far each sits from the album's average.
- Tone vs album, and Match tone to make any song the reference.
- Aim at album points the gauge and Auto Glaze at the other songs.
Listen
Hear it where it'll actually play.
Turn the master down the way each platform does, run it through a real lossy codec, and play it on a car, earbuds or a phone. It never touches your render.
- Spotify−14 LUFS · 160 kbps
- Apple Music−16 LUFS · 256 kbps
- YouTube−14, down only · Opus 128
- SoundCloudno normalising · Opus 64
- Tidal−14, down only · lossless
- Offthe master as it leaves
StudioClub PACarEarbudsLaptopPhoneMono
−0.8 dBTPGlaze shows the true peak after the codec, so you see the overs lossy coding adds to a −1.0 master before a listener hears them.
Meters and reference
Read it, don't guess it.
History
Twelve seconds of input and output, with clip and limit gain reduction drawn separately, so you can see which stage is doing the work.
Reference
Drop a WAV, AIFF, FLAC, MP3 or M4A. Glaze measures its loudest 12 s, aims at its level, and swaps to it at its own loudness when you click REF.
Sub readings
Sub mono correlation, and the sub's fundamental as Hz and a note name, so you know the low end sits where you think it does.
Equal-loudness bypass
Plays the dry input at the output's short-term loudness, so louder never fools you into thinking better.
A/B and presets
Two slots to compare, and factory presets from Riddim Slam and DnB Club to Melodic Clean and Streaming Safe.
Download
Get Glaze.
VST3 and CLAP, for any host that loads them: Ableton Live, FL Studio, Bitwig, Reaper and more.
Windows
Coming soonmacOS
Coming soonGlaze runs at any sample rate up to 192 kHz, with a fixed 6.0 ms latency at 48 kHz.