i saw his post,
i just mentioned my go to

 

I just quoted Gearslutz members who work at 96k+. They bought the thing and regretted it because of the aliasing issue.

 

Yes i know, and it´s legit. But in real world the compressor is top notch. Same with oversampling.
I leave here what the company says about it, I´m sorry but i do not debate with these things, because I make music, which is what I live and my ear is the one that commands since childhood. Cheers mate!

 

I thought that when we work in very high resolution there was no more aliasing problem?

 

It's for sure cleaner but lacks balls and therefore sounds boring.

 

Aliasing irrelevant with 44,1kHz SR??? Maybe not audible, I'll give you that, but 44,1kHz produces aliasing as hell, that's why interfaces offer SRs up to 384kHz.

 

Interesting statement.
If the analyzer shows me a big fat spike at whatever frequency but my monitors, or my ears don't translate it, I'd for sure believe the analyzer and correct it.
Additionally a correlation meter like Voxengo's Correlometer is often extremely useful to find specific out of phase freqs.
But since I know that you're pretty experienced, you maybe meant something different?

 

More so when taken totally out of context.

Time to get new monitors, I told you those 450 JVC Hi Fi speakers don't cut it in the studio. Alternatively, have your hearing checked. Or cleanup that wax buildup, dirty tiger. That wax build up is a mix killer.

Did I say a visual representation is of not help at all?

Did I? You have taken everything I wrote out of context. My statement was premised on interns constantly mixing with their eyes instead of their ears plus no trusting your ears enough on a mix that sounds right. That was the starting point. I said,

Simply put, if you have gotten to that point in which you and the client are satisfied with the mix do you turn to visual aids at that stage? It will become a never ending job. This is a big problem today. It is too easy to double guess what we have done because some GUI is telling us it should be different. Which makes you wonder why mastering houses aren't full of monitors/visual aids, and how were the engineers decades ago able to mix great sounding records without them.

 

Clean up WHAT???

Oops, sorry.

Am I crazy? Of course not. At that point I hand over the bill and call it a day.

 

Clean up your ears wise ass

 

And I finish, It is the same story that happens with Soundtoys, if it were for the aliasing that is seen in the graphics, nobody would use Decapitator, in the real world it is part of the history of music and is still used in hundreds of records.

 

These days when anyone goes in to get their car serviced, the newer cars get plugged into a digital machine that tunes the engine as the newer cars have a mini-computer in it (digital). In the prior century when cars had analog carburettors and distributors that were visible and manually serviced, the mechanic would "tune the car."
If anyone has ever seen this done, the mechanic is matching the frequencies of the engine to tell him when the car is idling optimally by ear.
The point is that while your eyes can certainly aid in determining whether something looks right similarly to the new car machines, your ears are the ones that have to be satisfied.

 

Weiss DS1.
Oxford Dynamics.
TDR Kotelnikov GE.
Pre-comp from FG-X and Oxford limiter.
Vertigo VSC-3 (offcial emulation)

 

Yes! In the trial period for Unisum right now.
I love what it can do and what I've done with it, and I even love stuff it can do that I didn't even know I needed and can't really get my head around!
Also has like a a colour button, the HYGGE circuit.
I left starting the trial for a while until I had a few new bounces to master, and I eventually got hold of PluginDoctor which I will use with the tone generator in Logic to have closer look at this plugin. Because £160 is enough to pay out of the blue, and I've got by fine without it up until now!
Usually mastering using Waves SSl Comp and a Waves L type, or Kotelnikov. Sometimes still go back to Oxford Dynamics & Limiter too.

 

Thank you for your answer @Smoove Grooves
I have read reviews of Unisum all over the internet and the people who have had a chance to try it are very impressed.
Like the Weiss, these are 2 top compressors.
I already have a few compressors that do the job very well, so I'm going to take the time to try them out carefully to see if they can bring me anything more for my workflow.
Price is not a guarantee of quality

 

That is the logical thing to do. I had the benefit of borrowing a hardware DS1 to compare it to the plugin Softube sent us. Besides the fact that it DOES sound exactly like the hardware which costs $8000, I also determined that it did fit my workflow perfectly, and it has been a welcome complement to my analog comps. I was not going to spend $400 on a plugin unless it was going to become one of my "go to tools."

 

And no one has mentioned yet the only one I use: Arousor from Empirical Labs and sometimes the old Sonnox Oxford Inflator sounds really nice too.

 

Last edited: Jun 24, 2020

fader automation....