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Airwindows Mackity: Mac/Windows/Linux AU/VST
Old 4 weeks ago | Show parent
  #151
Here for the gear
 
Clavivox's Avatar
 
🎧 5 years
Quote:
Originally Posted by slipper ➡️
Ask yourself what is his subjective opinion worth compared to all the others with a huge history in creating great sounding records?
Maybe if you beat Chris over the head with your expert opinion just a little bit more, he'll stop making plugins altogether. Then you can give yourself an award for saving humanity from further non-oversampled plugins (which are apparently the greatest scourge the world has ever known).
Old 4 weeks ago | Show parent
  #152
Airwindows
 
chrisj's Avatar
 
🎧 15 years
Quote:
Originally Posted by flechtwerk ➡️
I'm suspicious of ubiquitous oversampling myself, but I did some experiments with the demo version of DDMF Metaplugin and Airwindows ClipOnly, and it DID make quite a difference when throwing sine waves at it and looking into a spectrograph (much lower floor of intermodulation distortion) compared to the project running at 96khz and no oversampling. Though I don't know yet how that would translate to a real-world situation, and how the implemented IIR or FIR filter would affect the signal. Or how good the DDMF oversampling implementation actually is.
The funny thing is, ClipOnly (and ADClip, in all versions) is the one plugin that is LEAST suited both to oversampling and to running at 96k. ADClip is best at 44.1k. Here's why.

The whole point of the plugin is to take clipped samples, and artificially soften the entry AND EXIT from that zone. The plugin runs one sample of latency to do this (and doesn't report it, or try to make the project run a sample of latency to match ADClip). The latency is to allow ADClip to do its thing on the exit from clipping, as well as the entry (OneCornerClip does a similar thing without latency, just on clipping entry)

It watches for clipped samples, and if they aren't, it passes through with no change (unlike oversampling), but if a sample IS a clip and the previous sample wasn't, it returns not the clip level but a blend between the most recent unclipped sample and the clip level.

If it's amidst a clip, and it gets an unclipped sample, it makes the exit clipped sample (the most recent clipped sample before exiting clipping) be a blend between clipping and the new unclipped sample. Since there's a sample of latency, it can do that, so it softens both sides of a clip… which might be only one sample in length on bright sounds.

(a) this is completely defeated by massive oversampling, becoming nothing but hard clipping as the implicit sample rate increases. It's already less effective at the higher sample rates I now recommend.

(b) this means almost nothing to sine wave test tones, especially if you're oversampling them: you'll get nothing but garbage data. ADClip is most relevant to treble information like cymbals, where isolated samples will spike way higher than the others. With ADClip, running at 44.1k, the harder you distort the more it softens specifically hard and glaring highs such as those from distorted cymbals, while leaving lower frequencies fully clipped, and while artificially reshaping those clipped waves to produce a synthetic soft-clip on the fly that's entirely a factor of how much treble energy got you to the clip.

I first introduced ADClip more than ten years ago, in the face of Slate insisting all over plugin forums that FG-X was going to render all clippers garbage and obsolete therefore people shouldn't buy them (this is back when I survived off selling plugins directly through Kagi Shareware, when that existed). I survived, but I was trying to get cancer surgery for a pet cat, Neville, and depended on ADClip being a hit to fund that. Neville didn't survive.

Compared to those times, this is nothin'.

Careful not to assume that oversampling is going to improve anything. I've got plugins like ADClip where even the high sample rate version is actually worse, and oversampling just breaks its functionality completely. I've been very interested in exploiting sample rate in algorithms for many years.
Old 4 weeks ago | Show parent
  #153
Airwindows
 
chrisj's Avatar
 
🎧 15 years
Quote:
Originally Posted by Clavivox ➡️
Maybe if you beat Chris over the head with your expert opinion just a little bit more, he'll stop making plugins altogether. Then you can give yourself an award for saving humanity from further non-oversampled plugins (which are apparently the greatest scourge the world has ever known).
Just so you know, if slipper backs down or chills out I expect you to immediately do so as well, plus not hold a grudge. This ain't how I would like a thread for a DnB-friendly, much-requested plugin to go, but as long as the guy WILL NOT stop hammering away, it's nice to see a bit of support. Don't get carried away, and don't get personal, as a personal favor to me. thx.

It IS wasting my time and attention as I proceed to port all these plugins, as is, to the new Apple Silicon architecture: my video from last night simply reads the list of which plugins are included with the descriptions from what.txt and it takes more than an hour and a half, just to read the names with a few words of explanation each. I bet it's the scope of that task which has me returning to this thread when I shouldn't.

But whose fault is that? To some extent, mine.

If slipper was just yelling, rather than invoking supposedly scientific and rational arguments that might fool people into thinking they are legitimate, it'd be easier. But fletchwerk is no fool and saw nothing wrong with trying to oversample ADClip: after all, why wouldn't that work? If I don't explain technically what I'm doing and why, people can't begin to guess the reasons for this alternate path. I explained how ADClip works. I can try to explain filtering or how aliasing is produced: it's for the general audience to make up their own minds regarding the end result.

Never forget that I have NO intention of aiming my work towards 'the general audience', or 'most producers', or 'top producers'. Airwindows is not supposed to be serving the wishes of the average consumer, or the average producer. It's about producing different options that may or may not be to your liking.

Slipper might try ADClip, which is MEANT to run at 44.1k and is also a very efficient little plugin, and specifically not oversample it. Or Energy, which is another plugin that depends on running at 44.1k and delivers an unusual brightening effect.

I keep maintaining and updating entire piles of legacy plugins (including the M1 port) without 'fixing' their operation, instead choosing to put out a new version that can be used alongside, specifically to allow people to find ONE little plugin that totally suits a need of theirs, and to be able to rely on specifically that plugin going forward. One of the people out there who's using a pet plugin is a producer who very much creates modern, huge-track-count mixes, and has sold more than thirty million records with my plugin tucked into a key spot in his mixes. I don't feel comfortable saying more than that as he behaves like it's a secret weapon, but it's motivating my giant plugin-porting project: he needs the native version, the move to a M1 laptop left him stranded without that plugin.

I need to stop arguing with slipper and get busy porting my plugin library to the new architecture for this producer and others.

The funny thing is, this guy's secret weapon is a nonlinear plugin that uses an old and failed attempt of mine at… oversampling. But not any normal oversampling: a weird attempt at it, that absolutely didn't work technically.

You have heard it.

On the radio.

A lot.

I'd better get back to work now.

Last edited by chrisj; 4 weeks ago at 07:11 PM..
Old 4 weeks ago | Show parent
  #154
Lives for gear
 
rhythmtech's Avatar
 
🎧 10 years
Forgive my lack of any real knowledge on aliasing but for those of us with higher track counts and lower sample rates, would the user adding a simple digital filter at the nyquist freq help somewhat?

Obiously with the understanding you'll lose out, especially on higher frequency material, but at least it would tame some higher harmonics.
Old 4 weeks ago | Show parent
  #155
Lives for gear
 
🎧 10 years
Quote:
Originally Posted by chrisj ➡️
Still preparing to get into the DIY electronics thing when the time comes. Then, it should be pretty straightforward to make a DIY mixer using the correct op-amps etc. to get this kind of behavior for reals on a little circuit board. Not quite as free as downloading a plugin, but in the under-ten-dollars range per channel.
This please

Quote:
Originally Posted by slipper ➡️
Your bass player dosn´t have to deal with 200 + sources of aliasing in a huge mix session, every mix and mastering engineer has to deal with this every day. let him play bass and let the others, the engineers mixing & master records.
Nor do you, don't use the plugin, are we really in that place where one plugin in the sea of thousands of plugins, ruins your life, get over yourself.
Old 4 weeks ago | Show parent
  #156
Here for the gear
 
Quote:
Originally Posted by chrisj ➡️
The funny thing is, ClipOnly (and ADClip, in all versions) is the one plugin that is LEAST suited both to oversampling and to running at 96k. ADClip is best at 44.1k. Here's why.

The whole point of the plugin is to take clipped samples, and artificially soften the entry AND EXIT from that zone. The plugin runs one sample of latency to do this (and doesn't report it, or try to make the project run a sample of latency to match ADClip). The latency is to allow ADClip to do its thing on the exit from clipping, as well as the entry (OneCornerClip does a similar thing without latency, just on clipping entry)

It watches for clipped samples, and if they aren't, it passes through with no change (unlike oversampling), but if a sample IS a clip and the previous sample wasn't, it returns not the clip level but a blend between the most recent unclipped sample and the clip level.

If it's amidst a clip, and it gets an unclipped sample, it makes the exit clipped sample (the most recent clipped sample before exiting clipping) be a blend between clipping and the new unclipped sample. Since there's a sample of latency, it can do that, so it softens both sides of a clip… which might be only one sample in length on bright sounds.

(a) this is completely defeated by massive oversampling, becoming nothing but hard clipping as the implicit sample rate increases. It's already less effective at the higher sample rates I now recommend.

(b) this means almost nothing to sine wave test tones, especially if you're oversampling them: you'll get nothing but garbage data. ADClip is most relevant to treble information like cymbals, where isolated samples will spike way higher than the others. With ADClip, running at 44.1k, the harder you distort the more it softens specifically hard and glaring highs such as those from distorted cymbals, while leaving lower frequencies fully clipped, and while artificially reshaping those clipped waves to produce a synthetic soft-clip on the fly that's entirely a factor of how much treble energy got you to the clip.

I first introduced ADClip more than ten years ago, in the face of Slate insisting all over plugin forums that FG-X was going to render all clippers garbage and obsolete therefore people shouldn't buy them (this is back when I survived off selling plugins directly through Kagi Shareware, when that existed). I survived, but I was trying to get cancer surgery for a pet cat, Neville, and depended on ADClip being a hit to fund that. Neville didn't survive.

Compared to those times, this is nothin'.

Careful not to assume that oversampling is going to improve anything. I've got plugins like ADClip where even the high sample rate version is actually worse, and oversampling just breaks its functionality completely. I've been very interested in exploiting sample rate in algorithms for many years.
Thank you for this detailed answer, this is very enlightening! So yes: even if emotions are running a bit high in this thread, at least I'm learning a lot about the tools I'm using, and I am grateful for it.

Funny thing is, while today's oversampling/non-oversampling sine clipping analyses was done more out of curiosity, I DID do a careful listening test some time ago using real music material, trying out a couple of clippers (including some that do oversampling, like StandardClip), and the one my ears liked best for hard clipping was ClipOnly, which I have been using exclusively for that purpose since then. (Running/rendering on 96khz though, so maybe I didn't even get out the most of it ) Which (to me) means it must be doing something right.
Old 4 weeks ago | Show parent
  #157
Airwindows
 
chrisj's Avatar
 
🎧 15 years
Quote:
Originally Posted by rhythmtech ➡️
Forgive my lack of any real knowledge on aliasing but for those of us with higher track counts and lower sample rates, would the user adding a simple digital filter at the nyquist freq help somewhat?

Obiously with the understanding you'll lose out, especially on higher frequency material, but at least it would tame some higher harmonics.
Nope. If you need to run at lower sample rates AND you need to do high gain distortion using a plugin that's not a soft clipping, you don't need to run a filter (like my or TokyoDawn's Ultrasonic), you need to run oversampling, from somebody other than me.

My stuff like Density, Spiral, Mojo, ToTape etc etc etc. is fine for gentle saturation at low sample rates because basically none of it is a naive hard-clip: it's all been forms of soft-clip algorithms for over ten years, often designed to be the mathematically most soft clip it's possible to have, a kind of saturation that always introduces overtones one at a time before stepping up to the next harmonic. With all that stuff, if you throw a loud 17k sine wave at it enough to cause clipping, it will always be aliased. But if you throw a loud 1.7k sine wave, it will very likely not produce any aliasing at all until your overtones are both bright enough and loud enough to cross over into aliasing.

Adding a filter won't help you if your sample rate's 44.1k. The filter can do amazing things to clean up a naive nonlinear plugin running at a higher sample rate, but it's really not going to help at a lower sample rate.

If people were running at 32k (like some antique samplers) the same would hold for them. It's interesting how people will accept that 32k is the stuff of retro machines and impossibly useless for hi-fi audio, and yet defend 44.1k to the death. 44.1k is the land of kluges and of not really being able to get good results. I'm still against it.
Old 4 weeks ago | Show parent
  #158
Here for the gear
 
Quote:
Originally Posted by rhythmtech ➡️
Forgive my lack of any real knowledge on aliasing but for those of us with higher track counts and lower sample rates, would the user adding a simple digital filter at the nyquist freq help somewhat?

Obiously with the understanding you'll lose out, especially on higher frequency material, but at least it would tame some higher harmonics.
The Airwindows Ultrasonic plugin is geared exactly for that purpose, and it works very well. As does the Tokyo Dawn Labs variant (it's not on the TDR website but can be found for downloading on the web). Their different implementations are discussed somewhere on these forums, I think on the one about AW Ultrasonic. I tend to use the Airwindows one a lot as it doesn't add latency, but I found the TDR one working better on parallel processing/returns as there are less phase issues. (It's linear phase if I remember correctly, hence the latency.)

EDIT: Chris beat me to it, and of course my remark only holds true if you're rendering at higher sample rates, as I got used to do
Old 4 weeks ago | Show parent
  #159
Gear Maniac
 
slipper's Avatar
 
🎧 10 years
Quote:
Originally Posted by Bungle ➡️
This please



Nor do you, don't use the plugin, are we really in that place where one plugin in the sea of thousands of plugins, ruins your life, get over yourself.
if you have something productive to say please read the full story, throwing snippets out of context never helped.
Old 4 weeks ago | Show parent
  #160
Lives for gear
 
🎧 10 years
Quote:
Originally Posted by slipper ➡️
if you have something productive to say please read the full story, throwing snippets out of context never helped.
Ditto
Old 4 weeks ago | Show parent
  #161
Gear Nut
 
Quote:
Originally Posted by slipper ➡️
Your bass player dosn´t have to deal with 200 + sources of aliasing in a huge mix session, every mix and mastering engineer has to deal with this every day. let him play bass and let the others, the engineers mixing & master records.
Oh, the "my mix is bigger than your mix" syndrome. Now I know what we're dealing with.

I'll ignore your condescending comment.
Old 4 weeks ago
  #162
Gear Maniac
 
🎧 10 years
i really like using this plugin. sounds great!
Old 4 weeks ago
  #163
Here for the gear
 
Eesh. So many egos on this website. This plugin sounds ace Chris, thanks. Just signed up to your patreon.
Old 4 weeks ago | Show parent
  #164
Gear Maniac
 
slipper's Avatar
 
🎧 10 years
Quote:
Originally Posted by chrisj ➡️
The funny thing is, ClipOnly (and ADClip, in all versions) is the one plugin that is LEAST suited both to oversampling and to running at 96k. ADClip is best at 44.1k. Here's why.

The whole point of the plugin is to take clipped samples, and artificially soften the entry AND EXIT from that zone. The plugin runs one sample of latency to do this (and doesn't report it, or try to make the project run a sample of latency to match ADClip). The latency is to allow ADClip to do its thing on the exit from clipping, as well as the entry (OneCornerClip does a similar thing without latency, just on clipping entry)

It watches for clipped samples, and if they aren't, it passes through with no change (unlike oversampling), but if a sample IS a clip and the previous sample wasn't, it returns not the clip level but a blend between the most recent unclipped sample and the clip level.

If it's amidst a clip, and it gets an unclipped sample, it makes the exit clipped sample (the most recent clipped sample before exiting clipping) be a blend between clipping and the new unclipped sample. Since there's a sample of latency, it can do that, so it softens both sides of a clip… which might be only one sample in length on bright sounds.

(a) this is completely defeated by massive oversampling, becoming nothing but hard clipping as the implicit sample rate increases. It's already less effective at the higher sample rates I now recommend.

(b) this means almost nothing to sine wave test tones, especially if you're oversampling them: you'll get nothing but garbage data. ADClip is most relevant to treble information like cymbals, where isolated samples will spike way higher than the others. With ADClip, running at 44.1k, the harder you distort the more it softens specifically hard and glaring highs such as those from distorted cymbals, while leaving lower frequencies fully clipped, and while artificially reshaping those clipped waves to produce a synthetic soft-clip on the fly that's entirely a factor of how much treble energy got you to the clip.

I first introduced ADClip more than ten years ago, in the face of Slate insisting all over plugin forums that FG-X was going to render all clippers garbage and obsolete therefore people shouldn't buy them (this is back when I survived off selling plugins directly through Kagi Shareware, when that existed). I survived, but I was trying to get cancer surgery for a pet cat, Neville, and depended on ADClip being a hit to fund that. Neville didn't survive.

Compared to those times, this is nothin'.

Careful not to assume that oversampling is going to improve anything. I've got plugins like ADClip where even the high sample rate version is actually worse, and oversampling just breaks its functionality completely. I've been very interested in exploiting sample rate in algorithms for many years.
I´ve been using ADclip7 a lot back in the days, never had an issue with it. It was working on my old machine always on 41khz, Really liked it I did tons of mixes with it! Till i figured out that the Pro l2 has also a built in Hard clipper stage, it replaced most of my HardClipper needs, it is showing me exactly on the metering how much I have to clip of the peaks, cause I can determine the peaks 100 % visually, it's a very detailed metering. Again tested and compared, It is more transparent, cause of it's oversampling feature. It's the only one working wonders for my Multiband freq limiting purpose, custom built 3 band splitting limiter method using 3 X ProL2. The other most used clipper I'm using is the Voxengo OVC 128 a very advanced oversampling method built inside which is part of it's concept. Im using lots of clippers, in logic I´m using the built in bit crusher plugin as clipper as well, most of the people don't know its capable of doing clean hard clipping as well. Also in Bitwig, there you have the bit - 8 plugin sounding very transparent hard cliper by the way my most used one working in Bitwig. I prefer HardCliping in general, it's more transparent in cutting only the peaks imdont need. Coming back to ADClip7 against my favoured Prol2 hard cliping mode and OVC 128, both have replaced all my ADClip7 easily which I´ve been using before extensively. I´m not abusing my clippers by the way, I never go above 3DB clipping, if I need more I´ll stack em up. This is also helping getting a more transparent sound. People tend to abuse their clippers in general.
Old 4 weeks ago | Show parent
  #165
Gear Addict
 
Quote:
Originally Posted by slipper ➡️
it's not only with Mackity , basically it's with all his non lin plugins. But you don't get it, he is the only developer recommending using his non lin plugins on a 96 k sample rate with additional infrasonic filters.
You're not able with his approach to surpress aliasing threre is no advantage in doin it, this way.

Yes you're better of using other´s here with a built in oversample option, you're able surpressing aliasing working on 48 kHz and you can create much better open sounding mixes without taxing your CPU for nothing. In theory his approach was sounding nice, practically failed big time! Instead he's putting his subjective opinion about sonics above everybody here, yes above mixers, egineers, producers which are proving everyday the opposite here, by using extensively oversampling to suppress aliasing for a better sonical experience. He is only confusing people here with his approach surpressing aliasing, it's that simple at the end.
so if you are sure you are right why argue and take the time to fill a thread up with arguing. your own ego seems the only answer. I think several times he made his argument, fairly well, maybe you could right vlad at TDR to get his thoughts . but man, your ruining this for you. plz stop.
Old 4 weeks ago | Show parent
  #166
Lives for gear
 
🎧 5 years
@ Slipper

Let go, man.

LET GO

We understand that the thing that is of interest to you, in making music, is whether tool does or doesn't have OS. it's all over your posts here in GS !
I would urge you to work in 96kHz AND BOUNCE (as most prominent mix eng's do - eg. Tom Elmhirst) - and if you need to fix the processing, then re-bounce.
I would urge you to bounce stems and not work with HOREHOUNDS of tracks.
the mare fact that cpu power nowadays permits us doing so, does NOT mean that it's a proper workflow. on the contrary.
But why bother...

Look...

He.
Doesn't.
Like.
The.
Sound.
Of.
Oversampling.
PERIOD.

Move on, man. there are, like, GAZILLION other tools, free or otherwise, that would let you OS up to x256. you can use Metaplugin @ x16 OS (with or without the hosted plug internal OS).

This is FREE.
and HE is the developer.
you are not propelled using it.
you're harassing him. and us.


MODS, PLEASE CLEAN UP THIS THREAD. PLEASE.
Old 4 weeks ago | Show parent
  #167
Airwindows
 
chrisj's Avatar
 
🎧 15 years
Quote:
Originally Posted by slipper ➡️
Till i figured out that the Pro l2 has also a built in Hard clipper stage, it replaced most of my HardClipper needs, it is showing me exactly on the metering how much I have to clip of the peaks, cause I can determine the peaks 100 % visually, it's a very detailed metering. Again tested and compared, It is more transparent, cause of it's oversampling feature. It's the only one working wonders for my Multiband freq limiting purpose, custom built 3 band splitting limiter method using 3 X ProL2


I think it is possible that anyone who's been paying attention to my work for the last ten or fifteen years might agree that my stuff is Not For You

Honestly, I'm not sure why you are even here. It's like speaking entirely different languages, and I'm not talking about English vs. German: there's a bunch of people in Berlin, plus a bunch of people in London, who're really into what I'm doing, but none of what you say has the slightest bearing on what I'm doing.

Example: in no way is ADClip meant to be 'transparent'. Transparent in digital is easy: raw digital math. All DAWs are inherently transparent. One issue with hard clipping is that, while you can't get more transparent than that, it's edgy and fatiguing since all the peaks hit exactly the same point. and this produces really nasty glare in the highs (like reflection off the transparency?)

So ADClip artificially dulls down HF transients as they clip, dirtying the sound up and stopping it from being transparent. The highs are not only clipped, but over-clipped in an irregular fashion making the result a little darker and grimier for effect, and that's on purpose. The harder you hit them, the lower-gloss the result, and the more grime and discoloration you get.

This will sound like madness to you, even insulting, but there are folks in London going 'ohhhh mate sign me the fook UP, put that in my veins right NOW mate'

Just not For You. Funny how it's turning out that you are like an exact mirror opposite to some of the folks whose interests I serve. There's a guy on YouTube who kept getting mad when I'd do plugins that wrecked the audio in interesting ways. Like 'why would you do that! You're RUINING sound'.

Maybe that's what is making this internet fight so compelling. You know that's not always the goal: I've got stuff like Acceleration, or DeEss/DeBess, which are the farthest thing from 'dirty' or 'ruined', or stuff like curve, Recurve, Surge, SurgeTide, which are incredibly clear and free of artifact. ButterComp. Lots of things.

But if you're trying to get sounds like Neil Young guitar tones or groundbreaking DnB tracks, early days of techno, dawn of rock-n-roll, you will never ever get there off traditional DAW shenanigans and the work of plugin devs who do things by the book. The book forgot how to do that stuff long, LONG ago and it became a black art, especially doing it ITB.

All black art is (as a term of art) is a body of practice and technique sufficiently far from the normal. I focus on the stuff that's left out, the sounds you cannot get out of the typical DAW approach. I also try to work out WHY stuff works and refine it, which certainly happened with Mackity. That doesn't mean everything will work for everybody, or for the same reasons.
Old 4 weeks ago | Show parent
  #168
Lives for gear
 
🎧 5 years
Quote:
Originally Posted by chrisj ➡️
Example: in no way is ADClip meant to be 'transparent'.
I'm really hard-pressed understanding who can people even say the two words "Clipping" and "Transparent" in the same sentence. clipping, by virtue of it's definition, is DISTORTING (or : deforming. or : damaging. or : "hurting") the waveform, in varying degrees of severity (hard to soft clipping). hence : it lost its transparency (it can be musically appealing and aesthetic but transparent it is NOT).
It's an oxymoron. one cannot be tall and short at the same time....
Old 4 weeks ago | Show parent
  #169
Lives for gear
 
noiseflaw's Avatar
 
🎧 15 years
Quote:
Originally Posted by chrisj ➡️
...but there are folks in London going 'ohhhh mate sign me the fook UP, put that in my veins right NOW mate'
Yep real London speak Sir Chris matey geezer bloke type chap.
Old 4 weeks ago | Show parent
  #170
Gear Nut
 
Chris! A Neve Air Montserrat Console channel/bus environment!

Because you totally do not have anything else to do right now I know : )

.
Old 4 weeks ago | Show parent
  #171
Gear Addict
 
Quote:
Originally Posted by noiseflaw ➡️
Yep real London speak Sir Chris matey geezer bloke type chap.
There could always be Australians living in London, y'know...
Old 4 weeks ago | Show parent
  #172
Lives for gear
 
noiseflaw's Avatar
 
🎧 15 years
Quote:
Originally Posted by MusicLov3r ➡️
There could always be Australians living in London, y'know...
Very true - but where do Ozzies originate? - England. Where the word mate also probably originates...

To easy mate.
Old 4 weeks ago | Show parent
  #173
Gear Addict
 
Quote:
Originally Posted by noiseflaw ➡️
Very true - but where do Ozzies originate? - England. Where the word mate also probably originates...

To easy mate.
Actually it originates from Germany :

Quote:
The term mate originally stems from the German word "gemate" which means to share a meal at the same table

Every January 26, people across Australia share food around the barbecue, where this term of endearment is often casually thrown around.

In the wake of the devastating Queensland floods four years ago, Julia Gillard used the term mateship to call for the nation to stick together.

"This Australia Day, more than anything else, we know mateship lives... We will hang on to our Aussie mateship and our Aussie fair go, in the worst of times and in the best, because we're Australian.


https://www.abc.net.au/local/stories...23/4167572.htm

So, all the ones using "mate" are actually an ALIAS of Mateship

There you have it... where did the word ALIAS originated from (this is what the topic is all about, no ??... )


And back to the topic :

Use Mackity... enjoy it (or not). just lets leave Chris doing his thing HIS OWN WAY.

Thanks.
Old 4 weeks ago | Show parent
  #174
Lives for gear
 
noiseflaw's Avatar
 
🎧 15 years
Thumbs up

Ha! Fair play...

Yes on with the show. Chris seems to have quite a hit with this plugin. Well done mate!
Old 4 weeks ago
  #175
Lives for gear
 
🎧 10 years
So am I supposed to be using this at 96khz?
This is insanely good for DnB basses and Neuro Basses at lower sample rates.
I know both of those don't really get affected so much by aliasing, but still.
And I am stacking 3/4/6/9 of these with OTT and phasers and filters in between etc.
Old 4 weeks ago | Show parent
  #176
Airwindows
 
chrisj's Avatar
 
🎧 15 years
Quote:
Originally Posted by Bungle ➡️
So am I supposed to be using this at 96khz?
This is insanely good for DnB basses and Neuro Basses at lower sample rates.
I know both of those don't really get affected so much by aliasing, but still.
And I am stacking 3/4/6/9 of these with OTT and phasers and filters in between etc.
I feel like when you're doing that it's a bit of a moot point put an instance of DeRez in there to sample-rate-crush it a bit, which will give you intentional aliasing as a digital effect on top of everything else, then distort the result some more. Inside uLaw, of course

Normally I'd be like 'ew, OTT' because it's a multiband processor that ruins the integrity of the signal way worse than aliasing ever would, but the thing is, you're treating all this like an instrument. At that point it literally doesn't matter and it is just giving you a different tonal option on distortion, one that works better for what you're trying to accomplish. It could be that for some of your basses, doing them at 96k wouldn't be nearly as good. It all depends
Old 4 weeks ago
  #177
Lives for gear
 
jeremy.c.'s Avatar
This is a very fun plugin, thanks Chris. It's been 20 years since I got rid of my 1202 so I have no recollection of the specific sound, but this is an imiganitive tool.
I'm going to, for the heck of it, try this in Metaplugin at 8x OS since I run 48K projects, but I still like it as-is in my project. Good stuff!
Old 4 weeks ago | Show parent
  #178
Lives for gear
 
🎧 10 years
Quote:
Originally Posted by chrisj ➡️
I feel like when you're doing that it's a bit of a moot point put an instance of DeRez in there to sample-rate-crush it a bit, which will give you intentional aliasing as a digital effect on top of everything else, then distort the result some more. Inside uLaw, of course

Normally I'd be like 'ew, OTT' because it's a multiband processor that ruins the integrity of the signal way worse than aliasing ever would, but the thing is, you're treating all this like an instrument. At that point it literally doesn't matter and it is just giving you a different tonal option on distortion, one that works better for what you're trying to accomplish. It could be that for some of your basses, doing them at 96k wouldn't be nearly as good. It all depends
OK, i need to try uLaw with OTT by the sound of it hahaha.
Old 4 weeks ago
  #179
Here for the gear
 
This is a great one! I've been eyeing cheapo analog mixers for the express purpose of dirtying up my sounds. It's great to have something like that ITB. And while aliasing discussions are educating for a dummy like me, it's a bit annyoing that these sorts of arguments pop up so often. I honestly think that people should learn to worry less about the minutiae and use whatever works in a given context. I mean Decapitator aliases, yet it has been immensely popular despite that.What I want to say is that people should chill a bit. It'd be nice to see some discussion about the actual sound of the plugin on actual material. Just my 2 cents.
Old 4 weeks ago | Show parent
  #180
Lives for gear
 
🎧 5 years
Being trying it on vocals..puts a nice edge on things..just right in fact, a keeper.
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