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Post by kcatthedog on Dec 3, 2023 1:46:05 GMT -6
Dif it have any audible benefit ?
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Post by thehightenor on Dec 3, 2023 3:33:19 GMT -6
I think it’s a good sounding plugin.
It doesn’t sound anything like my hardware vari mu compressors, but to be fair I’ve yet to use a plugin I’d use on the stereo mix bus as they never match the depth and 3D soundscape of hardware.
But still, I do think it sounds very good.
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kojei
New Member
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Post by kojei on Dec 3, 2023 5:15:19 GMT -6
Dif it have any audible benefit ? Nope. Actually, even though the sound output changes, I didn't think it was better than 96kHz. Even at a high sampling rate, setting the LPF at 24kHz might reduce IMD in some cases, so I personally don't think UA's LPF is bad. Yeah, I don't believe there's any practical need to work UAD plugins at 348kHz. |
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Post by kcatthedog on Dec 3, 2023 5:21:41 GMT -6
Makes sense, that as the sample time increments get shorter we can’t hear the difference, wonder what the typical sampling rate audibility threshold is ? 150-200k?
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jono3
Full Member
Posts: 49
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Post by jono3 on Dec 3, 2023 12:53:00 GMT -6
I demo this when it came out and was very unimpressed. But, a couple months ago, after listening to an interview with the the ever-amazing Steve Genewick about it, I asked for a demo reset and tried it again. I think it can take longer than most comps to dial in, but can do something pretty cool. I ended up buying it and found a setting for the master that sounds good on pretty much everything with a few attack/release and headroom tweaks. I probably would use it as an only buss compressor, but I like it before the limiter to pull mids forward and widen things a tiny bit. I am never compressing more than 0.25-0.5db on the meter, and set it so that it is doing the meter is moving, but the absolute least amount possible. When I take it off the mix sounds worse generally, so I leave it on nowadays for most mixes. Can you share the interview? What did he say about it? Is this plugin similar to the DDMF Magic Death Eye? It was a podcast, maybe with Production Expert or something, I actually can't remember, but I'm sure you could track it down fairly easily. Maybe from 2-3 months ago. The designer is the same as Magic Death Eye, but my understanding is that the only real similarity is that they both started similar to a UA 175 or 176 and are vari mu. The MDE designer wrote a big long thing about it when the UA Capitol came out. |
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Deleted
Deleted Member
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Post by Deleted on Dec 3, 2023 13:05:40 GMT -6
Makes sense, that as the sample time increments get shorter we can’t hear the difference, wonder what the typical sampling rate audibility threshold is ? 150-200k? the sampling theorem doesn’t work like that. the sample rate only determines the upper limit of frequencies that can be represented in a signal and the bit depth the noise floor. modern digital mastering compressors are far more advanced than any UAD plugin, which are mostly dysfunctional emulations of relatively primitive equipment. Many of them operate internally at much higher sample rates than 176.4 or 192 kHz with functions and distortion lowering techniques impossible to implement with analog equipment. Digital computers are better than analog computers. |
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Deleted
Deleted Member
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Post by Deleted on Dec 3, 2023 13:09:11 GMT -6
Can you share the interview? What did he say about it? Is this plugin similar to the DDMF Magic Death Eye? It was a podcast, maybe with Production Expert or something, I actually can't remember, but I'm sure you could track it down fairly easily. Maybe from 2-3 months ago. The designer is the same as Magic Death Eye, but my understanding is that the only real similarity is that they both started similar to a UA 175 or 176 and are vari mu. The MDE designer wrote a big long thing about it when the UA Capitol came out. the capital mastering compressor is a modernized ua 175 with a solid state sidechain. magic death eye is a modernized fairchild heavily cleaned up. the DDMF plugins are much cleaner compressors but their action is fairly inaudible outside of the slight low end coloration because they are more program dependent sent correctly. If you want a mastering compressor that does something beyond minute or obvious distortion, learn to set Kotelnikov GE. You can get it for 10 bucks. |
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Post by ab101 on Dec 3, 2023 13:12:45 GMT -6
It was a podcast, maybe with Production Expert or something, I actually can't remember, but I'm sure you could track it down fairly easily. Maybe from 2-3 months ago. The designer is the same as Magic Death Eye, but my understanding is that the only real similarity is that they both started similar to a UA 175 or 176 and are vari mu. The MDE designer wrote a big long thing about it when the UA Capitol came out. the capital mastering compressor is a modernized ua 175 with a solid state sidechain. magic death eye is a modernized fairchild heavily cleaned up. the DDMF plugins are much cleaner compressors but their action is fairly inaudible outside of the slight low end coloration because they are more program dependent sent correctly. If you want a mastering compressor that does something beyond minute or obvious distortion, learn to set Kotelnikov GE. You can get it for 10 bucks. I think if UAD had developed the Kotelnikov, it would be at least $100 and not $10. Same for the Molot. TDR prices are an amazing value. |
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Post by kcatthedog on Dec 3, 2023 13:17:16 GMT -6
Makes sense, that as the sample time increments get shorter we can’t hear the difference, wonder what the typical sampling rate audibility threshold is ? 150-200k? the sampling theorem doesn’t work like that Sampling: turns an analog sound into time increments: 48k equals 48000 samples of a given time duration :no ? So, higher sampling rate: doesn’t mean more shorter time legth samples ? If not, what is the difference between different sampling rates ? |
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Post by Johnkenn on Dec 3, 2023 13:21:40 GMT -6
the sampling theorem doesn’t work like that Sampling: turns an analog sound into time increments: 48k equals 48000 samples of a given time duration :no ? So, higher sampling rate: doesn’t mean more shorter time legth samples ? If not, what is the difference between different sampling rates ? I would imagine it’s diminishing returns at a certain point. Maybe it sounds better to dogs, but… |
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ji43
Junior Member
Posts: 67
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Post by ji43 on Dec 4, 2023 6:55:42 GMT -6
the capital mastering compressor is a modernized ua 175 with a solid state sidechain. magic death eye is a modernized fairchild heavily cleaned up. the DDMF plugins are much cleaner compressors but their action is fairly inaudible outside of the slight low end coloration because they are more program dependent sent correctly. If you want a mastering compressor that does something beyond minute or obvious distortion, learn to set Kotelnikov GE. You can get it for 10 bucks. I think if UAD had developed the Kotelnikov, it would be at least $100 and not $10. Same for the Molot. TDR prices are an amazing value. I've been hearing about TDR a lot this week and may go for the production bundle on sale for $89. Can you say more about these plugins? |
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Post by ab101 on Dec 4, 2023 10:01:29 GMT -6
I think if UAD had developed the Kotelnikov, it would be at least $100 and not $10. Same for the Molot. TDR prices are an amazing value. I've been hearing about TDR a lot this week and may go for the production bundle on sale for $89. Can you say more about these plugins? While there eqs are very good, what I thought was amazing was the Molot GE which is one of the most analog sounding plugins I ever heard, and the Kotelnikov which I often use to tighten up some tracks in a way that I have not been able to do with other plugs. Frankly, it could be be my fault that I cannot get the other comp plugs to do what the Kotelnikov does. I hope this is helpful to you. Dan can certainly provide more details than I can. |
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Deleted
Deleted Member
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Post by Deleted on Dec 4, 2023 10:30:54 GMT -6
I've been hearing about TDR a lot this week and may go for the production bundle on sale for $89. Can you say more about these plugins? While there eqs are very good, what I thought was amazing was the Molot GE which is one of the most analog sounding plugins I ever heard, and the Kotelnikov which I often use to tighten up some tracks in a way that I have not been able to do with other plugs. Frankly, it could be be my fault that I cannot get the other comp plugs to do what the Kotelnikov does. I hope this is helpful to you. Dan can certainly provide more details than I can. I mean think of Molot GE like a FET comp but digital where you can control everything to make it do what you want. Kotelnikov think of like a really really good mastering comp that has other uses. The Slick EQ M is super smooth and Slick EQ GE is cool. The filters are awesome. De-Edger is indispensable when you hear what it's doing when switching it on and off. The Limiter 6 GE is still one of the cleanest mastering limiters.
They're dirt cheap and do a lot. You can spend 1000 bucks on UAD plugins that do less. You can buy 1000 bucks worth of emulations and clones that will not do what you want at the end of the day. TDR plugs solve problems.
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ericn
Temp
Balance Engineer
Posts: 16,099 
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Post by ericn on Dec 4, 2023 14:38:21 GMT -6
Anybody else think the title of this thread sounds like some giant VC issuing a press release bragging about how much they pay there employees?
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