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Post by ab101 on Jan 30, 2024 18:42:19 GMT -6
Hey - I get just being turned off by a company. I emailed Evanna Manley one time (the email was on the site at the time or something like that.) I had a song in the top 5 at the time and would have been remiss if I hadn’t asked. Asked if they offered artist deals - it was a very polite email. Got an email back from her that read (this is from memory, but wasn’t far off) “are you Sting or Prince? Because they both paid full price for theirs.” Dude. I will NEVER buy a piece of Manley gear. Ever. She can kiss my ass. At the time, I was flush with money and would have bought a shit load. But I spent it somewhere else. I would have been fine with a “No” that a little more humble - like “I would love to discount, but we don’t have artist pricing as a rule so it’s fair to everyone…etc” But she decided to try and put me in my place. Kiss. My. Ass. So I completely understand feeling slighted. I would have replied -- "Ok - I will tell Paul McCartney and Taylor Swift to stick with Chandler."
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kcatthedog
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Post by kcatthedog on Jan 30, 2024 19:23:31 GMT -6
I just thought it very unethical of UA to give it’s tried and true customers the fiscal finger and save people who had invested a few hundred dollars, thousands and expecting everybody else to pay more.
What I said from the beginning and still maintain is that it would have been programming child’s play for UA to establish who had paid more then the amount the new clients got ultimate 10 for and to cross reference that with the more invested clients current plug ins, establish the delta to complete ultimate 10, and just give them those licenses.
That would have been more fair, instead UA gives those who have already paid more, the “opportunity” to pay more and still not have ultimate 10.
UA’s laughing at us all the way to the bank.
Que bugs bunny !
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Post by Darren Boling on Jan 30, 2024 19:48:08 GMT -6
Hey - I get just being turned off by a company. I emailed Evanna Manley one time (the email was on the site at the time or something like that.) I had a song in the top 5 at the time and would have been remiss if I hadn’t asked. Asked if they offered artist deals - it was a very polite email. Got an email back from her that read (this is from memory, but wasn’t far off) “are you Sting or Prince? Because they both paid full price for theirs.” Dude. I will NEVER buy a piece of Manley gear. Ever. She can kiss my ass. At the time, I was flush with money and would have bought a shit load. But I spent it somewhere else. I would have been fine with a “No” that a little more humble - like “I would love to discount, but we don’t have artist pricing as a rule so it’s fair to everyone…etc” But she decided to try and put me in my place. Kiss. My. Ass. So I completely understand feeling slighted. Hmm, familiar story. My buddy had well into the 10's of thousands of their gear and they gave him shit about wanting to get something repaired that kept breaking (he was paying, not a warranty freebee as that had already run out with a few repairs). He sold it all and swore off them. I've used this as a cure to the GAS that arises once a year to grab a Vari-Mu. I'll just grab an LTL version instead. As far as UAD I also figure I knew what I was getting into and it paid for itself. I'd surely take some added gifts but I'm probably not their target customer anymore, they've calculated my excitement to purchase anything new is low so others are better to target.
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Post by notneeson on Jan 30, 2024 19:48:33 GMT -6
Hey - I get just being turned off by a company. I emailed Evanna Manley one time (the email was on the site at the time or something like that.) I had a song in the top 5 at the time and would have been remiss if I hadn’t asked. Asked if they offered artist deals - it was a very polite email. Got an email back from her that read (this is from memory, but wasn’t far off) “are you Sting or Prince? Because they both paid full price for theirs.” Dude. I will NEVER buy a piece of Manley gear. Ever. She can kiss my ass. At the time, I was flush with money and would have bought a shit load. But I spent it somewhere else. I would have been fine with a “No” that a little more humble - like “I would love to discount, but we don’t have artist pricing as a rule so it’s fair to everyone…etc” But she decided to try and put me in my place. Kiss. My. Ass. So I completely understand feeling slighted. It’s sooooo funny to me when pro audio manufacturers and “gear pimps” think they’re a big deal. Clown town.
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Post by doubledog on Jan 30, 2024 20:17:17 GMT -6
Were you expecting them to give you something free? Edit: just read the rest of the thread. Maybe I’m just used to the short end of the stick, but I figured it would be in the form of a coupon. I mean, in the past, we agreed to a transaction at a specific price, so I just kind of write it off as “the way the cookie crumbles.” You can buy a car and they can change the body style the next year and you’re kinda screwed. I’ve bought Mac’s for years…but I don’t really expect a loyalty discount from them. Hey - if they threw me a coupon for 80% off, I’d be pretty excited for the opportunity. Why aren’t we excited here? It is the cost of doing business sometimes. I remember... well sort of... 10 years (or more) ago when I bought the waves SSL bundles *on sale* for $499. f**k me. but I needed (wanted?) it then, and this was way before Waves started the whole $29 stuff. I still have it. I still use it. In fact most of the drum tracks I record get the E and G channel strips used. I've tried other similar plugins, but I don't get the same results (someday I'll probably have to really switch). But once Waves went to $29 plugins, there was no way I'd spend more than that for one of theirs, I don't care how shiny it is. And the subscription thing? what a joke. Tbh I have not given Waves any more money since that whole fiasco. Not saying I will never buy another Waves or UAD plugin, but sometimes you just move on. At least UAD hasn't tried to charge an "update plan" yet. That would seal the deal for me.
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Post by viciousbliss on Jan 30, 2024 20:56:59 GMT -6
Hey - I get just being turned off by a company. I emailed Evanna Manley one time (the email was on the site at the time or something like that.) I had a song in the top 5 at the time and would have been remiss if I hadn’t asked. Asked if they offered artist deals - it was a very polite email. Got an email back from her that read (this is from memory, but wasn’t far off) “are you Sting or Prince? Because they both paid full price for theirs.” Dude. I will NEVER buy a piece of Manley gear. Ever. She can kiss my ass. At the time, I was flush with money and would have bought a shit load. But I spent it somewhere else. I would have been fine with a “No” that a little more humble - like “I would love to discount, but we don’t have artist pricing as a rule so it’s fair to everyone…etc” But she decided to try and put me in my place. Kiss. My. Ass. So I completely understand feeling slighted. Manley seems kinda passe in some ways. For anyone who hasn't tried comparing the PQ plugin vs the Massive Passive at Access Analog, I highly recommend doing the test. The Vari-Mu v9 was pretty good, but I'd be surprised if it was really better than some newer stuff that has come out since then. Just based on things I've tried and what I've heard in those GS samples where they had all those compressors compared. Sure, you have to take into account the converters and whether someone used dither or not. The Manley Slam was one of the better ones if I recall, but I didn't like it as much as either of the Shadow Hills or the Alpha. Either way, we have a lot of options and don't need to be beholden to any one company whether it's hardware or plugins. A lot of times it can be better just to be limited once you have at least the basics covered. After hearing and being able to use some stuff considered top tier, I lost pretty much any interest I had in buying more. Maybe if I won the lottery or received a huge inheritance I'd build a few 500 series racks with a lot of Wesaudio and also get some Bettermaker so I can mix almost all analog with digital recall. But I'm not sure I'd really need to. Recently I watched the latest Audio Animals video and Paul goes through his whole chain and deactivates devices one or two at a time. Left me with the impression that one doesn't need so much stuff. Sometimes I thought stuff sounded better when he'd turn off an eq or a compressor or the analog limiter. Reminds me of when I'd stack similar plugins. Do we really need different eqs for each part of the frequency spectrum to master a stereo mix? Sure it could be helpful...but necessary? Some of these companies are far too arrogant even about repairs it seems. Luckily I have a really cool shop a few miles away that can fix most any of this hardware with minimal fuss. They even advertise that they can fix old Eventide and Lexicon stuff. So far I've only had to visit them for things that got damaged in shipping. If this shop wasn't around, I'd probably have been a lot more hesitant about owning anything analog. Is UAD just racing to the bottom now? Once these companies start with this bottom feeder pricing, it brands them as being largely for people who just wanna screw around. And often those types want to get into this so they can feel important or whatever. Pretend they're a bigtime producer. And a lot of that has to do with the marketing. "Buy our plugins and you will have a world class studio on your laptop and be on your way to being a world class producer". My perception of UAD before I got into it was that this stuff was the real deal. The stuff that was so classy that people were willing to pay a lot for it and run it on DSP devices. Now the perception is "UAD-the latest company to sell $30 plugins on Audio Deluxe". Now what companies are left that aren't racing to the bottom? Maybe just Cedar? I can say that their Adaptive Limiter 2 is well worth the cost. With UAD it's not just about making new people pay a fraction of what the earlier adopters did. It's also about damaging the investments we've made in the brand. There is a lot of brand association out there in the minds of the general public. A software list that once commanded respect can now be perceived by potential clients as "oh, it's just the stuff from the crack sites I downloaded and the other stuff that sells for $30". Cheap stuff also gives off the idea that it's cheap because it's either antiquated or because the company didn't put a lot of effort into it. The average consumer out there doesn't know what's what. In the eyes of a potential client, it means something to them if you've been able to acquire premium brands. In the absence of great word of mouth or salesmanship, these brands can tell someone something. Maybe all it says is that you took enough pride in your business to invest a lot. And that will in turn mean you have enough character to invest in their projects. Spending $30 on a UAD plugin does not take a lot of effort or risk. An invested person is perceived as having more motivation to get the job done. It's a lot harder to be perceived as a pretender too. There is probably no downside to being perceived as having invested yourself in premium brands.
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Post by notneeson on Jan 30, 2024 21:16:32 GMT -6
The good news is that the overall plugin market has moved in favor of the consumer.
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Post by ab101 on Jan 30, 2024 22:28:48 GMT -6
The good news is that the overall plugin market has moved in favor of the consumer. Super excellent point!
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Post by Bat Lanyard on Jan 30, 2024 22:51:11 GMT -6
I completely agree. Our industry has accepted lower quality audio results in the name of easy recalls and profit. Can't say I blame them but it does make me sad because I don't see how we ever return to an industry standard of using the best tools available and spending $250,000 up to $1,000,000 and all the time necessary to create an album that is truly great art. There just isn't enough money brought in from streaming to justify the cost of running a studio the way we used to. Ok I'll stop...I'm getting depressed ☹️ Ha, it is depressing. I handed my wife the 1099 for $78 dollars or so that we made from streaming this year. Success!
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kcatthedog
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Post by kcatthedog on Jan 31, 2024 1:57:22 GMT -6
The good news is that the overall plugin market has moved in favor of the consumer. Hmm, good for whom, the new client whose just starting to spend or the established client only to see their very large investment devalued by a company that turns its business model upside down? “ With UAD it's not just about making new people pay a fraction of what the earlier adopters did. It's also about damaging the investments we've made in the brand. ” Bingo! Just for context, after buying the first of my 3 Apollos, I became very heavily involved in the UA forum site, just as a poster, was never a mod, but I feel like I volunteered hundreds of hours , bring supportive of UA and trying to be fair when their were differences of opinion. I also took initiative inviting some name producers to do featured threads for a bit. So, when UA gave that sweetheart deal to the new subscribers, I couldn’t believe it. Anyway, it is what it is. i sold everything and only bought 1 small plug in deal recently due to its exceptionally low price. As long term clients have stated above, that’s where you end up with ua being a very selective , very occasional buyer, if at all.
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Post by thehightenor on Jan 31, 2024 2:33:53 GMT -6
I won’t buy anymore UA products.
I get to vote with my wallet.
No pedals, no ox box, no Apollo’s …. nothing.
They’ve totally lost my respect as a company.
I have their subscription for £10 a month - simply because to me their plug-ins are only worth the price of a coffee and bag of crisps (£10 in my part of the world!)
If they put the subscription back to full price (£20) I’ll cancel it and that will be it for me and I’ll just use the plug-ins I already have (most of the original ones plus the Hitsville stuff and the Capital Chamber)
They went from a really nice little company with a personal touch to something absolutely awful.
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Post by kcatthedog on Jan 31, 2024 4:57:42 GMT -6
One of the things that was said is that UA hired a bunch of avid staff a few year’s back. I worked with Gannon who was great, who is no longer with UA, and don’t really know, but you look at how UA has changed in the last 5 year and unfortunately the shoe fits quite well.
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Post by kcatthedog on Jan 31, 2024 5:03:49 GMT -6
Was reading thread at UA forum, when a long standing client basically said the offer does nothing for him, Drew came back with the idea came from his self selected panel. I mentioned it was not a representative sample, obvious way to compromise a subjective data collection process is keep it very informal and have a plant to introduce preferred data and bob’s your uncle and low and behold UA releases the offer it would have always most preferred, what a coincidence, what was the probability of that ?
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Post by gwlee7 on Jan 31, 2024 6:35:18 GMT -6
I completely agree. Our industry has accepted lower quality audio results in the name of easy recalls and profit. Can't say I blame them but it does make me sad because I don't see how we ever return to an industry standard of using the best tools available and spending $250,000 up to $1,000,000 and all the time necessary to create an album that is truly great art. There just isn't enough money brought in from streaming to justify the cost of running a studio the way we used to. Ok I'll stop...I'm getting depressed ☹️ Ha, it is depressing. I handed my wife the 1099 for $78 dollars or so that we made from streaming this year. Success!
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Post by Deleted on Jan 31, 2024 7:52:20 GMT -6
I find the argument of "but I paid more years ago, so I'm mad someone else can pay less" really annoying. It's the same as when people complain about student loan forgiveness. It has exactly ZERO impact on you if someone else pays less money than you did. Based on need and budget, you chose at the time that these products were worth it. You made music, you made money, and you were happy at the time. So what if someone just getting into the ecosystem pays less? They get to make music and money with less of an investment. Good for them. I'll tell you one thing. UA and their "business practices" make a very good argument for buying hardware instead of software. I'm done with buying software (and DSP hardware) that has ZERO intrinsic value and can be made virtually worthless at the whim of a marketing department and the company bean counters. You need a heck of a lot less hardware to sound fabulous compared to loading up with plugins that make a heap of promises but never quite deliver. * I had a great hardware studio. * I morphed to a digital set up. * I'm morphing back to a great hardware studio. The bit in the middle was "an interesting experience" that's the most positive thing I have to say about it. The only software I still dig is FX .... reverb, delay, modulation etc. Plugin mix EQ and compression .... a bit of a "meh" let's be honest. you can count the hardware compressors that come close to what’s in the box now on your fingers. EQs? Good luck getting a recallable eq with matched, switched L and R, a clean sound, and broad range of filters and Qs
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Post by Deleted on Jan 31, 2024 7:58:11 GMT -6
The good news is that the overall plugin market has moved in favor of the consumer. no more 1000-2000 dollar bundles of stuff that mostly sucks. The Waves Renaissance and Sonnox Sony six pack stuff that costs 1000 15 years ago are now a hundred bucks or so on sale. They’re still pretty good. Now of course if you pay a few hundred dollars to Sound Radix, Softube Weiss, Tokyo Dawn, or such you get some space age stuff. Fabfilter are pretty too but not as advanced. And you have the 20-30 dollar analog emulations that might not do what they claim to do but might distort or misbehave in a cool way. I just got the Neold u2a and I cannot for the life of me think of how’d I’d use it for real world, problem solving compression but it does sound cool on kicks.
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Post by Deleted on Jan 31, 2024 8:10:26 GMT -6
I'll tell you one thing. UA and their "business practices" make a very good argument for buying hardware instead of software. I'm done with buying software (and DSP hardware) that has ZERO intrinsic value and can be made virtually worthless at the whim of a marketing department and the company bean counters. You need a heck of a lot less hardware to sound fabulous compared to loading up with plugins that make a heap of promises but never quite deliver. * I had a great hardware studio. * I morphed to a digital set up. * I'm morphing back to a great hardware studio. The bit in the middle was "an interesting experience" that's the most positive thing I have to say about it. The only software I still dig is FX .... reverb, delay, modulation etc. Plugin mix EQ and compression .... a bit of a "meh" let's be honest. I guess I just haven’t used hardware eq enough to really hear much of a difference. But I use eq mostly for cutting and correction. I feel like I can do that much easier with plugs. I’m not saying that as a fact - just that I’ve mostly gone the software route over the last 20 years. Like - I seriously doubt I could tell the difference in a GML adding 2db at 5khz and Pro Q-3 +2 at 5khz. At least that’s what I’ve always thought. I do remember talking to roundbadge about master bus things that make the most difference and he thought a great HW EQ was a big difference maker. At least that’s how I took what he was saying. I wouldn’t doubt something like that would be awesome - but I’d think the benefit you’re getting is running your stuff through a bunch of big fat transformers. even if there was a 1% better perceptive difference, couldn’t you just add some really low level distortion or something to make up that 1% difference or cycle through eqs with pretty much the same shape to get one closer to the GML? Heck I’d be tempted to put something cool on it to make it 5% better instead of making up the 1%. Some of these new tube plugs are like 5% better and sdrr2 is pretty much 1% better the plug
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Post by thehightenor on Jan 31, 2024 8:10:39 GMT -6
I'll tell you one thing. UA and their "business practices" make a very good argument for buying hardware instead of software. I'm done with buying software (and DSP hardware) that has ZERO intrinsic value and can be made virtually worthless at the whim of a marketing department and the company bean counters. You need a heck of a lot less hardware to sound fabulous compared to loading up with plugins that make a heap of promises but never quite deliver. * I had a great hardware studio. * I morphed to a digital set up. * I'm morphing back to a great hardware studio. The bit in the middle was "an interesting experience" that's the most positive thing I have to say about it. The only software I still dig is FX .... reverb, delay, modulation etc. Plugin mix EQ and compression .... a bit of a "meh" let's be honest. you can count the hardware compressors that come close to what’s in the box now on your fingers. EQs? Good luck getting a recallable compressor with matched, switched L and R, a clean sound, and broad range of filters and Qs Dan, you dig plug-ins, I can respect that. I don’t - to my ears hardware is far far superior sonically. I’m not seeking enlightenment, I have a literally vast plugin collection and several racks stuffed with high end boutique hand made tube processors (and some solid state too) All of which gets compared on a daily basis and the hardware is sonically fabulous to my ears - plugin EQ and compression does a job during a mix but it never ever excites me sonically. Never. I’m sure you can respect my tastes and opinion too.
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Post by Deleted on Jan 31, 2024 8:35:02 GMT -6
you can count the hardware compressors that come close to what’s in the box now on your fingers. EQs? Good luck getting a recallable compressor with matched, switched L and R, a clean sound, and broad range of filters and Qs Dan, you dig plug-ins, I can respect that. I don’t - to my ears hardware is far far superior sonically. I’m sure you can respect my tastes and opinion too. okay then you are probably using hardware for distortion rather than solving the problems those types of processors were meant to solve with the least amount of artifacts. Why not solve the problem with the least amount of artifacts and distortion because the intrinsic artifacts and distortion of typical hardware might not be appropriate for all material that you receive. Then you can distort it as you see fit separately as the material warrants. The issue with complex hardware is they were basically building analog computers and now they have real computers powerful enough to solve the equations with adequate bandwidth in semi real time so the complex hardware isn’t really made anymore in any quantity or it’s what can easily be built with a bunch of off the shelf ICs. Even then hardware compressors eventually got so clean that any minutely distorted pleasing boxtone they whatever harmonics they might have almost a hundred db down or so is overwhelmed by the intermodulation distortion and required harmonics from gain reduction. The compressor must multiply the audio by the dc side chain, the creating and filtering of which requires distortion. Why not go digital at that point with modern computers?
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Post by Deleted on Jan 31, 2024 8:41:52 GMT -6
Hey - I get just being turned off by a company. I emailed Evanna Manley one time (the email was on the site at the time or something like that.) I had a song in the top 5 at the time and would have been remiss if I hadn’t asked. Asked if they offered artist deals - it was a very polite email. Got an email back from her that read (this is from memory, but wasn’t far off) “are you Sting or Prince? Because they both paid full price for theirs.” Dude. I will NEVER buy a piece of Manley gear. Ever. She can kiss my ass. At the time, I was flush with money and would have bought a shit load. But I spent it somewhere else. I would have been fine with a “No” that a little more humble - like “I would love to discount, but we don’t have artist pricing as a rule so it’s fair to everyone…etc” But she decided to try and put me in my place. Kiss. My. Ass. So I completely understand feeling slighted. maybe her gear was meant to be used on 90s and 2000s sting. desert rose. Ye lay ye lay. Great lyrics and vocal sound there.
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Post by seawell on Jan 31, 2024 9:33:48 GMT -6
I'll tell you one thing. UA and their "business practices" make a very good argument for buying hardware instead of software. I'm done with buying software (and DSP hardware) that has ZERO intrinsic value and can be made virtually worthless at the whim of a marketing department and the company bean counters. You need a heck of a lot less hardware to sound fabulous compared to loading up with plugins that make a heap of promises but never quite deliver. * I had a great hardware studio. * I morphed to a digital set up. * I'm morphing back to a great hardware studio. The bit in the middle was "an interesting experience" that's the most positive thing I have to say about it. The only software I still dig is FX .... reverb, delay, modulation etc. Plugin mix EQ and compression .... a bit of a "meh" let's be honest. you can count the hardware compressors that come close to what’s in the box now on your fingers. EQs? Good luck getting a recallable compressor with matched, switched L and R, a clean sound, and broad range of filters and Qs Dan, I can count on no hands the number of plug-in compressors that sound as good as a good hardware compressor because that number is ZERO. Use what you like and I'm not trying to convince you or anyone else to invest in hardware because I think now more than ever it makes less sense financially speaking...but...from a sonic perspective...come on dude...we have to deal in reality here. We use plug-ins because they are cheaper and more convenient and our industry is in the toilet...not because they are more advanced and sound better. Our ears like analog artifacts, saturation and distortion. Getting rid of all that sounds flat and boring, a.k.a ITB.
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Post by thehightenor on Jan 31, 2024 9:36:43 GMT -6
Dan, you dig plug-ins, I can respect that. I don’t - to my ears hardware is far far superior sonically. I’m sure you can respect my tastes and opinion too. okay then you are probably using hardware for distortion rather than solving the problems those types of processors were meant to solve with the least amount of artifacts. Why not solve the problem with the least amount of artifacts and distortion because the intrinsic artifacts and distortion of typical hardware might not be appropriate for all material that you receive. Then you can distort it as you see fit separately as the material warrants. The issue with complex hardware is they were basically building analog computers and now they have real computers powerful enough to solve the equations with adequate bandwidth in semi real time so the complex hardware isn’t really made anymore in any quantity or it’s what can easily be built with a bunch of off the shelf ICs. Even then hardware compressors eventually got so clean that any minutely distorted pleasing boxtone they whatever harmonics they might have almost a hundred db down or so is overwhelmed by the intermodulation distortion and required harmonics from gain reduction. The compressor must multiply the audio by the dc side chain, the creating and filtering of which requires distortion. Why not go digital at that point with modern computers? I refer you to my previous post.
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Post by thehightenor on Jan 31, 2024 9:38:25 GMT -6
you can count the hardware compressors that come close to what’s in the box now on your fingers. EQs? Good luck getting a recallable compressor with matched, switched L and R, a clean sound, and broad range of filters and Qs Dan, I can count on no hands the number of plug-in compressors that sound as good as a good hardware compressor because that number is ZERO. Use what you like and I'm not trying to convince you or anyone else to invest in hardware because I think now more than ever it makes less sense financially speaking...but...from a sonic perspective...come on dude...we have to deal in reality here. We use plug-ins because they are cheaper and more convenient and our industry is in the toilet...not because they are more advanced and sound better. Our ears like analog artifacts, saturation and distortion. Getting rid of all that sounds flat and boring, a.k.a ITB. +1 ITB …. to my ears “flat and boring” Sums it up perfectly for me.
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Post by kcatthedog on Jan 31, 2024 9:46:39 GMT -6
UA luvs to hear what it wants to hear.
I think I am going to start a thread on drewisms.
Drew just stated this on the ua forum.
"So while you have valid points, I simply do not care because my goal was to take care of our most engaged users."
gee, I feel so cared about.
Back in my waiting days,I wonder what would have happened if I told a customer I just don't care ?
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Post by notneeson on Jan 31, 2024 11:08:44 GMT -6
The good news is that the overall plugin market has moved in favor of the consumer. Hmm, good for whom, the new client whose just starting to spend or the established client only to see their very large investment devalued by a company that turns its business model upside down? “ With UAD it's not just about making new people pay a fraction of what the earlier adopters did. It's also about damaging the investments we've made in the brand. ” Bingo! Good for consumers who have better options at better prices outside UADs ridiculous dongle ecosystem which has always been overpriced and a bad “investment”. And UAD knows this. The jig is up. The plugin market doesn’t care about anyone’s sunk costs. Ask me what my HD3 rig is worth now? 🫠
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