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Old 13th October 2020 | Show parent
Gear Addict
Originally Posted by simon.billington View Post
It also explain why I dont' have any issues, because one, I'm not slamming 19kHz tones into the compressor and two, I work at 96kHz. When used as the compressor is intended I don't notice any artefacting.

I believe in the grater scheme of things this HAS to be taken into account, using a device how it was intended to be used. As Buckan stated "80% of my 20+ saturation, distortion, tape, preamp etc plug-ins have that audible side effect".

As we go into the future this will be more of a non-issue as CPUs will get faster, sampling rates oversampling higher. Analogue has its artefacts, many of them too, aliasing is really the only digital bugbear these days. Even then, its so easily managed it's barley an issue, until you do some uneathly thing with something that wasn't designed to behave well in those circumstances. Push alot of analogue things too, not many of them will hold up either.

None of this will help make music. Its barley academic as there is very few instances where this kind of hyper focused analysis of how a plugin deals with ultra high frequencies under extreme circumstances will come in useful. It's the results that matter in the end, it's only important to ourselves and our own ego how we get there.

Often when choosing a compressor for an important task, mix buss, vocals, bass, whatever, I will audition several and chose the one I think sounds best for its given context. Often Iron will be there getting compared with others, sometimes it gets chosen, other times it doesn't because of the aesthetics I'm going for. It's never not getting chosen because it sounds crap in the high frequencies.

But again, I do work at 96k, so my experiences could be different
ugh. I'll try to go as slow as possible this time.

I made the 19k tests, it was to as graphically as possible show the differences between various compressors - in that particular test, FabFilter Pro-C2, Voxengo Marqius, u-he and IRON.

IRON is newer than all three, and has much worse aliasing than all three, and also has much worse aliasing than BX's own Alpha Compressor.
At 96k the problem is obviously shifted way outside hearable range. That's the point. That's why you can use oversampling.
So when you work at 48k plugin works at 96k or 192k. Or you make it work at 96k all the time - it oversamples at 48k and DOESN'T oversample at 96k.

Oversampling in a compressor also IMPROVES TIMING.

I started testing IRON in and out because it didn't sound right to me when used at 44.1/48. I did NOT KNOW that plugin doctor existed until way after - I tested IRON in Logic with Voxengo Span.

Moreover, in a blind test conducted 10 posts ago people overwhelmingly picked oversampled version out, that's more than random occurence.

Also, it has nothing to do with CPU, there are thousands of ways to deal with this, that's why every self-respecting developer in 2020 that does non-linear processing either enables oversampling, or has separate offline-render options, or has auto-oversampling based on at which sampling rate you work at.

Have you used hardware IRON? I did. You can push it. It doesn't alias. So plugin that's supposed to be an amazing emulation is not designed to do something that hardware easily handles, and you're supposed to have that divined in your brain by dirk? Since you know, it doesn't say in the manual "it's kinda like hardware but you can't push it at all since we didn't bother to oversample it".

If plugin cannot be used at 44.1/48 in 2020 it's because it is poorly executed. There's absolutely no other excuse here.
Last but not least, it has a price tag of 299$.
That's twice as pretty much everything else out there sans Weiss DS1... Everything else that on a technical level works MUCH BETTER. There's simply no excuse for this.

Working at 96K won't help you make music either, but here we are...

You know i really used to like your posts over at logic forums because they were insightful and impartial. Be apologetic about half-assed plugin releases all you want, but that's on you