My name is Paul Third and I am a Scottish mix engineer / audio geek with an honours degree in audio production.
I mostly cover audio engineering related content ranging from audio plugin shootouts / plugin comparisons to actual analog vs digital / gear vs plugins plugin tests via access analog and mix analog. I even include ddmf plugindoctor tutorials in my plugin reviews so you can be your very own plugin tester and experiment and understand whats actually going on under the hood. I also discuss digital music distribution from time to time and like to give my viewpoint on online music distributors such as onerpm and distrokid.
All of my audio blind tests involving music production software are conducted in presonus studio one which is my main daw and I also use HOFA blind test 4U as my blind test software. In terms of my audio interface I record and monitor through an universal audio apollo x6 and a topping dx7 pro+ dac/amp and use an SE dynacaster for all of my voice overs.
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Hi Paul, long time watcher here, i really enjoy your videos mate, honestly though all this talk about conversion goes over my head😂 i would love to learn more about it to really get a better grasp on it. I seen in some videos of yours were you talking about the Topping dx7 pro +. I have been thinking of trying one out but i'm on the fence because i am not sure if i need it. I have an Rme UFX ii and a Ferofish pulse 16. First off i don't even know if i can connect via AES because thats all i have left as ins and outs as the rest is taking up with hardware. Also i am not sure if i have to use clocking between them too. Am i right though if i did try it out that it would not be benificial as a headphone amp without dropping a lot more on good headphones? I do realise that your giving out so much advice to people and i would greatly appreciate any advice you could give me too. Thanks again for the quality content.
Metric Halo have put out a counter-debunk video kzread.info/dash/bejne/gJyl1Mejd6yZj6w.html .. the plot thickens
Watched his videos and my question was, if every EQ or compressor(plugin or hardware) is the same , then why are there so many, it feels like he's point is like " you only need one guitar to play guitar because every guitar does the same" yeah BUT.. the but is so huge that you can't even start explaining...
It's a real pickle to want the sound quality of AA's plugins but then have to contend with freezing/rendering in order to do it. I like having everything running live so I can tweak as I go. I will continue to use the AA plugins I have (Coffee, Camel & Gold 5 are so good) but I do throw in my PA/UAD plugins here and there so I can run everything live. I find my AA plugins are running more on the sub-busses just so I can get that preamp/eq sound without punishing my CPU.
Hey Paul. Hope you doign good man! Have you tried their P44 Magnum plugin? Am looking for second opinions
Nah I dont bother with them. I'll look at the MDN at some point but only because Marc wanted me to try it out
Watching Jaycen Joshua abuse those 8 instances of waves NLS on his drum bus messed us all up😂
I'll need to put it through doctor one day via metaplugin and check to see how much harmonics it adds and how much the phase is skewed so I can see what it's actually doing to the sound chaining 8 in that particular order. Sometimes I genuinely think some mixers take the piss sometimes to fuck up everybody online 🤣
So basically you’re saying the best plug-in on the market is plug-in dr. 😉
Sometimes yes, cause for £30 it can literally save you thousands 🤣
What about the hammerstein graph? Aliasing? If those two are the same thatd be the end of the story for sure, not that what it does is different enough to justify its existence already.
I mentioned aliasing at the very end. Mixhead doesn't have any oversampling, MSaturator does and X4 or X8 will push most aliasing artifacts under audible threshold even when pushed. When you get both to hard clip it's nearly identical in every way, transfer curve, aliasing, harmonics etc Hammerstein shows that main 3rd order of harmonic (which is essentially the main audible order of harmonic) is at same level in both
this video has demystified so many things for me on this topic in a way I've never found from any other video. Really appreciate the content
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Well most tape machines and plugin emulations commonly boost and attenuate at 15K as a pre and de emphasis circuit to avoid Tape Hiss. Wouldn't be surprised if the original SPL unit actual had a small 15k shelf attenuation and the UAD Studer has at 7.5 and 30ips btw.
Whats going on with the plugin industry? $1 today then next $180? Somethings not right. Same with Izotope, Native Instruments, you name it. If they can afford to sell it so cheap whatever that plugin is, why dont they keep low prices for the whole year?, bundles that cost over $2000 then sell it for $200?. II think that price for $2000 is so inflated, thats really stealing. they sell it to you sometimes for $200 because that's actually the real price you should be paying in the first place.
Well, it's safe to say this video performed. Happy to say I didn't even get the memo on the hype or the plugin... still watched the video and the Double-Gain-Knob had me chuckling.
Thank you man! Wishing you the best brother!
It'd be curious to watch your breakdown of the Amek console 200 plug by BX.
Please never change! So much good old common sense despite the hype You're doing the Lord's work
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I dunno what a headphone amp is
A box that amplifies line level signals for use with headphones
All the best with your MRI result Paul. You’ll be in my prayers 🙏🏼
3:17: What is "speaker conversion" ? You mean the Monitor L+R outputs? What's wrong with that? Not like "muddiness" what's actually off with it? Remember, you are a technical guy, who sticks to the hard facts supported by measurement. FYI even cheap audio interfaces don't have such issues and you did not seem to care clarifying it?
Well yes, DAC to Speakers is speaker conversion. DAC to ADC is Analog gear conversion. 2 different relationships and interaction with the DAC. You need to clarify exactly what you are moaning about here. There isnt a test I can accurately use to scientifically quantify what I hear in the apollo through speakers. DAC is a very very complex subject that is still being debated today. There is a different relationship with speakers and to measure what comes out the speakers I would really need something like an £11k neumann dummy head which would allow me to record the speakers in the room binaurally, which means I could run a headphone blind test with various engineers and test if the results are consistent. But all that will do is tell me that people genuinely can hear a difference via the DAC. It'll never explain what is causing the difference. Somebody like Dave Hill would have had a crack at it, guy from chord will have a theory but it's all things that are heavily debated. All I can say is that I wasn't happy with the x6 DAC to Speaker conversion, nor was I happy about the hp amp. It's a different "issue" I hear to the audient. Audient sounds more accurate than apollo but that haze I hear causes me to rely on the topping. It was frustrating cause it was a hassle selling x6 and swapping everything over to evo 16. Genuinely if the DAC to Speakers was high quality I wouldve kept the apollo but it was the last string for me along with all the other windows compromises Ed Thorne hears the same, MSM hears the same and many others have complained about it over the years as well. All I can tell you is that there is the same terminology that creeps up which is muddynes which is vague, but I dunno what it actually is, perhaps distortion based in the low mids, maybe IMD hump or something distortion based, impedance based, maybe the dsp architecture is causing an issue.. God knows, but all I can tell you is that I didn't like speakers and headphones through it, but you can obviously take that with a subjective grain of salt
@@PaulThird i don't see what makes "speaker" conversion different to a regular line level conversion. Apollo's Monitor outs are usually a bit higher specs than the others, but you can see this reflected only measured, you will not hear it. Digital conversion: this is a super simple subject, only people make difficult. You record the output of the Apollo X6 with its in, and if you can't tell the difference, then case closed (i'm sure the EVO checks this out too). Exactly like you do with your plugin ABs. You don't need a dummy head either. You use a proper mechanical AB switch or a monitor controller, and you'll be surprised to hear no difference between you fancy DAC and let's say a Focusrite Clarett. When people say they hear the difference of DACs in this category are usually subjects of improper blind A/B test. If you did your plugin reviews without Plugin doctor or without null test: that would be exactly the same. People would "hear" the difference. Spoiler: with proper test, people would fail telling the differences of the converters in this category. I did it many times, everyone who claimed to hear difference failed. No exception. This is how psychology works: we have expectations, we have bias, and we hear it happen even when it does not. The X6 has exceptional HP outputs compared to other interfaces, but i agree with you that a dedicated hp amp would beat it. The EVO is a great interface too, and suprisingly affordable. Features are insanely well thought, and thanks to pointing this out. The early runs had many failing units, but based on your video they probably sorted it out. And the X6 is definitely not for you, but it is still among the best converters money can buy right now. We have to give it that one. It outperforms our auditory systems easily. Or the speakers, which has distortion, FR figures magnitudes higher than the X6. If you hear mudiness: it is you. Or: if you heard a difference of your EVO and the other DAC you mentioned (can't remember), then it is your DAC failing or designed to color sound. The DAC myth is over.
Let's look at this scientifically. The only way you can measure DAC in graphs is by running it through an ADC. You need to convert the analog signal back to digital. Science is that it is a different test condition than running through speakers. In speakers there is a big amplification stage, there is impedance matching, there are various different factors compared to running through ADC. Its not apples for apples and it never will be, that's the science. Ed has the X6 & the X16. The X16 he told me doesn't have the mud or low mid build up of the x6 or whatever it is we hear in x6. X16 measures impeccably on audio science review. I've not heard x16 in my studio but from what Ed has told me if I had x16 I probably would've kept it. I remember the day he got x16, and that was when he realised that the x6 had that mud in it. He thought he was going mad until he asked me and I told him I'd always heard it in the x6 and that's why i would always stick with the topping. I don't have any measurements for x6 like what audio science review has for the x16 so it could be jitter. Here's the thing with jitter that goes deep. Dave Hill of crane song always talked about the importance of jitter in DAC's, especially when running through speakers due to the big amplification of the signal. Manufactures always tend to use a 1khz tone for jitter, where Dave Hill was talking about jitter over the entire frequency spectrum. With his solaris and avocet he was achieving sub pico second jitter over the whole spectrum. Solaris had jitter in the audible spectrum down to 0.045 pico seconds. X16 measures around 10 pico seconds (from what UA state) but on a 1khz tone. but what about jitter over the rest of the frequency spectrum? Here's a snippet from a Dave Hill paper "The measurements indicated that the D/A was working correctly. The first listening test did not go as one expected. On the first listen, the old circuit sounded better. After listening for a short time, with one’s ears learning what the sounds are, the observation changed. The old circuit was not warmer; it was muddier, less clear and did not image as well. This raised a large number of questions (some are technical and some have to do with ear training" See how mentions about mud in his observations. Does the x16 have better jitter specs than the x6?.. 🤷♂️ That's the problem. I don't have any measurements of the x6 and this was something that Dave pushed over his career, was showing results over the entire audible spectrum. Without having testing equipment costing like £20-40k I can't reliably tell you what that difference is in the x6. All I can tell you is that there is a common thread among engineers I know that have listened to x6, and it's all been unprompted. With DAC to Speakers we are dealing with science that I can't tell you. I can't measure the level of detail that I need to know. I have no way of accurately measuring jitter, or even jitter over an entire frequency spectrum. If I start going into firm conclusions as to why I hear what I hear then it's pure Dunning-kruger effect as I have don't have enough knowledge or experience to accurately determine that. All I can tell you is what I hear and make pretty uneducated guesses which doesn't really help anybody.
Late to this video but I highly recommend folks demo Coffee. It's so good on a bunch of things and it's compressor alone ends up on a bunch of my busses (especially drums). Acustica plugins will hit your CPU hard but the trade off is a realism I don't hear on too many other plugins. I've just learned to freeze my tracks in Logic once I land on the settings I like. KZread compression doesn't do the plugins justice and you should really try the demo on your DAW listening on your headphones/monitors.
I couldn't agree more with you 😂
People don’t spend enough on monitors.. take that money you saved on the converters and try some HEDD Type 20s now those make a difference! 🎉 EVO 16 sounds like a great deal and converters have come a long way so I think you’ll be happy with it. And most important works for your system.
I would probably get amphions at that price
@@PaulThird Fair enough they are good I have heard people say but separate amp right? The type 20s are perfect size for a medium room but also great in a smallish room the choice to put the port plug in and make them closed is awesome when you want even more dynamics also are great for listening at low levels and not fatiguing at high levels. Anyway highly recommended best investment I made for listening and mixing.
That sucks, i liked some metric halo stuff. Good subhaemonic generator
Yea, even though I’m a Mac guy, I think that UA really needs to get their stuff together with Windows support. If you ever get time, I’d personally love to hear more details about what you didn’t like about the Apollo DSP and conversion. Congrats on the new facility!
DAC conversion sounds muddy to me. DSP was causing a colouration to the sound even plugins were bypassed in console
Human perception, i think is the Fletcher Munson curve
Thanks for the video! I think you need to provide more detail about the delta signal - what actual level is it? And what does it sound like? If the delta signal is "the difference" wouldn't you expect it to be relatively small. For example, if you use a limiter with a delta function the audible delta can be quite tiny (e.g. transient peaks), yet the effect on the signal can still be clearly audible. Cheers!
Pretty sure I showed the delta in the video? Had no partials above -70dbfs. Think it's around -70 RMS
@@PaulThird Maybe I've misunderstood what you've done, but isn't the null bouncing between -36dB and -48dB around 10.50? It actually looks like there are some peaks that are jumping above -36dB? Wouldn't this create an audible difference?
Well how much of the null did you hear in the video? There could always be slight transient differences that will show on a daw fader but they are so fast in reality that they are imperceivable. That's why I like to utilise SPAN as well as it will show you an average over the entire spectrum which is more relative to what we actually perceive. DAW fader meters are peak meters which show instantaneous amplitude of the signal which means that they don't take signal duration or average power into consideration. This means that they can't provide much information about how loud the signal will sound to the human ear. Human perception is influenced by both the amplitude and duration of sound. RMS meters provide a better approximation of human perception and is why SPAN in average mode is showing you really what you are hearing
@@PaulThird "That's why I like to utilise SPAN as well" - but you didn't use SPAN (or did I miss something?). Also, isn't the null signal a difference, not an absolute signal. As an example, if you hard clip a transient a few dB the difference signal with be small but the effect becomes audible pretty quickly. Cheers!
Maybe you could measure the delta signal over say, 30 seconds of input and let us know the RMS or LUFS (M/ST/INT) values - to my eye the way the meter is bouncing around it looks higher than -70dB but it's hard to tell. Cheers!
Hey Paul! Just found out your channel and already subscribed. Great content! I am wondering if you are still using the L30 II with the DX7, or is the hp amp on the DX7 the same as the L30 or better? Cheers!
I just use the dx7 pro+. L30ii is being used in the atmos room for binaural
Best of luck with your checkup man! Health comes first!!
I think you missed the HF limiter on the plugin which can only be seen or tested with adjusting/sliding the frequency on the PD's Dynamic page. The transfer curve changes and getting more aggressive starting from 2kHz going higher, meaning the high frequency will always get soft-clipped first or more sensitive to high frequency which clearly suggesting it's not just a "simple" waveshaper behavior-wise. The HF-Adjust is there to compensate the lost high frequency, smart. We all know the Cubase's Magneto is not just a simple waveshaper because of the HF Limiter, read somewhere the hardware's DSP and Cubase's Magneto were designed by the same group of people, no ? correct me if i'm wrong.
But plugins are recieved linearly which means that they recieve music in the formation of acoustic sound. Which means that lower frequency energy will mostly always exceed the threshold first. Plugins recieve audio not how we see it in analysers (which is due to their default 4.5 db slope. Makes audio look balanced as it caters more for how humans perceive music) but that's not how plugins recieve audio. If you take the slope off you will see that high end energy is decreased A LOT. So they can say that they are trying to correct for this but in reality it's not affecting the nulls in realistic use because to get the clipper to interact with the higher frequencies you are still having to hit it very very hard. That's why they keep saying "it needs to hit its sweet spot".. But who the fuck is clipping the shit out of their mix that much just to encroach a bit of clipping in the high end. That's why TDR limiter 6 makes mixhead look an absolute joke. It has compression, clipping (knee adjustment/multiband/lf), hf limiter, peak limiter. All seperate modules with high quality oversampling, look ahead etc. And you get to choose the order and exactly how everything is set. I got the GE edition for like £25 in a sale, retails around £40. The issue they have with mixhead is that when I push a mix into it and I match the transfer curve at say 1khz, the high end difference still doesn't get any partials beyond like 70dbfs. In most mixes, when you take the slope off you'll see that 10-20khz can be as much as 25-40db lower than 80hz. If we take that from a clipping point of view, imagine just how low the threshold of the transfer curve would need to be lowered to engage clipping. And I did tests on another like 7 or 8 mixbus presets and got similar nulls to the serban preset in the video. The null is more affected by the hf adjust itself than any hf compression. It's all about thresholds and how much high end energy is needed to surpass the threshold, which in reality is a lot. That's why tdr limiter 6 gives you a hf limiter with its own threshold so you can find the threshold for a set high frequency range, independent from the rest of the rest of the frequency range. In some mixes in having to bring the hf limit threshold down a lot to get it to trigger. That's the issue with mixhead. It's meters are so vague you have no idea which frequencies are really triggering the clipping threshold and at what point. Honestly, check out tdr limiter 6 and you'll be like... Wtf is mixhead $179
Basically, this went over my head. :D
Knowledge wins again! Thank you Paul. Sonnox Oxford Inflator vs MSaturator for Soft Clipping?... Preference? ~
Msaturator due to oversampling and compander I personally use tdr limiter 6 for 80% of my clipping duties
Fwiw you do get oversampling if you have the UAD powered version of it, and it's less taxing on the cpu. I wouldn't pay full price for it though. $30 to save on processor load sure, much more than that I'd look somewhere else to get that processing power back. ETA there is always the softclip pro mode on standardCLIP which you can oversample on render.
Of course you also need the uad dsp which can get costly especially if you buy new.
I was told the opposite. Native V3 of inflator (which came out in 2020) includes option of x4 minumum phase OS but as far as I am aware UAD version is still the old version UAD released in 2013 and has never been updated since. All UAD plugins are identical to the native. I've done numerous null tests and the code is identical on any non UAD plugins If you get MSaturatorMB for £40 you also get the high quality oversampling (linear phase) which doesn't come in the free MSaturator (minimum phase) You also get the exact same functionality of MSaturator in one band mode and you can probably do what soundtheory's new kraftur plugin does as you have 6 optional bands with selectable crossovers Its annoying that I didn't include all of this in the video but all I cared about was knowing what mixhead was doing and trying to recreate it for free as much as possible. As soon as you spend around £40-50 you can find plugins that make mixhead look even more of a mockery considering it's extortionate price. MSaturatormb and tdr limiter 6 destroy mixhead in every way
Almost bought this!! this vid helps me see what it does to the signal
Now that you've uploaded "MIXHEAD NULLS ON VARIOUS MIXBUS PRESETS (inc hard clipping & HF adjust using linear phase eq)" and deleted it's safe to assume that you'll give us another heads up video about how you won't talk about plugins again? :D It's okay though. We love you
Thought about it but can't be fucked as I made a mistake with text and I couldn't be arsed redoing it so just put the MSaturator settings in the description
guys click on the join button and support this guy please. i need more videos of him. he is the only honest engineer we got on youtube. lets gooo. i just clicked. 💟
I m a Paul Third fan. i swear after watching these vids i m amazed how honest he is. maybe only a few honest guys left in the industry. and he is one of them.
Marketing is also a way of promoting evil We are just purely sick human beings and thank your religion for brainwashing us to this level of evil
This test is a lot like setting up two compressors with the gain matched and both thresholds above the point at which compression happens, then saying they null. Once the gain reduction kicks in, they absolutely won’t. You can’t really count on tests like this to be scientifically accurate because of the dynamic nature of sound (and dynamic action of MixHead). Once you hit the sweet spot of MixHead, you won’t be able to null mSaturator to it. And RMS levels going into it are important. Not so much peak/dBFS. Full disclosure: I purchased MixHead and it’s a subtle effect but it’s very good. Audio is a game of nanometers-not inches- sometimes.
Well that's innacurate seeing as you can see the compression caused by the soft clipping starts around -12dbfs and it gradually increases to the threshold which is 0dbfs in Serbans preset. It was fed a mix with 0.2db max headroom and then another test with 4db additional gain added so 2 nulls First example mix showcasing the sound of the compression of the curve. Second example showing compression and clipping. If the second mix has an added 4db of input gain added, then thats exceeding the ceiling threshold by 3-4db on average. I've included MSaturator settings for other mixbus presets (which decrease the clipping threshold) in the description, even one which can replicate the hard clipping when abusing the output in mixhead. The "sweet spot" is a mirage as I'm yet to have somebody tell me what the "sweet spot" actually is. Is it pushing needlessly into clipping to add aliasing on to your mixbus?.. Go nuts 🤣
@@PaulThird did you find that it changed with dynamics though? For example, were you able to null with various diff. RMS levels? Genuinely curious.
As one of the people who made one of the videos you mentioned talking about how much I like the plugin, I just have a couple points I want to make. 1: I bought the plugin at full price with my own money. The video wasn't sponsored at all, and I didn't even get a NFR for the plugin. 2: I have been telling people since I got this plugin that it isn't reinventing the wheel. It has a sound (that many people know and love), and it does that sound very well. 3: I actually mentioned in my video that you could get similar results of Mixhead from other saturation and clipping plugins, but Mixhead does it really well VERY quickly 4: I don't think Make Believe and Metric Halo have marketed this as a completely new idea that will absolutely transform a mix. In my observation, they've always told people this is an emulation of a unique digital tape emulator (the Machine Head). They said themselves that this is a completely digital sound. 5: I think that the benefit of this plugin is that it's simple, the GUI is easy, there's only a few knobs, and it always sounds great. Sure, you could dive into free and stock limiters, clippers, saturators, and harmonic enhancers but you'd mess around for 30-45 minutes to get a result that you get in about 45 seconds with Machine Head. I think that these deep dives into plugins are great to show what the plugins actually do, but they always GROSSLY underestimate one of the most important things that professionals keep in mind when they buy a plugin, convenience and reliability. This plugin is quick and easy to use, has a very specific sound, and it's almost impossible to ruin a mix with this plugin. That makes it worth the money for anyone wanting to achieve the harmonic, bright, slightly glued sound that MixHead delivers. At the end of the day, there are THOUSANDS of plugins out there. Some are revolutionary. Some are absolute garbage. Most fall in the middle where they do something well but improve on things like workflow, reliability, etc. Mixhead falls there for me. Great saturator that does what I need with no fuss.
The msaturator plugin he mentioned didn’t require a lot of configuration so I’m lost on this “convenience” point people try to push. All you have to do is set the analog to .1% and change in the input/output to your liking. Nothing justifies the price tag they put on this plugin that also doesn’t offer oversampling. The plugin should be $25 at most. Seems like you took his video as a personal dig. Enjoy your purchase ✨
Dude. MSaturator is just input and output. That's all you have to do. I've got loads of settings in the description for other presets and it's all just input and output changes. You use MSaturator the exact same way in regards to the transfer curve. It's the same way you use any clipper, Output sets your clipping threshold, input controls how much of the signal you allow through for compression and how much exceeds the threshold. That's why it's important to understand what it's doing However, There is one thing that mixhead does where it changes to a hard clipper if you hit the output hard enough but there's a compander in MSaturator and I've included the setting so all you have to do is switch it on and you have a hard clipper. Means you have it as an option at any time. Better workflow, faster. MSaturator is easer to use. One input, not 2, and it has oversampling to reduce aliasing. You can even change the order of harmonics, add in even, less or more odd and play about. Like any clipping algorithm if you push into it too hard you'll crap out your mix and mixhead isn't any different. You are pissed with me that your thumbnail was one of those at the start of the video. I get that, I didn't say any youtubers got it free, but you did reccomend this over fabfilter saturn which no doubt will do what mixhead does, and you didn't really understand what the plugin was actually doing. Saying that "you cant really make this plugin sound bad" is pretty misleading as you can crap out anything with too much clipping. You had a mix running through Serbans preset and the mix had that much headroom that it was barely doing anything. Your A/B's had absolutely no difference. You were using the output as a clean linear output without knowing that you were also bringing down the threshold of the clipping. At one stage you had brought down the output down by -2.9db (which in reality is basically a clipping threshold of 4.1db or something) and said that you hadn't lost any headroom, when you had because anything above -4db was getting completely lobbed off. You were using the drive saying it was adding more grit constantly when its just clean gain. No different to the input. Dude the first mix had that much headroom you probably weren't even getting really any compression at all. The sound of a clipper is pushing into it. You need to first understand where the threshold is set (where mixhead is misleading as 0dbfs is actually output at 1.2) when using a clipper so you know if you are compressing or clipping, and by how much. Its not worth $179 and you know fine well now. If you would have knew it was a clipper from the get go and how the plugin actually worked you would have told your audience that to get anything out of it you need to treat it less like a saturation plugin and more like a clipper. Dude 1db of HF adjust is linear phase. It doesn't even add 0.1db of a difference. I very much doubt if you knew all of this before hand you would've still bought it. Cause when you know that you've already got clippers in your arsenal, and others available for free I have no idea why you would throw all that money at the wall. It does a job in the same manner as any other clipper. If you would've spent money on TDR limiter 6.. THAT wouldve been a worthwhile purchase for your audience as it's super easy to use, has everything you would want dynamically and is super high quality, as is everything Fabien makes. I'm giving you a friendly heads up. Take it as you will. If you are aggrieved that your thumbnail is near the start of the video and you want me to remove that specific bit then I will out of good will but there's no way I'm publicly defending reccomendation of a $179 clipper. Is what it is
Good Day Would you please test the DMG audio track comp .
Tested it years ago
@@PaulThird what did you make of it ?
@@thalentekhumalo4734 watch the video instead of asking for a text reply to something that he has answered at length in video format??? Such a lazy attitude. I'll help you anyway - he said it's great and I agree.
I wonder what the driver support is like...
No issues so far on windows and mac
There are no shortcuts in stuff that should vibe bro. it might give you an initial sense of wow someone is doing my work better than me, but its an illusion. stay analog an work with your ears and tools. it will end up more vibey. especially when you hear it years later. All the hocus pocus plugs are the sound of lifelessness
Great to hear you're results came back negative Paul, that must've been tough waiting to hear. Thank you for this and your other video's. I used to wonder why these plugin companies are ripping us off, but of course, it's simply about money and how far any particular company will go in terms of propaganda and sophistry to fool the unwary. I stopped buying plugins a while ago now, the low and medium hanging fruit in terms of what plugins can bring to the end result was all done some time ago. I guess a lot of what's left is shaving off time and optimising workflow, but most folks aren't bothered that much because they're not in a pro studio where time is very much money.
3:14 he didn't make these presets btw... this is literally the ozone 4 factory preset "three band master instrumental w/slow dynamics"
Cool. So what were the modules in that ozone 4 preset?
@@PaulThird wdym?
Ozone is built up of modules. I can't remember what modules that preset had
nice, i feel like an idiot now for buying 🙃
I replicated the Mixhead with Fuse Audio Labs Flywheel + EQ. Done. Stupid plugin.
What's that.. £50?
@@PaulThird 19$ on regular sales :) The trick is to not use a "high end" tape plugin like IK Tape Machines which makes sense because the Tapehead was a digital tape emulation that did not sound like tape at all in the first place.
Plugin industry is one big scam. Haven’t bought plugins in years since Q-Clone. I’m not paying all that money for just curves and a few (odd)harmonics.
It’s pricey, but here’s why I keep buying their plugins when there’s other companies that make the same things for cheaper: 1- workflow is everything. If a plug-in does a few things well that I always do for every session with 0 fat, then it goes to the top of my list. THIS CANNOT BE UNDERSTATED FOR ME. 2- this company is one of the absolute best at long term support. I’m down to about 4 companies that I trust for this. 3- it’s not some giant company, it’s a handful of people, and I’ll support that every single chance I get. No lies weee told by them regarding this plug-in. The dude sounds like this was something he was genuinely proud of, for himself, and I believe him. People are excited about it. I don’t think anybody here is out to get people.
I would like to agree with you but charging $179.. Different ball game. £30 plugin at best. If he charged £30 for it I genuinely wouldn't have even blinked an eye at it.
@PaulThird I DO love the plug!!! And the SG setting on top of my finished master definitely add that sprinkle of dust I like. But for 179...NOPE!!! You're spot on about the price point!!
I'm with Paul on this one. Nobody is shitting on the guy for making a plugin that isn't super complicated/littered with features, but charging 180 bucks for something this basic, that you can get from a free plugin, is a douche move in my book. If you're happy to pay $180 for a dumbed down version of a free VST, power to you, but that's a hard pass from me.
Good job, Paul!
My favorite youtube channel:) thank you for not promoting products 💕💕💕
Paul Third💕i m a beginner mixing engineer but a producer with 10 years experience. I use apollo twin and apollo solo. Do I still need topping? I dont mind paying to get a better detailed sound and quality experience, I love what I do. I wanted to know is it for people who dont own an audio interface?
I would say so
I did buy this and I have been really enjoying it! However I always appreciate getting more insight into what stuff is actually doing. Clearly this plug isn’t super complicated or flashy, which I think was kinda obvious for anyone who’s been using it… but good for info like this to be out there. I still reckon (on sale) it’s a good buy. I like the simplicity. However I wouldn’t go as far as saying it’s a secret sauce. Secret sauce is putting in the hours and finding your way.
How is it a good buy (on sale or not) when you can get basically identical results from a free plugin that actually has more flexibility than this one?
@@andyk9735 I'd point you to your use of the word 'basically'. Yet to see a video proving that you can get 'exactly' the same result from a free plugin. So there IS a point of difference. It also has an easy workflow, and is developed by a company that has great customer service. I have no doubt they'll take on a lot of this criticism and add features/expand on them. That meets my definition of a good buy.
I'd also add that any tool which helps you do a great mix is a good buy. Even if it's a scented candle lol.