Why does (almost) no free limiter have oversampling?

[jochicago]

So capitalism is when people want to get paid for their hard work? What pigs. Audio software engineers should be working for free, like the rest of us.

The Computer Music Mag free plugins includes a streamlined version of TB Barricade 3. Add that to the list of limiters to try.
I'm glad TB is not getting paid for that free plugin, we wouldn't want to incentivize them to keep making quality plugins.

Oversampling is placebo anyway

Nopers.

[reggie1979]

Oversampling is placebo anyway

No.

On Kuassa amp sims there was horrible aliasing. They added oversampling and poof, it's gone. Of course the CPU cycles are not very happy

[Niowiad]

You've all been lied to.

[sleepcircle]

all i can hear watching that gif is Tchaikovsky's Piano Concerto No. 1

[Benedict]

Traditional Limiting is really just Compression on steroids. Infinity:0 Ratio with Instant Attack is, in essence, a Waveshaper - and we all know how ghastly they sound on a complex signal.

One would wonder then why someone would be subjecting their mix to such a heavy-handed process? 1-2 db off the top now & then is not going to result in anything of any negative value - perhaps even the opposite as the distortion added can make the overall sound more "exciting".

If you are hammering a complex signal by 10-20 db and expecting it to sound the same then probably there is a lack of understanding of the processes being used. Would you pop your mix through Slash's Marshall Stack and expect it to come out sounding better than it did before? I assume not.

Most cheap Limiters are assuming that you aren't in the second camp. So no need for Oversampling or any other arcane collection of letters representing something even Einstein would need a cup of black coffee to read. That second type of Limiter is having to do some heavyweight re-arranging of the laws of physics to give you the illusion that you can do the undoable with impunity. That is work worth a king's ransom as it is the sort of balancing act the STi people would kill for in the lead up to WRC.

[heavymetalmixer]

Traditional Limiting is really just Compression on steroids. Infinity:0 Ratio with Instant Attack is, in essence, a Waveshaper - and we all know how ghastly they sound on a complex signal.

One would wonder then why someone would be subjecting their mix to such a heavy-handed process? 1-2 db off the top now & then is not going to result in anything of any negative value - perhaps even the opposite as the distortion added can make the overall sound more "exciting".

If you are hammering a complex signal by 10-20 db and expecting it to sound the same then probably there is a lack of understanding of the processes being used. Would you pop your mix through Slash's Marshall Stack and expect it to come out sounding better than it did before? I assume not.

Most cheap Limiters are assuming that you aren't in the second camp. So no need for Oversampling or any other arcane collection of letters representing something even Einstein would need a cup of black coffee to read. That second type of Limiter is having to do some heavyweight re-arranging of the laws of physics to give you the illusion that you can do the undoable with impunity. That is work worth a king's ransom as it is the sort of balancing act the STi people would kill for in the lead up to WRC.

Tbh I preffer to be on the first case, but that's not always possible, some tracks have very wild peaks. Also, when mastering, even the smallest ammount of distortion can ruin a track on certain things if it's not controlled somehow. This would be the most necessary case for oversampling, so only the "compression" distortion is audible.

[plexuss]

Traditional Limiting is really just Compression on steroids. Infinity:0 Ratio with Instant Attack is, in essence, a Waveshaper - and we all know how ghastly they sound on a complex signal.

One would wonder then why someone would be subjecting their mix to such a heavy-handed process? 1-2 db off the top now & then is not going to result in anything of any negative value - perhaps even the opposite as the distortion added can make the overall sound more "exciting".

The actual measurable result of over-normalizing peaks is that when they clip, they clip hard and produced spurious wide-band intermodulated distortion. This can be audible, as a kind of mid-band haze. It also sucks away PLR (aka dynamic range) futther comprimising the preceived quality of the audio. Over-sampling and other ISP methods can help mitigate or eliminate these problems. Without it the IMD can give a kind of strange hazy fuzz "excitement" to the audio. It's good to ease off until you aren't clipping the peaks and adjust to the same loudness at the louder clipped version and compare them to choose the better sounding track.

[Benedict]

Tbh I preffer to be on the first case, but that's not always possible, some tracks have very wild peaks. Also, when mastering, even the smallest ammount of distortion can ruin a track on certain things if it's not controlled somehow. This would be the most necessary case for oversampling, so only the "compression" distortion is audible.

This would indicate to me, issues in the mix. Oversampling will not really help as that only moves the Nyquist (freq at which sound starts bouncing back like a Ring Mod) up. Ultimately your mix needs to work at 16/44 anyway so might as well work there (I know, the heresy!!!)

If transients of that magnitude are appearing at the Masters, look at the instruments and buses and tame them there. A Mix should sound as good as a final released track. The Master simply makes it fit the box you are going to jam it in like Vinyl, AM Radio...

Being Metal you have a lot of flex in how you handle that: you can simply pop a Soft Clip Limiter across say the Drum Bus (assuming that is the cause and often it is not) as a "Power Soak" and no one will know any different as all you are catching are things that add no musical value.

I have a Mix Walkthrough series I do on YouTube, I'd love to have a Metal track for that if you want to send over one of these with strays that need warhammering to show another way.

[heavymetalmixer]

Tbh I preffer to be on the first case, but that's not always possible, some tracks have very wild peaks. Also, when mastering, even the smallest ammount of distortion can ruin a track on certain things if it's not controlled somehow. This would be the most necessary case for oversampling, so only the "compression" distortion is audible.

This would indicate to me, issues in the mix. Oversampling will not really help as that only moves the Nyquist (freq at which sound starts bouncing back like a Ring Mod) up. Ultimately your mix needs to work at 16/44 anyway so might as well work there (I know, the heresy!!!)

If transients of that magnitude are appearing at the Masters, look at the instruments and buses and tame them there. A Mix should sound as good as a final released track. The Master simply makes it fit the box you are going to jam it in like Vinyl, AM Radio...

Being Metal you have a lot of flex in how you handle that: you can simply pop a Soft Clip Limiter across say the Drum Bus (assuming that is the cause and often it is not) as a "Power Soak" and no one will know any different as all you are catching are things that add no musical value.

I have a Mix Walkthrough series I do on YouTube, I'd love to have a Metal track for that if you want to send over one of these with strays that need warhammering to show another way.

Thanks dude, sadly, I'm not a musican nor a composer and for now I only dedicated myself to mastering.

[Winstontaneous]

Oversampling is placebo anyway

Not when things starting distorting...

[Halonmusic]

Oversampling is placebo anyway

Not when things starting distorting...

True i guess