By the way, I appreciate hearing from you even though it doesn't speak at all to what I'm trying to do with the plugins. There's most definitely a larger plan and ToTape7 is an important part of what that is, but it is only one plan since I'm only one person and all I've done is toward MY vision, not anybody else's. I'm getting better at being able to demonstrate that.TBlake wrote: Thu Aug 22, 2024 8:39 pm it is a given that quality oversampling incurs latency. Prioritizing zero latency over sound quality
is about as half-assed as releasing a saturation plug without oversampling. The oversampling could always be turned off.
Now you can turn around and say 'yeah, a vision of sucking and being bad' and who is to stop you, but I think it's fair to accept that we might have very different assumptions about what musical sound even is. For instance, my stuff is not well suited to hyperpop (at least not globally: for isolated elements, sure) but then tape itself is terribly ill suited to hyperpop. Anything where everything is overwhelmingly loud and the brightest sounds are both going right up to 20K, and going right up to 0dB all by themselves, is going to go splat when run into ToTape7, and also go splat in a different but equally profound way when run into real audio tape. It just doesn't work.
I'm old, and I grew up on a completely different sound picture I came to love. I feel people who get excited about tape emulations ITB are likely to also feel the same, except they might think the tape does that FOR the music, but in fact it's a significant difference in mix framing. When listening to big music out in the real world (like a band, or an orchestra) the result slants the audio heavily towards the bass and attenuates the heck out of highs through simple air transmission (which intrinsically pulls it away from hitting soft saturation enough to ameliorate aliasing). And this isn't a choice when you're a symphony orchestra as you can't place an ear within two inches of every instrument at once… but it IS a choice in the box, because if you record a track at a time (or synthesize stuff) you might well have every instrument fighting to push that air band into your ear.
That's very popular, and I hate the heck out of it as a sound
I'm all about my vinyl record rips these days, and have put a few of them up on my youtube channel as reference.And the thing is, it's very important to me to make stuff work so you're hearing it exactly as it will be, with zero latency so you can track into a mix, even if you're just on a laptop, because I think that's one future of music. I'm working on finding ways to open up that bigger and more naturally sourced sound to the world of laptop-in-a-flat music so we get those results rather than the 'hyperpop' results, because you know there are plenty of people trying to get the hyperpop results and they don't need my help…
And because I'm completely devoted to pursuing my own goals, it's worth hearing about other people's unrelated goals, even if it's critically. Suffice to say, for people who were already really into ToTape6, I feel confident they got way more and better with ToTape7, and the way they're using it is not causing problems. If you didn't see the point of ToTape6 then maybe you just aren't going to get what you want out of ToTape7
Also, people might specifically hate Dubly, which doesn't even run if you set it to zero
