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This brings us to the murky world of online software privacy. “We can sell cheaper because we don’t have to worry about twenty five to thirty, maybe even forty percent of them just being pirated….I sell them cheap, and I like selling them cheap, ‘cause more people can afford them-and that’s a good thing.” Yes,” he replied when asked if iLok kept the costs down.
It’s a similarly theft-proof concept to the one UAD employs, but it is far cheaper to implement (around fifty dollars dollars for an iLok instead of the seven hundred and up for UAD’s worthwhile hardware). However, Slate can only sell his products for a cheaper cost because he has ascribed to one of the only surefire ways of protecting his software from piracy: most of his products require something called an iLok-a “key” which you must physically plug into the USB slot of your computer in order to run the software.
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This speaks to what, exactly, sets him apart from many other designers of comparable software: other companies may offer similar products, but the cost of their software is often exponentially more expensive (a comparable Waves product can go for more than three times the amount of its Slate counterpart, and you can’t even install a UAD plugin without buying UAD’s expensive proprietary hardware to run it).
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Registered users can also use our File Leecher to download files directly from all file hosts where it was found on.Yet for having the foremost expert in this field by his side, Slate’s products remain remarkably cheap, which gets to the crux of Slate’s ethos: “I try not to make things that I couldn’t afford when I was twenty one.”
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New ADVANCED ALGORITHMS were created to execute the extremely complex communication system that would be needed to properly perform the new dynamic operations. What they found, was that in order to transparently add level to a mix, a dynamic and intelligent transient saturation system would have to be developed. After several months of study and hundreds of listening tests, they made some fascinating discoveries. They started by researching saturation curves and their effect on various types of transient material. Two years ago Steven Slate and expert algorithm engineer Fabrice Gabriel started working out the concept for a digital audio process that could increase the level of a mix without altering the punch and dynamic feel, or make the mix sound squashed and lifeless. Both static saturation and clipping have a small window of gain maximizing before audible distortion. Clipping greatly reduces low end punch and is very poor at retaining sub bass. Static saturation curves are not universal in their ability to sound good on all transients. However, both of these methods, while better then peak limiting, have their downfalls. Another popular method is clipping the front end of expensive A/D converters. One of the more popular techniques is the use of saturation in both the analog and digital domain. Some of the top mastering engineers have found ways to combat this sonic degradation by using techniques other then Peak Limiting. Peak limiters attenuate transients and often reduce punch, stereo imaging, can greatly alter mix balances, and cause a fatiguing result to the ears. One of the main causes of this epidemic is the use of the Peak Limiter to achieve increased levels in the mastering stage. Masters have become louder and louder, at the expense of the music becoming harsh and lacking punch and dynamics.
We have all been at the mercy of the 'loudness wars' for over ten years now. Imagine mastering your mixes without causing the lifeless, squashed, and over compressed sound that has become so common in modern music.
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