Reviews & Testimonials
Timo Wildenhain — Head of Professional Audio at Steinberg Media Technologies GmbH
“We have chosen LINpro dithering for our high-end mastering software WaveLab Pro 11 because we didn't want to make any compromises regarding sound quality and ease of use. LIN is simply the best dithering on the market.”
Fredrik Kinbom – musician and indy engineer
“I have now done a shoot-out with the dithering in…(my previous favorite)…with the LINpro on various settings. I never thought the type of dithering could make much of a difference, that it was more like ‘make sure you use something good’. But I can hear (on my Audeze LCD-X cans) a clear positive difference - with your dithering the sound is more open, like a lid is lifted slightly and the sound widens a bit. On both noise shaped and non-noise shaped settings. It’s a few ‘millimetres’ of a difference but, in mastering, those millimetres are so important. Amazing! :-)”
Alberto Rizzo Schettino, Fundamentals of Mixing || MAAT Digital Core Plug-ins
Schettino has created a comprehensive look at many of our products and how they fit together
Richy Hughes - Binary Feedback Mastering
“When I compared LINpro’s flat triangular and triangular high-pass to my usual dither options, I immediately felt that all elements of the sound picture were reassuringly ‘locked in’ with an effortlessly natural presentation to the music. In particular, the depth and physicality in the low mid and bass regions have to my ears been exceptionally well preserved.
I’m also both surprised and impressed by the shaped modes. With many other shaped dithers I’ve often had the feeling that it was adding subtle excitement or airy sheen to the perception of the sound, particularly when noise is heavily shifted towards the very top end. With MAAT’s shaped options, I felt very differently. Rather than seeming to gain a characteristic as such, with LINpro it felt more like I had a choice of precision audio lenses. With one of these in place, I was simply hearing certain areas of the mix presented to me with greater depth through the DAC. The different shapes can help me define the focal point of the dither within the mix. Of course, not every choice of ‘lens’ can be the correct one for every picture, but I often find myself returning to the 8th order options in favour of flat dither. They can help capture the sense of space in the mid–range, revealing a deeper and more richly textured background on the output, but without any feeling of misting or unwanted excitement elsewhere.
I also appreciate that rounding/truncation is performed inside the plugin itself, which gives me confidence that what I’m hearing on playback from the workstation translates to any fixed point offline rendered files.
I don’t believe that LINpro will replace my other options entirely, but it has in a very short time become my template starter for creating masters and subsequent deliverables. So far, it has not been removed in favour of anything else.”
R.S. - Indy engineer
“Just bought the LINpro dither stereo version because that 9th order psychoacoustic dither is one of the most transparent dithers I’ve heard in a long time. I had been using the Sonalksis Ultimate Dither plugin set for mastering and either acoustic or hybrid material (which I think can be better than what iZotope offers). But the 9th order dither with rounding for 24 bit audio at 96K (mixing down from 32 bit float) is incredibly natural sounding. I think it also beats out the old Apogee UV22 dither (which Logic no longer bundles but Steinberg Wavelab includes it). UV22 always seemed like it did something special (in a good way) to the low end, but sometimes at the expense of the midrange and high end. But (LINpro’s) psychoacoustic dither seems to just evenly affect the entire spectrum.”
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