I’ll most definitely have a look
but I can’t help noticing you very often start with ‘nah…’, thinking you got what others meant, and create straw figurines out of their arguments before even starting your own. it’s pretty clear what I wrote on AH can’t be wrong: there’s no comp, no limiter, its EQ is limited, and it’s an altogether different device from the IMC, feature-, price- and target audience-wise. it’s also clear that I CAN be wrong about many things regarding its usage. just like you can be wrong elsewhere, and just like you disqualified many arguments simply because ‘you know better’.
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Chill the fuck out man.
Dave probably does know better, given that he’s both the main sort of market for something like the IMC and has used it for it’s intended purpose.
Your “argument” is a shifting, incoherent mess that just seems to be fuelling your need to argue with somebody about something that doesn’t matter at all.
Maybe figure out who’s actually pissed you off today and go deal with them, yeah.
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And back on topic. I stated earlier I missed @DaveMech’s video when it came out, but after watching it has been staying with me. I don’t need the IMC at this moment as I’m not playing live again till spring next year, but damn. It looks like a great tool.
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The BWM-SL ! Better name imho. 
Sounds more German.
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I see now that The OG IMC is now 2690 euro in stead of 2999. Still quite expensive but that does make it more attractive
I only had a lone unit so I don’t actually own it 
still considering it when I start gigging a bit more again
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It was 2290€ 10 days ago.
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This has been a godsend for me as I lug a 900kg vinyl lathe to gigs
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Finally, someone who can have a laugh…
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yeah I know
but…because it just doesn’t work. can’t help that.
and once in a year a dirty work needs to be done, and shit must be said
With that level of dedication, why didn’t you just order one and test it? Might be easier than trying to guess behavior from the video…
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because it shows how to see things, and… how to distort them. the device is not the culprit in itself, and the argument is wider, as per introduction
cat person here. glad you care though 
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I’m surprised you didn’t hit some kind of character limit.
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Mine arrives today!
I will do an actual comparison with my Boum and +FX, for live mastering duties, and let my ears decide what’s better for my music.
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Congrats!
Edit: probably better to let jokes slide for now. 
Looking forward to your findings
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Maybe you had the Perkons turned off?
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I tried a hybrid setup, with a sample accurate midi clock - the midi clock is stable and it compensates correctly - the moment i put FabFilter L2 on the master bus, the latency gets screwed. I thought i had a error in my setup, and tried various things- and possibly went back to midi synchronization.
While investigationg a new midi interface, i found some posts from a guy, which had the exact same expierience as i did. So, it seems a HW limiter is the only way out here, as software is messing up synchronization. -I.e. thinking about putting such a device after a mixer, or after Lives output.
Maybe lives internal limiter would work more or less, with less latency - but its just not as good for mixbus compression.
I didnt even have oversampling enabled, its for sure even more taxing if set to 2x, 4x…
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L2 will always add bunch of latency, the least latency will be achieved with Transparent style but even then it’s ~10ms. actually, I’m not sure there are limiters without any latency at all, imo they all have some sort of lookahead or something.
Live limiter is like 64 samples (~1.3ms) on the 1.5ms lookahead setting.
you can try using something else for zero latency ghetto style limiting, obviously not real limiter but if you don’t push it too much should be good enough for recording/playing, and in post process you can just replace it with proper limiter:
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Glue compressor in soft clipping mode is another option for EOC with zero latency
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Sure i can try that, but i had a lot of “compressor” sounds with glue, maybe i didnt dial it in correctly, but i will for sure give it another go, before i dish out 1000€ - i find if you want to push the last db out of music, it gets difficult.
So far my testing - the glue is actually working fine, and has 0 ms latency, which is bit more practical for live usage. If its not pushed to hard, the distortion is acceptable, but i end up with - 10 db LUFs maximum, before its too much for my taste. Also when jumping between song sections - you see that spike, where it was not up to task, and just had this level bump - this could be problematic, if you had drastic changing sound sources. I didnt have to fast attack times, because then the distortion got worse.
I dont see it as snake oil, its like a lense to a a good mix in photography, sometimes good analog circuits have their advantages.
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