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One knob. Two axes. Sample rate and bit depth move in opposite directions, making every position a different coordinate of digital fidelity. There is no neutral point, only different kinds of character.
VST3 and AU. macOS and Windows. No iLok, no dongle, no account.
One Theory. One Knob. oneTHNG™
Hit BYPASS at any point and the untouched signal takes over without losing the playhead. Level is matched across the sweep in the plugin and in these renders, so what you hear change is character, never volume.
Every lo-fi tool you have used gives you a sample rate knob and a bit depth knob and asks you to go find the pair that sounds like a record. Not here. In the machines this sound came from, the two were never independent.
So they are welded back together and handed one control. Every position on the dial is a specific coordinate of the two.
Neither end is a clean setting.
The untouched signal is not on this knob at all. It is the power button in the top bar, and that is also what you should use for your A/B: comparing hard left against hard right tells you nothing about how much of the plugin you are using.
Live. Drag the slider, or jump with the buttons beneath it.
A knob, a switch and a button. Level is matched across the whole sweep, so moving the knob changes the character and not the volume.
The converter voicing, always in circuit. IRON is an older machine, well kept. WORN is a tired one: fatter low mids, softened highs, and a whisper of converter grain scaled by the envelope. It sits ahead of both reduction stages, so the voicing is baked into the grit rather than sitting on top of it.
Every position is a coordinate and none of them is neutral, so traverse it end to end rather than nudging around one point. The default lands on 32k · 12-bit, not pushed hard in either direction, a balance of bandwidth and resolution that makes it a useful place to start listening. Moves are smoothed and the switches crossfade, so you can sweep it across a bar while the track plays.
Drives the signal to make high harmonics, then decimates it with no anti-alias filter, so everything above the fold line comes back down as inharmonic metallic grit. The fold point tracks the sample rate the knob is producing, so it speaks at any position and not only at the extremes. Off is a starting point. On is a decision.
Converter color first, so COIL changes what gets degraded rather than sitting on top of it. RING last, so it folds whatever the rest of the plugin has already made.
Fidelity Theory is No. 01 of three. Two more Theories follow, one a month, each its own question and its own experiment.
No gate, no address, no waiting. Two editions, because a desk reference and a field book are not the same document. Read either one before you spend anything.
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