And since there are no double-blind studies supporting this tech, both using and adding any of these features to your software would only be propagating this scam further? I.e. far more than just lecturing "about stuff that isn't true" this actually physically implements features that are not true?.. OK, at least you are staying consistent.

(Also, looking forward to you discovering that there are not many double-blind studies supporting the "delusion" that the effect of a low pass filter is real and not just something we can measure but can't hear.)

To your main point: yes, all artifacts are just our learned, cultural, developed preferences. In the exact same way major/minor thirds were considered dissonant just a few hundred years ago - it's all a learned perception, not an absolute judgment.

I would go even further, doesn't matter whether people perceive aliasing as a major issue, it's no different from the U47 "warmth". You can't afford this, probably, as a software developer in a way, but at the most fundamental level any sound's - or artifact's - judgment is based on our our current diagram of "sounds nice" vs "sounds bad".

And absolutely - I blind tested coverters extensively. Mbox2, Black Lion Audio upgraded converters, UA, Prism.

Firstly, it's an amazing experience to randomly interact with people like you - I love and use your software. Hats off and thanks for what you offered to the industry!

But secondly, your statement makes even less sense to me: obviously artifacts do add up. Yes, not linearly, like any complex audio in general. But the more tracks with artifacts I have, the more artifacts I have overall. It's not like they cancel each other (outside of normal frequency cancellation).

This space is not driven by a single precise formula. 48/96 kHz helps some engineers to produce better sounding mixes. Can everyone hear the extended range of Adam tweeters? Probably not. But some can, and they benefit from that. Even if there is no double-blind study to prove this in absolute terms.

I know from my 20-ish year mixing experience that I can hear the difference when mixing. Is it good evidence? No. So we can agree to disagree then.

A quick search returned this PDF with a nice diagram of what aliasing looks like: https://download.tek.com/document/76W_30631_0_HR_Letter.pdf

To draw a design parallel: pixel-perfect design isn't something we are born with, noticing tiny details is a developed skill.

And yes, you are on point: oversampling is used extensively, but this just points at the exact issue: Nyquist theorem gave us a math algorithm, we still need to account for the electronic component imperfections. And then we are entering a different space of quality/precision/psychoacoustics/perception/etc. Meaning, not all converters, not all pre-amps, not all mics "sound" the same, even when they use same types of components on paper.