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Message: [QUOTE="Shamiso, post: 92486, member: 160"] De-artifact Cloud and the plug-in use the same cleanup engine, but the cloud fixes one preset while the plug-in exposes 32 parameters. Same core processing, very different working day. The browser version is basically the hand-it-over option. Upload a file, let Intrect’s GPU worker process it, then download the cleaned result without opening a DAW or installing anything. The local version is where [B][URL='https://goldmidi.com/community/threads/intrect-debuted-a-de-artifact-for-ai-audio-repair-software.77884/']de-artifact’s full DAW cleanup workflow[/URL][/B] lives. You get the residual monitor, harmonic and percussive control, emphasis bands, resonance handling, transient protection, presets, and the ability to keep adjusting while the track is actually playing in context. [HEADING=2]Cloud works best when the decision is already simple[/HEADING] De-artifact Cloud is currently priced as prepaid cleaning time rather than a subscription. The published tiers are $10 for 40 minutes, $25 for 120 minutes, and $50 for 275 minutes, which puts the rate between $0.25 and $0.18 per processed minute. For one-off jobs, the math is pretty friendly. A three-minute song costs well under a dollar at the listed rates, and you do not have to care about plug-in formats, CPU load, DAW compatibility, or whether the machine in front of you is your normal studio computer. Speed helps too. Intrect lists cloud processing at roughly 20 times real time once a worker starts the job, so the compute part of a normal song is measured in seconds rather than minutes. Upload time and queue time still exist, obviously. The catch is control. Cloud runs one tuned preset. If the vocal needs less harmonic reduction, the cymbals need more protection, or the residual says useful music is disappearing, there is no full control surface waiting in the browser. It is also one file at a time through the dashboard, with no public REST API at the moment. A few tracks are easy. A giant catalog starts feeling less automatic once somebody still has to feed files into a browser manually. [HEADING=2]The plug-in earns its price through repeat work and control[/HEADING] The plug-in is currently $149 during Intrect’s release pricing window, with $179 listed as the regular price. At $149, the simple break-even point against cloud rates lands around 596 minutes at $0.25 per minute, 710 minutes at $0.21, or 828 minutes at $0.18. Those numbers are not a command to buy anything. They just show where per-minute convenience starts losing its financial edge if you clean audio regularly. Ten hours of material can disappear surprisingly fast if you work on albums, stems, alternate mixes, client revisions, or several versions of the same track. Cloud billing counts submitted audio length, so every fresh full-length pass uses more cleaning minutes. The plug-in has no per-minute charge after purchase and works locally once activated. More importantly, you can stop treating cleanup as a single render decision. Dial a vocal differently from the master, compare the residual, back off transient damage, and hear the result against the rest of the chain. A 14-day full trial also changes the risk a bit. You can test the actual plug-in on your own sessions before deciding whether the extra control is useful or whether the browser result already does everything you need. [HEADING=2]File format and workflow can quietly decide the winner[/HEADING] Cloud accepts WAV, FLAC, MP3, OGG, Opus, M4A, and AAC, with a 50 MB limit per file. Intrect recommends WAV or FLAC for the most accurate cleanup because lossy files give the processor less source information to work with. There is a real technical reason to care. [B][URL='https://doi.org/10.1109/TASL.2008.918979']Perceptual coding artifact analysis[/URL][/B] documents how lossy audio coding can introduce its own time-frequency artifacts, so repeatedly converting a damaged source just to squeeze it through another workflow is not a harmless clerical step. FLAC is the obvious cloud-friendly compromise when an uncompressed WAV gets too large. You keep lossless audio without carrying the same file size, which matters because a long stereo WAV can hit a 50 MB ceiling before the music itself feels remotely “long.” Local processing avoids the upload ceiling entirely. It also makes more sense when the damaged audio is already inside a session, and you know the cleanup will affect later EQ, compression, limiting, or stem balance. Cloud makes more sense when the file is basically finished, and the problem is obvious enough for a fixed pass. The plug-in makes more sense when cleanup is still part of mixing, because being able to hear what the processor removes is often worth more than saving a few clicks. [/QUOTE]

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