No, but it would be bragging!chilledpanda wrote: Hmm so is rendering at @24bit 192khz cheating? lol
You might alienate the Lo-Fi crowd and not win any votes!
No, but it would be bragging!chilledpanda wrote: Hmm so is rendering at @24bit 192khz cheating? lol
If you guys want my dog's vote... you better render at high quality!psmacmur wrote:Or disappoint those of us who are going deaf in the high frequencies! 192/2 = 96 which is well above the ~18kHz around where my hearing probably fades to 0, so I'd potentially be missing (96-18)/96 = 81.25% of your sound! Maybe more, I didn't get a good look at the chart. 8-bit @22kHz FTW!
Wow. Gotta try that. Great advice, thanks!Pulse Width Modulation wrote:We may need to check with the rules on this one, but you could always take the master channel level of your DAW so far down that the audio meter won't register much of a level at all. Even though you might be recording at 16 or 24 bit on your DAW, if you do this, you'll be using a much lower effective bit rate on your master level, probably much closer to 8-bit. You might be surprised how far down you have to take the level in order to down-grade even 16 bit to 8-bit! Remember that every time you halve the amplitude of your signal, you lose only 1 bit, so to get to 8 bits, it's quite a huge reduction in level.
Then after you create your final stereo WAV file, you'll see a waveform that looks pretty tiny and thin, but simply normalize it back to your optimum level, and you're set. Of course you'll hear noise and dirt, but that's the sound of 8-bit!
Also, you could downgrade your sample rate to 22 or 30 kHz. This will match the Lo-Fi quality of those 80's and 90's sound cards! If you like the approach, but don't like the result, experiment with backing off a little on the effect.
Hey, everyone, what's the rules on this? Because I've thought about this myself sometimes.
Yeah, most times there are some great OSC tracks; this month is shaping up to be no exception. I just got back from vacation, so I'm a bit behind on my track; hoped to finish it before I left but got tied up with other crap. I can't wait to hear the onslaught of masterpieces in the coming days (and perhaps the ones I haven't yet listened to).doctorbob wrote:Hey, just want to say that there are some great pieces in again (already). Looks like it's going to be another toughie to vote on. The OSC-ers never cease to amaze me...
Pulse Width Modulation wrote: SPECIAL 1984 VERSION OF SUBMISSION:
Hey all you gnarley dudes at the Single Synthesizer Challenge! I am mailing this postcard to let you all know I finished my bitchin' song, "Venice Beach Detective"
TRACK DETAILS:
10 Roland SH-101's! I bought a total of 4 of these babies, and had to borrow 6 more from the Berklee School of Music! I connected and daisy-chained all these guys to a Roland MC-8 microprocessor sequencer and bumped all the tracks to an Ampex MM1000 2-inch tape 16-track machine via a Yamaha MQ1602 mixing console, courtesy of Golden Smurf studios in San Francisco.
Other equipment used was a rented NEVE 33609 Stereo compressor, a Roland RE201 Space Echo. The tracks were mixed through a borrowed laboratory Analog-to-Digital/Digital-to-Analog converter so we could saturate it with that happenin'-new "cool-thin digital" sound that everyone seems to like now-a-days, before placing the track on 1/4 inch tape, via the Akai GX635DB reel-to-reel with Dolby noise reduction. To make it easy for everyone to get the track, I have compressed it down to size, by recording it at 3 3/4 inches per second speed. I hope you know that in submitting this track, it cost me over $230,000! So I hope I win the grand prize of the custom samples for the Fairlight CMI. Not that I have a CMI, but I'm sure there will come a day when everyone can have a CMI, maybe a day when can have a Fairlight on a little portable pad-like device you operate with your fingertip? Well, we can all dream, can't we!
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