I recently had a conversation with a student from the garnish school of sound, who described the company as a "glitch-dubstep-lo-fi musician", he described a couple of his songs that turned out to be more than something that a visitor can expect from youtube to mp3 converter such a description. After i asked him about his production, he was happy with me: "i make my melodies with a low probability of sampling and bit rate in general for the project.", Here i was slightly confused for this reason i asked him to tell me. Probably all the samples and synthesizers included in it were imported / played back automatically at a sampling rate of 22,050 khz with a 12-bit bit rate. The entire program was also focused on such values. Now far from impressed, i asked him about the factors. I asked him if there was any problem with the computing power, and he told me why the iphone was first-class and how he would be able to set up a draft document at the most serious rates whenever he wanted. Despite this, the things he complained about were the problem in providing the required depth or heat in his tracks. When i got home after checking out the baffling chat, i went online and checked his tune on soundcloud. The result will be everything i expected: a flat and low-quality-sounding selection of audio files. The song itself was devilishly good, including many fantastic rhythmic levels, with professional syncopation and groove. The happiness issue and song aspect was beautifully presented, with the bass lines progressing as well, meaning the dub-sedately wobbled and wobbled with great interesting twists. The mixes were balanced, accessible, and appropriately compressed. Be that as it may, each sound was lifeless, devoid of depth, and had a large hole in where a large dub-stepan spoon should have been. The reason why i felt so uncomfortable in the process of talking to this guy was that the idea of purposefully reducing the quality of the sound, before making out something, also with the original work, becomes a complete mystery to me. Distortion, crushing discharge and overloading sounds-a proven option to operate with sound and hope for new ones, and the most remarkable thing here in our situation and with the expected effects in reality, assumes that everyone has a search, in order to contain them. Thanks to a clean recording, beautifully edited samples and extremely high-quality environment for writing an essay or work, in the house there are full perspectives on the ground in order to pass sounds through the mill too much, as the owner will please. But when you start a track with viciously over-compressed drum hits, impossibly overloaded synth samples, and rough top-notch limited bass, there's so much cost you'll have to manage with that. You will no longer be able to return the lost dynamics, the purest alarm of a distorted instrument or a level devoid of crushing bits. You can easily, a representative of the strong half, with whom i chatted, had the idea of what exactly he was trying to get, and then he started surfing absolutely wrong. It is convenient to make the mistake of thinking that due to the fact that the really serious deformed audio signal in the track, who you are interested in, sounds amazing, applying a large number of distortions indicates the same or similar sound; yet, this is a bit wrong. However, this is a somewhat rude proverb: "put the garbage, take out the garbage." Fill in the keyword "junk" with everything you like here.. In order to show anything you have the opportunity to download, say, a long-term strength string from a guitar and arrange two beats in a particular daw on separate tracks, both recorded with a 24-bit, 96 khz guarantee. Take a single one and convert it, we note, to popular ones with a speed of 128 kbit / s. Then put identical guitar amp plug-ins, including a logic amp simulation, and see which of these is possible to create even more powerful. You take the chance to repeat such a movie review with the help of a high-quality synthesizer sound or even a vocal take. Very carefully listen to the difference in texture, depth and richness, which is the best of those, especially at the end of the passage of the effects. 96 khz, 24-bit soundtrack when compared with mp3 is very extreme, but it simply indicates the difference as. I'm not saying who you want to see the purest noise, in order to make good recordings, only when or if the level appears, why drop it? Scratch a little in the world of music technology and the visitor will definitely be faced with a continuous discussion of the advantages of digital and analog equipment. Only a couple of decades ago, digital technologies were sometimes the holy grail of music production. There is nothing more in their power and the thrill of the tape and synthesizers, who did not need to be configured and saved settings, instead of registering parameter values. In addition, digital sampling services and the lack of the need to hire musicians have made many producers weak at the knees. Despite this, it was not destined to come true. When the musicians found out that the samples are not able to test their luck, so the musicians, and from what the load capacity of memory and computational capacity are able to apply just the lowest sounds, these exhaled exactly and corresponded to the phone to their own favorite instrumentalists. However, many different musical directions have grown out of such restrictions, but after all, this is a different story. But as if it was cooler than the lack of ways to bring to life everything that promised digital sound, it became clear early on why, in the position of sound quality, everyone remained very far away. Moving on to the real thing, there's also the possibility of accurately selecting instruments with layers of speed, multiple voices, machine gun condoms, and possibly more computing power than the entire first batch of music computers combined. Moreover, a trained ear distinguishes a sampled instrument from a genuine one, and it must require a pleasant enough feeling to cheat anything. I digress a little, but the combination of factors implies why the quality level is important and should be maintained. An additional factor that affects the quality of audio in the production of audio on a computer is a light synthesizer. And once again, digital sound does not really manage to get to the level of analog. Don't get me wrong, it seems to me that digital sounds are fantastic, this is the music i use, and also i have never found an analog synthesizer, but i am aware of how cool the melodies are audible. The fundamental important reason that melodies are heard more intelligently is harmonics. Because the electrical technology in analog synthesizers is imperfect, these come up with mildly imperfect signals. As far as the cordiality and prosperity of the analogue shines through. Before the digital one, it is unnecessarily perfect, a primitive set of coins and zeros recreated to simulate the result of an electrical circuit. Additional heat or lack of it helps to tell the other sample. In order to simulate an analog of heat, there are plug-ins for such simulations or other methods, including passing the sound through a tube-driven guitar amplifier and re-registering it in order to return it to a slightly bite. In fact, the more intact detail the digitized noise has, or the larger the sampling frequency range, the more voluminous the harmonics of the main material should heat or "excite" in order to return it to this essential color. Just to point you in the right direction, i suggest that all digital musicians try out such caution. Forever use the maximum bit rate and sampling rate that your setup allows. When it comes to the fact that from time to time you have to freeze a track and still jump from a couple of tracks to re-import the sound in continuity, how would that be? Constantly record with the highest possible speed, but do not downgrade any alarm to the most recent step, in other words to mixing and modifying at the mastering stage. Make sure that the hardware or software you use does not degrade the audio quality. Do not sacrifice sound quality for the sake of volume on a hdd with audio libraries. Still, the room on the screw is now just as inexpensive as the chips, take advantage of this advantage. When you need to convert, make sure why gamblers often do it for longer, at the same time as the maximum result. It is important in this case-do not let the low quality limit your discovery in the finish of the music. Invariably, make sure that you can prefer as passionately as you can, before it is available, every vital quality. Indeed, it is better to get the probability to double measure and it is time to cut the main one. When you get to the end of your track and you still want to dirty it worse than the most distorted gabba ever created, please perform the procedure, after which you will be happy to leave. Similarly, think about the poor devils in the early eighties who shaved milliseconds off the soundtrack-the tail of the sample-in order to save precious kilobytes, so that they had six instrumentals in a single track, but not five.