Random Production Thoughts


#951

oh and theres the brut guy/art tradition, that drops paint on his face and looks like hes dying from cigarets

super minimalist installation/pictures


#952

I didn’t think it was dismissive. I’ll consider saying something dismissive about it later though :corndance:

I’m just trying to put it into terms that exist outside of soundcloud, this forum and a Fact article.
The way it combines swooping synth melodies with samples of musical- and non musical sounds alike really reminds me of the way that tape music artists combined concrète and early elektronische musik. Maybe the 5 examples I heard were just particularly arty though. Fairly
noisy and erratic stuff. Definitely get what you’re saying about the post club origin though. There’s
a lot of Warp or Mego qualities.


#953

If I could just go back to this for a quick minute…
When I’m saving samples out of Audacity as WAVs I get this screen. I’ve just been saving them as WAV 16bit and judging by what you’re saying this should be ok as it’s CD quality?

However - Reaper let’s me set up a track in 24bit and then warns me when I import a 16bit WAV

  1. Would this affect the quality of the sample?
  2. Audacity offers no option for 24bit WAVs, so my only option is to continue with 16bit?

#954

Yeah, they should be fine. Most of my samples are 16 bit.

I think that 24 bit has become the recording standard over the last several years. More headroom with mics and stuff.


#955

Thanks, I’ll just stick to 16.


#956

It makes sense to work in a 24 bit environment (or higher) even if not all of the sounds that
you use, whether they are downloaded, recorded or synthesized are rendered at the same bit depth. The daw will just add some zeroes to each individual sample and it retains the exact audio quality (but slightly increases the file size). Bit depth is basically the digital representation of dynamic range and a high dynamic range is a good dynamic range.

Most people run their daws at 24 bit or higher and will eventually bounce their projects at 16 bit.
That part is more tricky because each sample is truncated to match the new dynamic range. This is where dithering comes in. I think I (and some others) have explained that technique on here before, I wouldn’t worry about it too much at this point.


#957

switch to 24 bit samples

work in 32 bit if possible (i’m running logic from 2001 and it does)


#958

So if I download a sample can I resample it to a higher bit rate, 16 to 24 for eg, in a different audio interface (audacity for eg) or will that degrade the sample?

And I should have my projects in Reaper set to 24 bit to give me a bit more dynamic range?

Tbh this is probably not something I need to be overly concerned with at this point but it’s good to learn it anyways


#959

Upsampling retains quality but increases file size.


#960

if a sample is already 16 bit … you can just leave it as is and it will be fine even with 24 bit sounds in the mix too

yes …just to have a bigger ‘room for interpreting what goes on inside those bits’ later on – because as you may know wav files degrade every time the disc inside a harddisk spins. It’s just more information about itself - a higher definition.

Wait… I think it should say something like running in 32 bit environment but saving samples in 24 bit, but if it says 'working in 24 bit, it probably means the same)… not completely sure though.

yeah its just a setting that will help - recalling information better. Precise rendering.

I’ts not the same thing as creatively using for example 8bit sounds.
That part is more about 8 bit being such a low key format that parts of the original sound is missing and then filled up with artifacts/ the computer rendering the missing bits. Like a black hole hahaha


#961

not sure if it’s since i’ve switched to windows 10 from 7, or if the shit is just too old now, but my interface has been a bit glitchy recently. sounds like it’s struggling to keep up with outputting audio and starts chugging from time to time. onboard audio (which i use as headphone out, when playing games, etc) is always fine.

getting a new interface (focusrite no doubt) should fix this i’m sure, but would a new interface change my CPU usage in FL?
ASIO is CPU based and my 99% CPU projects would still run shit on a new interface ye?


#962

did you try wasapi?


#963

not 64 bit switching aswell… because that could fuck up some vsts ?

just a thought


#964

i’ve not heard of wasapi until now, and i run FL9.1 so i guess it’s not compatible?

it’s not a 32/64 bit vst thing cos the card does it with youtube, media players, etc as well. in fact when running FL it’s normally at its most reliable


#965

Got something in the works. Think converter or wilt… They’re just working titles atm but I got one whole track finished and I’m excited about getting the other 3 done this week. Completely different way of working for me… details soon


#966

A new interface will have little effect on cpu strain in your existing projects. The interface doesn’t
really do any serious calculating, it’s just AD and DA conversion. Unless you buy one with internal dsp that can run plugins like a uad apollo. They have their own cpus.

It might make a notable difference if you’re running a low buffer size and the card has more efficient drivers. Like when you do live tracking in a daw, whether it’s midi or audio, you’ll
want a low buffer size (max 256 or so) to achieve minimal latency in the conversion. RME or UAD
cards for example will help because they are fast.

If those 99% cpu usage projects already have everything recorded and you’re just mixing and
automating stuff, you can jack up that buffer size and you should find the cpu won’t run as hot.


#967

on that note, iirc you dabbled a bit with ios apps to make music, anything you can recommend? feel i should try and toy around with new workflows, preferably free but can shell out some dough if its worth it

(this can wait til you recovered from the road trip no worries :salute:)


#968

Damnnnnnnnnnn the launch sounds massive with headphones!


#969

You can’t go wrong with any of these:

  1. ReSlice. It’s the most playable, “musical” sampling interface I’ve ever used and a lot of fun. Very feature-rich.
  1. Elastic Drums - incredibly powerful, much more than a drumsynth if you unlock some of the add-ons.
  1. DrumStudio: amazingly real sounding drum sequencing - you can create very nuanced beats with a lot of human feel. Also good way to learn proper drum notation.
  1. FieldScaper - challenging to understand, but the presets help. Makes really unusual and cool sound beds, pads, weird fx and atmospheres out of samples you load into oscillator slots. You can walk up to, say, a chicken and record it and the result might sound like a Lovecraft monster, a haunted aquarium, or any other number of strange tings.

edit: @faultier oh yeah - SpaceCraft too! A lot of fun, super usable.

SpaceCraft Granular Synth by Mark Watt


#970

This advice might sound simple, but that’s what makes it so good.

CRAZY

That’s my advice.
Be more crazy.

There are probably other ways of saying this, like “take greater risk” or something, but it’s not as fun.

Like open the DAW and be like… I’m going to make the craziest shit I can.
Tell me what you get, because maybe this is a disseminatable theorem applicable to a wide range of contexts, from the arts to commerce to engineering, etc.