They can be .FLAC too, or .WAV or any lossless format. Only depends on the source.
CD quality means the analog signal has been sampled at 44.1kHz (44.100 times per second) and a bit depth of 16 bits.
HD files means that their quality is superior, on the frequency of sampling, and/or the bit depth.
In the case of files provided on the pendrive with TGWTDT special edition, it is sampled at 96kHz, and, I guess on 24 bits. So a better quality than CD format.
Better than it was ? What the hell are you meaning ? It has been recorded obviously in HiDef, and degraded for your old silver spinning format you love. Can I remind you that Bluray is also in Hidef sound ?
So you cannot beat flac, even in hidef because flas is hidef. But you can beat fucking CDs, they look cool but sound is digitally cut into bits, it's all about bits. They said before that 16/44 (or 16/48 that fucking dont change anything) was enough to lure human ear, then vinyl people came around and said that vinyl were far more "warm". Ok then what about giving more than twice more bits for the same sound ? will we then have that unfamous warm sound ?
Hidef is 24/96 some NIN releases are just 24/48, remember that Mhz or Bits share the same idea : give more bits for the sound. So the sound will be more close to the real sound.
Now it only work if you're mastering them in 24/96 Trent is very carefull with that, remember that he repaired The Slip download when someone complained it was false 24bit sounds. Or... you can remake old stuff like TDS, if you take analogue rushs to remasterize them again on a modern machine, because analog sound is not cut into bits, that's the same idea behind bluray and old movies, and that's what Trent did when he released TDS into 24/48
increased Bit Depth increases the dynamic range. so that means quieter parts have the ability to be quieter and loud parts have the ability to be louder.
increased Sample Rate changes the range of frequencies that can be heard. most peoples ears can't hear below 20Hz and above 20kHz (44.1kHz sample rate means the highest frequency heard is 22.05kHz, 48kHz means the highest frequency heard is 24kHz, etc.) so it's all just icing on the cake.
If the artist and engineers master it properly, there's very very little difference between 16bit and 24bit for music, not enough to hear in most listening environments, but that's not always the case. Some music benefits greatly from the extra sample depth in a quiet room equipped with high-end playback gear. I think the rate it's sampled at only improves things if the playback gear you're using takes advantage of it. Most modern hi-fi systems upsample everything to 96kHz or better anyhow, and the benefit of avoiding that step down to 44.1 is really tiny, again providing that it was done properly. For most modern music, I'd say it is of little or no benefit for the consumer, especially given where and on what systems people are listening.
Trent and Atticus master their albums with wide dynamic range, but for the loud aggressive stuff they use a lot of hard limiting in the mix as part of the creative effect, which is something that generally makes people who defend high-def digital turn their noses up at for being "undynamic". Clearly TR and AR feel it is still of some benefit to deliver this in high-def, or they wouldn't offer it.
Much like the killer in the Dragon Tattoo film, if you are one of those who have gone to the lengths of investing in a sealed basement hi-fi clean room, complete with torture chamber and Enya reel-to-reel, $300 for a little more software to play back on it isn't too much.
Last edited by botley; 03-17-2016 at 09:57 AM.
Re: warm sound
I know it's totally subjective but when i compared cd and hi-res, the latter felt "colder".
That may be because our brain isn't doing that extra bit of work subconsciously reconstructing missing details (or filtering out tape or needle noise) when dealing with higher resolution.
I'm not talking about gear, I should clarify about "colder" then. Colder without negative meaning!
See, when you take raw photo you have high resolution and with it you have optical imperfections and little details that aren't essential to the subject of the picture. That's "colder", then when you do some cropping, touch-ups and level correction it becomes "warmer".
In audio processing that same principle is defined by "dry" and "wet" words, right? Will you disagree that higher resolution gets you closer to "dry" (or "cold") signal?
In our case (in music with electronic elements) "artistic value" and our enjoyment of the sound is often related to how artificial it is (in other genres sometimes it's the opposite: how clean, natural and untainted). So, warmer (wetter) means more processed and distorted whereas hi-res recording gets us further from desired effect.
In conclusion, hi-res is not a straight road to "warm" music
If that's what they sound like to you, then that's great. I'm saying for most people it's probably not worth the extra premium cost.
Was it ever mentioned that the CD-Text for Disc 1 lists the artist for "Immigrant Song" as "Karen O with Trent Reznor "? (space is present)
I listened to the FYC promo, in the movie's chronological order as opposed to that of the FYC CDs. The URL's below feature both the CD track listing and the chronological track listing, as well as the differences in track titles:
Though the FYC may have some abrupt song endings and some tracks repeated with slightly different instrumentation or editing, it had a strong impact on me; and I've listened to the regular three-hour version countless times. Just like the movie itself, it ends with "Heartbreak" (What If We Could?) and it felt like a stronger way to finish the album than the noisy crescendo at the end of Of Secrets. Immigrant Song and IYLSE are not on the FYC. I wish their film mixes were in there as well, but, still, even if I've played every track from the official CDs so many times that I'm sick of them, the FYC helped me appreciate it even more. Those subtle differences are key.
I've seen the film only once, in the cinema, and the beepings and buzzings of "Infiltrator" around the theater made me cry, since Trent had tweeted that a surround version would not be available like TSN was (his response to "why?" was "Long story...").
I'm eagerly waiting for the FYC of Gone Girl to surface. We almost had it... *grumble*
This album has surpassed its own usage in the film for me. Starting this soundtrack from start to finish is always an event, much like watching 2001 in its entirety or something. Very emotional journey.
It's Aphelion today, celebrate. :-)
(btw, interesting this 5000000 km difference has negligible impact on temperatures here... also it was funny when Waze asked me for confirmation that I'll be going "there" because I have it in my calendar, yes I will be on Earth, thank you)
I've always found the time signature for Oraculum interesting, anyone know what it is? 5/6 6/6 5/6 6/6?
Anyone able to help in getting The Girl With The Dragon Tattoo For Your Consideration in lossless? Please PM. Many thanks!
Apologies if this has been covered already, but are the track titles taken from the book? I seem to remember hearing Trent say he read the book for preparation.
I've been furious for days. I mean, this was always hinted at but now pretty much confirmed. This is weak reasoning that unnecessarily disrupts this series of remakes, which I considered to be of one entity since Sony is has the rights to all of them. Really it's just ego and money, and don't get me started on them skipping books 2 and 3 just because the 4th was shiny and new in 2014.
(https://twitter.com/fedalvar/status/841675219228020736)Q: Awesome news! But I'm a little disappointed that Mara & Craig won't be returning, what's your reason?
A: It's said that 50% of the director's work is casting. If I'd just take Fincher's (amazing) casting, I wouldn't be doing half of my job.
Where do we boycott this thing?
Last edited by blassster; 03-17-2017 at 10:09 PM.