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Thread: Ghosts V: Together & Ghosts VI: Locusts

  1. #481
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    I find it strange that 7Digital Hi-Res is 24/44. Aren't NIN and their scores 24/48 or 24/96? First I've seen 24/44 with them.

  2. #482
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    Quote Originally Posted by neorev View Post
    I find it strange that 7Digital Hi-Res is 24/44. Aren't NIN and their scores 24/48 or 24/96? First I've seen 24/44 with them.
    yeah Trent prefers to record at 24/48 than higher resolutions so it is strange. The streaming on amazon music is 24/44 as well.

  3. #483
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    So... here is my first world problem for today, I want to burn these 2 to CD but as you all know locusts is 83mn.
    I can always try to over burn but I'm not sure by how much i can go so any of you guys have a suggestion on what would be a good edit to take out say 2mn?
    I'd like to keep all 15 songs in and just try to splice out a part of some.

  4. #484
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    Quote Originally Posted by armogi View Post
    So... here is my first world problem for today, I want to burn these 2 to CD but as you all know locusts is 83mn.
    I can always try to over burn but I'm not sure by how much i can go so any of you guys have a suggestion on what would be a good edit to take out say 2mn?
    I'd like to keep all 15 songs in and just try to splice out a part of some.
    Cutting a whole track is butchering, so maybe cut the end of Turn This Off Please, as it's 13min long. I wouldn't cut it because it's one of my favorites, but it won't harm it as much as the others, because its end is a slow comedown.

    Though cutting a little bit of everything could work, but that feels very wrong to end or begin everything with a fade.

  5. #485
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    Put "The Cursed Clock" on the end of Ghosts V. Now there is enough room on both discs for a standard 80-minute program. Problem solved.

  6. #486
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    Oh man, I guess you're probably just being silly but Cursed Clock is my favorite album opener since Somewhat Damaged

  7. #487
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    Quote Originally Posted by Strohbie View Post
    Oh man, I guess you're probably just being silly but Cursed Clock is my favorite album opener since Somewhat Damaged
    yeah, isn't it blasphemous or something to mix V and VI, they each are their own thing!!!

    And for those who care about fitting VI on an 80mn CD I think I am going to try chopping so tired, as a track it seems more redundant than turn this off, it's hard to cut anything in turn this off whereas so tired is more or less 4mn of the same.

  8. #488
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    just use two 90 minute cassettes!

  9. #489
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    Quote Originally Posted by eversonpoe View Post
    just use two 90 minute cassettes!
    I totally LOL'd.

  10. #490
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    Quote Originally Posted by dtuck90 View Post
    yeah Trent prefers to record at 24/48 than higher resolutions so it is strange. The streaming on amazon music is 24/44 as well.
    Not to go wildly off topic, but is there a source that talks about Trent working that way? Would like to dig into that more if it exists. I'm interested because stuff like older NIN albums like The Slip, the DE downloads, and The Social Network BluRay are all 96/24, but more recently the TR+AR stuff shifted to 48/24. I assumed it's because the standard for video tends to be 48kHz, but if there's another reason in terms of the math/fidelity/etc., I'm curious. I'm working on my own stuff right now and trying to decide where to land in terms of those specs as they relate to processing power, file size, sound quality, etc. If it's good enough for Trent, I'm sure it's good enough for me.

    Unless, of course, the sampling rate of the mp3s is another clue that Ghosts V & VI are tracks from The Woman in the Window or elsewhere from the unused pile. Sorry for getting rant-y about sampling rates, but figured the ETS camp would be more forgiving about it.

  11. #491
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    Quote Originally Posted by eversonpoe View Post
    just use two 90 minute cassettes!
    I don't know if you were trying to be facetious, but I did the math and that would actually totally work for Ghosts VI, as side 1 would come to 43:18, and side 2 39:53.

    This also reminds me how fucking much I miss making mix tapes and the art of having to obsessively check the math that came along with it.

  12. #492
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    Quote Originally Posted by variablebitrate View Post
    Not to go wildly off topic, but is there a source that talks about Trent working that way? Would like to dig into that more if it exists. I'm interested because stuff like older NIN albums like The Slip, the DE downloads, and The Social Network BluRay are all 96/24, but more recently the TR+AR stuff shifted to 48/24. I assumed it's because the standard for video tends to be 48kHz, but if there's another reason in terms of the math/fidelity/etc., I'm curious. I'm working on my own stuff right now and trying to decide where to land in terms of those specs as they relate to processing power, file size, sound quality, etc. If it's good enough for Trent, I'm sure it's good enough for me.

    Unless, of course, the sampling rate of the mp3s is another clue that Ghosts V & VI are tracks from The Woman in the Window or elsewhere from the unused pile. Sorry for getting rant-y about sampling rates, but figured the ETS camp would be more forgiving about it.
    recording at 96kHz tends to add a lot of unnecessary noise to the high end of the recordings. while it may not be able to be heard outright, it can affect the other audible frequencies by interacting with the harmonics. it also literally doubles the file sizes of all your assets. i believe that was what TR+AR's reasoning was, from what i remember reading.

    Quote Originally Posted by halo eighteen View Post
    I don't know if you were trying to be facetious, but I did the math and that would actually totally work for Ghosts VI, as side 1 would come to 43:18, and side 2 39:53.

    This also reminds me how fucking much I miss making mix tapes and the art of having to obsessively check the math that came along with it.
    was being 100% serious! if i wasn't, i would have used an emoji haha (or said haha)

    i still have a tape deck as part of my stereo and all i want to do is make tapes for people but no one i know has one, so i have to settle for spotify playlists :/

  13. #493
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    Quote Originally Posted by variablebitrate View Post
    Not to go wildly off topic, but is there a source that talks about Trent working that way? Would like to dig into that more if it exists. I'm interested because stuff like older NIN albums like The Slip, the DE downloads, and The Social Network BluRay are all 96/24, but more recently the TR+AR stuff shifted to 48/24. I assumed it's because the standard for video tends to be 48kHz, but if there's another reason in terms of the math/fidelity/etc., I'm curious. I'm working on my own stuff right now and trying to decide where to land in terms of those specs as they relate to processing power, file size, sound quality, etc. If it's good enough for Trent, I'm sure it's good enough for me.

    Unless, of course, the sampling rate of the mp3s is another clue that Ghosts V & VI are tracks from The Woman in the Window or elsewhere from the unused pile. Sorry for getting rant-y about sampling rates, but figured the ETS camp would be more forgiving about it.
    I'd like to know, too, but I assume it's because they are generating stuff on tight timelines, and the turnaround for mixing/processing/mastering for the multiple projects they'll have on the go is easier and more flexible at 48kHz. Back when they did a Reddit AMA with everyone from How to Destroy Angels the answer was "currently subscribing to the belief that it actually sounds better than 96k". No elaboration. Perhaps they found that they were getting aliasing/other undesirable effects when upsampling stuff to 96kHz in the chain, when a lot of the jamming/looping stuff is happening 'in the box' so to speak. Dunno.

    Interestingly enough, many other pro audio sub-sectors still use 44.1kHz as the standard (mostly in voice-based stuff like audiobooks and podcasts), and almost all streaming services deliver their final product at that rate. *stares in Neil Young*

  14. #494
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    Quote Originally Posted by variablebitrate View Post
    Not to go wildly off topic, but is there a source that talks about Trent working that way? Would like to dig into that more if it exists. I'm interested because stuff like older NIN albums like The Slip, the DE downloads, and The Social Network BluRay are all 96/24, but more recently the TR+AR stuff shifted to 48/24. I assumed it's because the standard for video tends to be 48kHz, but if there's another reason in terms of the math/fidelity/etc., I'm curious.
    I remember there was an interview around the time Girl With The Dragon Tattoo came out, where Trent said that they had worked in ultra high fidelity for The Social Network's score, but after working with Fincher's audio team on the movie and seeing that they all operated in 48/24, he thought something along the lines of, if it's good enough for them then 96/24 is probably overkill, and that's why each subsequent film score has been at 48khz. At least, I don't think they've been available at higher fidelity. It probably also saves time in terms of conversion & synchronization, when working with film.

  15. #495
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    Quote Originally Posted by botley View Post
    I'd like to know, too, but I assume it's because they are generating stuff on tight timelines, and the turnaround for mixing/processing/mastering for the multiple projects they'll have on the go is easier and more flexible at 48kHz. Back when they did a Reddit AMA with everyone from How to Destroy Angels the answer was "currently subscribing to the belief that it actually sounds better than 96k". No elaboration. Perhaps they found that they were getting aliasing/other undesirable effects when upsampling stuff to 96kHz in the chain, when a lot of the jamming/looping stuff is happening 'in the box' so to speak. Dunno.

    Interestingly enough, many other pro audio sub-sectors still use 44.1kHz as the standard (mostly in voice-based stuff like audiobooks and podcasts), and almost all streaming services deliver their final product at that rate. *stares in Neil Young*
    i record everything at 44.1kHz \_(ツ)_/ never found it necessary to do 48k since most people can't even hear above 20k, and i like the character it gives my music.

  16. #496
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    Appreciate all the feedback. That HDTA AMA info is especially interesting. That being said I’ve worked at 44.1, 88.2, and 96 and I don’t honestly know if I have the ears or the gear (or both) to discern the difference. A lot ends up at 48/24 anyway on my iPhone given its playback specs and that’s probably not dissimilar for a lot of listeners, so IDK. I figured 96 felt future proof enough while 192 felt like overkill unless you’re like transferring Beatles master tapes. Lately my CPU would rather everything NOT be 96, though. Guess Trent had a kind of idea seeing Fincher’s team work. I do wish there was a higher res or physical option for mid90s, though. Love it, but kind of struggle with the intangibility of it.

  17. #497
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    Quote Originally Posted by halo eighteen View Post
    This also reminds me how fucking much I miss making mix tapes and the art of having to obsessively check the math that came along with it.
    Yass. The amount of time I spent figuring out my own CD dub-offs for the car and mix tapes for people...

    Quote Originally Posted by eversonpoe View Post
    was being 100% serious! if i wasn't, i would have used an emoji haha (or said haha)

    i still have a tape deck as part of my stereo and all i want to do is make tapes for people but no one i know has one, so i have to settle for spotify playlists :/
    I still make mix CDs for my friends!

  18. #498
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    Quote Originally Posted by piggy View Post
    I still make mix CDs for my friends!
    hi, we're friends now! i am going to make you one. gimmie a theme and i'll run with it!

  19. #499
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    Quote Originally Posted by eversonpoe View Post
    hi, we're friends now! i am going to make you one. gimmie a theme and i'll run with it!
    Can you make me some kind of 60s soul and classic blues compilation?

    P.S. Apologies to the thread for this moment of drift...
    Last edited by piggy; 05-28-2020 at 10:57 PM.

  20. #500
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    I almost always record at 48kHz because it's more than enough for me, plus it saves me time for YouTube and stuff. However, there's a nice trick to utilize higher sample rates: use plugins that have an Oversampling option. You may then downsample your master and/or stems to 48k/44k using a powerful resampler like the free SoX. There's a nice comparison of resamplers here.

    Last edited by wizfan; 05-28-2020 at 07:30 PM. Reason: spelling

  21. #501
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    Absolutely loving Run Like Hell now on my daily walks. This track sounds like something from Homeland

  22. #502
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    Quote Originally Posted by botley View Post
    Interestingly enough, many other pro audio sub-sectors still use 44.1kHz as the standard (mostly in voice-based stuff like audiobooks and podcasts), and almost all streaming services deliver their final product at that rate. *stares in Neil Young*
    I work at a few radio stations in audio production. Anything that comes my way that isn't 44.1 makes me angry.

  23. #503
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    Quote Originally Posted by armogi View Post
    suggestion on what would be a good edit to take out say 2mn?
    Make one long WAV and speed it up a bit? :-) (maybe it would work, we're not that sensitive to absolute pitch and pitch differencies would be almost the same, but I'm kidding)

    Regarding 96 kHz etc, this is a bit off-topic here and I like this video so much that maybe I posted it before, but it's worth it:


  24. #504
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    I burned them to 3 CDs, with Locusts being VI a, and VI b.
    VI a is The Cursed Clock through Trust Fades.
    VI b is A Really Bad Night through Almost Dawn.

    It doesn't meet the 2 CD goal, though.

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