Ghosts V: Together & Ghosts VI: Locusts

[Strohbie]

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

[armogi]

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.

[eversonpoe]

just use two 90 minute cassettes!

[piggy]

just use two 90 minute cassettes!

I totally LOL'd.

[variablebitrate]

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.

[halo eighteen]

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.

[eversonpoe]

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.

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 :/

[botley]

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*

[Leviathant]

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.

[eversonpoe]

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.

[variablebitrate]

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.

[piggy]

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...

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!

[eversonpoe]

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!

[piggy]

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...

[wizfan]

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.

[WorzelG]

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

[bobbie solo]

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.

[Substance242]

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:

[Findus]

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.

[botley]

Will we celebrate six months of these releases in a couple of weeks with... liner notes?

[Lerxto]

Will we celebrate six months of these releases in a couple of weeks with... liner notes?

A vinyl release announcement of Ghosts V & VI along with the Social Network repress would be great.
One can dream.

[xfocalinx]

is this the longest amount of time we've had with a release, and no informatiom about said release? such as no album credits, or any talks of a future physical release?

[HWB]

is this the longest amount of time we've had with a release, and no informatiom about said release? such as no album credits, or any talks of a future physical release?

At least we know in what headspace Trent was when these two works were made.

We know far less about The Slip when it comes to what Trent's headspace was, it was mostly all about the release method and we heard nothing about NIN for years after that record.

[katara]

At least we know in what headspace Trent was when these two works were made.

We know far less about The Slip when it comes to what Trent's headspace was, it was mostly all about the release method and we heard nothing about NIN for years after that record.

At least with The Slip, we know that Cori Bardo worked with hair.

[zecho]

At least with The Slip, we know that Cori Bardo worked with hair.

Fun fact: she was also responsible for the With Teeth haircut.

[HWB]

Man, there is so much depth and subtle details on these. I still find Locusts really exciting and immersive, what an incredibly dark release.

[HWB]

Frankly; I am getting little tired of all the Watchmen interviews and I wish we could have gotten some more interviews about these records, it is understandable why Watchmen are the center of the attention, but my selfish self-centered self just wants to hear about the Ghosts records somehow, to hear about the writting and recording process, but again, it's understandable.

[fillow]

Frankly; I am getting little tired of all the Watchmen interviews and I wish we could have gotten some more interviews about these records, it is understandable why Watchmen are the center of the attention, but my selfish self-centered self just wants to hear about the Ghosts records somehow, to hear about the writting and recording process, but again, it's understandable.

I'm pretty sure that's how everyone here feels at this point.

That reminds me, did TR&AR say any words about Waves score? This one seems also lost in radio silence area.

[gorast]

I'm sure Trent and Atticus are tired of the Watchmen push, too. Probably the only real drawback of getting involved with it, but if they can throw an Emmy on the mantle, I guess it'll be worth it.

I do hope these two albums get some additional focus next year. It feels a lot like they were dropped on us (a gift, to be sure) and that was that.

[Prettybrokenspiral]

Personally, I love that they've got such strong collections of material that are virtually unknown outside of the super-dedicated fanbase..

Bird Box Deluxe was completely overshadowed by the release of With Teeth DE at the time of its release, and that's my favorite score they've done yet. Waves is also excellent and trippy as fuck to listen to on a good set of headphones and got next to no attention either. Ghosts V-VI made waves for a week and then faded into the abstract, as well..

The Watchmen score(s) is fantastic and is easily one of their most ambitious outings to date. You can discover new layers to it with every play-through. It's rightfully getting a lot of attention but it's also nice that they have so much understated material coming out around it at the same time, that is being cherished by a much-smaller portion of their audience..