Does rendering degrade WAV's?

[trodden]

Dude, Thom is for real.

You can tell because he only posts when Radiohead are in the studio, on tour, or taking a break between recording or touring.

You don't believe me, check the dates.

and hes is funnies, hes makes mes laughs!!!

[@?,*???&?]

hey, can one of you guys page me if robinson ever shows up to explain why i'm such an idiot? ima be out back getting high with thom yorke.

OMG! Who is this MoreSpaceEcho guy?

[chris harris]

I really want to believe that Jeff Robinson is an alias being used as a joke... I mean... it's hard to believe that someone with his experience, his credits, and his ability to command $35 just for talking to you could have no clue what wordclock actually is and what it's for.

Alas, Jeff is a real person...

He posts the "legitimate" music that he records here.

He meets young ladies here.

[MoreSpaceEcho]

Who is this MoreSpaceEcho guy?

i would be the guy who's still waiting to hear you explain why i don't understand digital recording or know how to use a compressor.

[inverseroom]

Who is this MoreSpaceEcho guy?

i would be the guy who's still waiting to hear you explain why i don't understand digital recording or know how to use a compressor.

That comment is so hideously oversquashed that I can't even listen to it.

[wayne kerr]

whenever i render a track i save it as 32 bit float, because, well, why not? and they totally null so i've stopped worrying about it.

Spoken by someone with no understanding of what digital is. One wonders why MoreSpaceEcho bothers posting here.

The following should bring some clarity:

The most important thing to importing or exporting audio is going to be first, the sample rate and bit rate it was recorded at and second, the bit rate and sample rate it will be played back at.

Taking tracks from one system to another will mean that the wordclock will be all-important. Ken Pohlmann cites in his 'Principles of digital audio' that the most crucial stage for any audio in the digital domain is having the proper sampling rate at the time of conversion from analog to digital.

Rendering tracks for someone to work on brings with it the possibility of having a different clock or one that is better or worse than the one you started with. Maintaining the same clock source throughout a project should not just desirable, but mandatory.

Remember too, the samples before and after will be same, but they may be played at a different or slightly different rate.

Here is a scenario, imagine Audiosuiting a track in Pro Tools. The file will be processed with the desired plugin regardless of the clock source for the session. Essentially, this would be like rendering a file to .wav. When the file is played back a given device or program, it needs a wordclock or a clocked source to set the sample rate.

Alright, what the hell is going on with these guys? That's 3 posts I?ve read today in which @?,*???&? bags on everything More Space Echo says, with no apparent reason. I noticed that they joined the very same day; I smell an alter-ego here. Maybe a Jekyll and Hyde.

Anyway, sorry to get off topic just thought it was interesting.

No, they are both real dudes. Although one of them leaves you shaking your head as in "is this guy for real" after reading one of his typically self-aggrandizing, belligerent, confrontational, grandstanding, insulting, ass-hatted, self-important rants. And I'm not talking about Scott, who you know as More Space Echo. The sad thing is, Jeff could probably be genuinely helpful around here... but he never will because he only posts here to blow his own horn and to try to get some poor unsuspecting slob to pay him $35 to listen to a fucking CD.

Of course, in the interest of full disclosure, *I* only post here to point out what a complete and total dicktwist Jeff Robinson is.

[wayne kerr]

I really want to believe that Jeff Robinson is an alias being used as a joke... I mean... it's hard to believe that someone with his experience, his credits, and his ability to command $35 just for talking to you could have no clue what wordclock actually is and what it's for.

Alas, Jeff is a real person...

He posts the "legitimate" music that he records here.

He meets young ladies here.

Fuck Third Monk. I'd rather listen to Paris Hilton doing Zeppelin covers with Hansen as her backing band. I'd rather be anally violated with a broken beer bottle than have to listen to any of his derivative pablum. Plain cardboard is more interesting that anything I've heard on that site.

[wayne kerr]

Alright, what the hell is going on with these guys? That's 3 posts I?ve read today in which @?,*???&? bags on everything More Space Echo says, with no apparent reason. I noticed that they joined the very same day; I smell an alter-ego here. Maybe a Jekyll and Hyde.

jeff and i really joined on the same day? that is awesome. i assure you we are not the same person. i dunno what his current problem with me is, but i do know he has yet to explain exactly what was so wrong with any of my posts.

Hmm... inverseroom and trodden also joined the same day. Could it be you are all one person, and you're just here to f*ck with us?

Well, they are lovers, so that was probably no coincidence.

[trodden]

*posts lovingly*

[@?,*???&?]

whenever i render a track i save it as 32 bit float, because, well, why not? and they totally null so i've stopped worrying about it.

Spoken by someone with no understanding of what digital is. One wonders why MoreSpaceEcho bothers posting here.

The following should bring some clarity:

The most important thing to importing or exporting audio is going to be first, the sample rate and bit rate it was recorded at and second, the bit rate and sample rate it will be played back at.

Taking tracks from one system to another will mean that the wordclock will be all-important. Ken Pohlmann cites in his 'Principles of digital audio' that the most crucial stage for any audio in the digital domain is having the proper sampling rate at the time of conversion from analog to digital.

Rendering tracks for someone to work on brings with it the possibility of having a different clock or one that is better or worse than the one you started with. Maintaining the same clock source throughout a project should not just desirable, but mandatory.

Remember too, the samples before and after will be same, but they may be played at a different or slightly different rate.

Here is a scenario, imagine Audiosuiting a track in Pro Tools. The file will be processed with the desired plugin regardless of the clock source for the session. Essentially, this would be like rendering a file to .wav. When the file is played back a given device or program, it needs a wordclock or a clocked source to set the sample rate.

Alright, what the hell is going on with these guys? That's 3 posts I?ve read today in which @?,*???&? bags on everything More Space Echo says, with no apparent reason. I noticed that they joined the very same day; I smell an alter-ego here. Maybe a Jekyll and Hyde.

Anyway, sorry to get off topic just thought it was interesting.

Of course, in the interest of full disclosure, *I* only post here to point out what a complete and total dicktwist Jeff Robinson is.

lol!

[i am monster face]

I'm glad my internet computer is working again...I really missed tapeop.

*Not everyone who owns a Volkswagen goes hiking Craig*

Ian

[MoreSpaceEcho]

The sad thing is, Jeff could probably be genuinely helpful around here...

totally.

jeff, you apparently have loads of experience working in real professional studios on real legitimate records made by some big name artists. so why not share some of that with the rest of us shlubs instead of being a jerk?

i mean, at the very least you could regale us with some stories of the good old days making big time records in expensive studios in LA. like that time you spent the whole night doing lines off david coverdale's manly, muscular chest.

that one's a classic.

[JGriffin]

* has "Slow 'n' Easy" stuck in head for remainder of day *

darn you, Scott!

[MoreSpaceEcho]

i've always been a 'still of the night' man myself.

[JGriffin]

i've always been a 'still of the night' man myself.

That whole record is better actually.

But we've been over this before.