Seems like that could actually be counter-productive. I've been recording and mixing at 44.1kHz and then up-sampling the whole project to 96kHz for mastering. However, I'd never really considered the possibility of inter-modulation distortion caused by inaudible high frequency aliases, or the fact that non over-sampled non-linear processing that's not properly band limited is still going to produce aliases that reflect all the way down to audible frequency. I've generally assumed that 96kHz would be preferable to 44.1kHz, for the same reason he advocates 48kHz - because the internal anti-aliasing filters required by oversampling plug-ins would not need to be so steep (extremely steep anti-aliasing filters will exhibit phase distortion and ripples at the top of the pass band), but also a feeling that the higher Nyquist rate would generally reduce aliasing. I understand the digital signal processing theory behind that, but I hadn't put it all together to get to that conclusion. Give them a volume war mastered CD and they'll just turn it down. If you're keeping your master 'classy' with -16 to -13 LUFS levels, they'll bump that up to -12. Most streaming sites are at -12 LUFS nowadays FYI. There could be edge cases with HD sources that end up doing something weird. And the lossy conversions are also going to expect SD sources. 24/44.1 is probably going to see the least amount of conversions. Anyone with something that can't even do 24/44.1 is downloading the mp3 anyway.
#Signal path bandcamp full
HD and surround sound listeners already know to look further for the full versions. There are certainly consumer devices that don't touch HD. There might be the occasional device that doesn't do 24/48. Just about every device can play 24/44.1.
#Signal path bandcamp download
For both streaming and the standard download option (on sites like Bandcamp), this is a good common and still full quality format.
If you have a 24 bit 96k HD master as your highest quality, produce a "SD" master from it at 24/44.1. My sense right now is to deliver a 24 bit 44.1k master for a standard download option and for streaming.
(I'm aware of the need to allow some headroom post-limiting for conversion to the various target lossy formats, and the debate about loudness, normalisation + what LUFS to aim for BTW - I'm mainly just interested in sample rate + bit depth recommendations) What about bit-depth? I guess if the audio is going to be compressed to a lossy format anyway, there's no point worrying about dither? Is there any benefit in providing 24-bit over 16-bit? If I provide 96kHz audio, can I assume that the distributor or the streaming service will do a reasonable job converting down to their target sample-rate prior to MP3/Ogg/AAC encoding? Or am I better off simply providing 44.1kHz in the first place? However, I believe streaming services actually stream at either 48kHz (YouTube) or 44.1kHz (pretty much everyone else) Forget classical and funky keys-“Moxia” is a track that struts Badfeather’s ability to combine electric riffs with heavy notes on the keys.I'm planning to release some material to streaming services and wondering what audio sample rate and bit depth to target.Īt least some distribution services accept 96kHz/24bit submissions. Some tracks, though, get more metal, shattering the image of what role keys play in a band. The track “Zeros Full of Holes,” demonstrates the rawness of classic rock that serves as a foundation to the rest of their songs, which get a little funkier. Badfeather flex their versatility on each track, ranging from total funk to total rock, even breaking out a little acoustic folk rock on tracks like “Babbling Riverside Blues” with powerful acoustic finger vibratos and vocals. Wildly diverse and comprising of 11 tracks, each song differs from the last, each often falling into a different genre. Signal Path is Badfeather’s debut full-length album. The quintet shows up on their new album, Signal Path, with satiating resonance. The band consists of Jeremy Whitesides (guitar), Rick Gerber (vocals/keys/guitar), Dan Error (bass guitar/vocals), Jesse Howerton (keys/vocals) and Nate Barkdull (drums, vocals). Badfeather are a five-person jam band, each of whom adds elements of funk and soul to rock n’ roll.
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