On the other hand... If all your source material is 44.1 already and
you're broadcast medium is constrained to 15 KHz, then using the extra
time to transcode 44.1 source material to 48 when you rip and using the
extra disk space seems a little silly. The audio from the 44.1 source is
never going to get better even if you used 96 Ksps to store it.
On the other hand, now that 4TB disk drives are under $150, why would
you ever compress your source material? I'll just take longer to rip and
encode and, if you use lossy compression, you'd never want to use it for
production again. The only place we use compression is for our station's
24/7/365 audio log. We keep a full year of stereo audio on a 3TB disk
compressed with Apple lossless compression.
Bill Putney - WB6RFW
Chief Engineer
KPTZ - Port Townsend, WA
PP-SEL/A&P-IA
"...you know me to be a very smart man. Don't you think if I were wrong, I'd know
it?" -Sheldon Cooper
On 4/28/17 7:22 AM, Lorne Tyndale wrote:
Hi,
I do agree with what Andy's said. To add a few thoughts:
1. On the 44.1/48 question, the only time I'd use 44.1 in this day and
age is if 44.1 has already previously been set as a standard in a
facility or there is some other compelling reason to use 44.1 (for
example, some sound cards won't support 48, but in that case if you have
a sound card that won't do 48 my recommendation would be to find a
better sound card). Otherwise use 48. You can always convert down to
44.1 later if there is the need.
2. While Rivendell does have the ability to store audio files in
compressed mp2 format, due to the fact that hard disk space is
relatively cheap these days, I'd stick with linear PCM. No point
compressing those audio files.
3. If you do - despite recommendations to avoid it - decide to use mp2,
then use the highest bitrate option
4. It is certainly possible to do batch imports with Dropboxes and such
- where Rivendell will automagically import audio into its music library
/ database from either an audio file, ripping directly from CD to the
library, etc. You can do this and you'll end up with a functional music
library in Rivendell. However it is worth considering that the best
sounding stations out there are the ones where a producer in a
production studio has gone through and listened to every track, set
things such as the segue and talk markers, custom-tweaked the audio so
it will sound best after it has gone through the audio chain being used
on air at the station, etc. Of course this does take a skilled producer
- one who is intimately familiar with the sound of the station, what
effects the audio chain being used can have on the audio, and what
listens expect, etc. It takes a lot of time and effort to go through
every track this way, while this used to be a standard practice in the
industry, these days many stations don't bother with the time and
effort.
Lorne Tyndale
Hi,
As you say, this is a major undertaking, so you need to get this right from the
beginning. You don't want to be making any mistakes.
My tips would have to be.
1) Make sure you start off at the right bit rate. Do you use 44100 or 48000?
Part of this will depend on how you are going to be using the audio. Will you
be feeding other kit (mixers etc) in the digital domain? IE is your output
SPDIF, AES/EBU, Livewire etc? If so, it will be worth you using 48k. Don't
just think about what you use now. 2 years down the line you don't want to be
having to convert the library to a different bit rate.
2) Check your audio sources. TWIRT did a very good programme that covered this issue.
They were saying that a song might have been released on a large number of different CDs.
These include remastered versions of Albums, but also on compilation CDs. However, the
quality of the master used may vary. For instance, the quality of a track on a
compilation album might be really bad in comparison to getting that track from an
original release of the bands album. Another issue that you have with CDs is that a lot
of the so called "Remastered" releases have been dynamically compressed as part
of the loudness wars, and will be totally rubbish compared to the original release. That
is not to say that all Remastered CDs are bad. In fact some are positively great.
3) Do not use MP3s (or AAC etc). These are lossy formats. You WILL lose some
of original quality of the recording. Also, if your output goes through a
codec before it hits the listener then you might get the issue with multiple
compression / decompression stages. Where an MP3 sounds OK in the studio, it
might go through another couple of compression / decompression stages before it
hits the listener and by this time it sounds awful.
4) Pace yourself. Don't overdo it. There is a limit to how much you can do in
one session before you start making silly mistakes with the markers (Start /
End / Talktime / Segue).
There are probably many more tips, but these are my few.
Andy
---- On Fri, 28 Apr 2017 05:34:32 +0100 James Greenlee <ja...@madsonics.com>
wrote ----
> Fair enough....But if I were going to run a station unattended, there's nobody to
load CD's into players to play cuts off of a disc. Thus the "on Rivendell" part
of the question.
>
> My assumption is that I would need to rip some CD's to files, import those
files to carts, and make sure all the meta data is there.
>
> ----- Original Message -----
> From: "Cowboy" <c...@cwf1.com>
> To: rivendell-dev@lists.rivendellaudio.org
> Sent: Thursday, April 27, 2017 9:37:08 PM
> Subject: Re: [RDD] Building a music library.
>
> On Thursday 27 April 2017 07:51:23 pm James Greenlee wrote:
> > What are some good methods/strategies for building a music library on
Rivendell?
>
> "on Rivendell" is irrelevant.
>
> A music library is merely a collection of songs, cuts, and pieces.
> Mine are predominantly burned on CD.
>
> --
> Cowboy
>
> http://cowboy.cwf1.com
>
> Carmel, New York, has an ordinance forbidding men to wear coats and
> trousers that don't match.
> _______________________________________________
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