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troop52 · 3 years

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do u !!! have any character theme songs for the troop boys? Like any songs you think really fits them (and why u think it fits)?

THATS A GREAT QUESTION!!

Before I get into it Im going to plug this collaborative Troop Playlist on Spotify, feel free to add onto it!! Continuing with my picks

I think a lot of the songs I associate with The Troop in general are just because I happened to listen to them around the same time I got into the book in the first place (So they could only be tangentially related BUT only if you squint hard) Example: Drunk by The Living Tombstone, cant really tie it into the story but in my mind its linked Some better, more fitting songs under the cut (Side note its LONGGG IM SORRY... Also its all YouTube links because some of these arent on Spotify :'^()

Disclaimer -Like 95% of my choices arent really a "These lyrics match up exactly 1 to 1" but more of an overall "the vibe/general idea its trying to capture lines up" type thing. If that makes sense.

Its Alright by Jack Stauber: Kind of self explanatory, I think its a perfect song for these guys. From "It's alright, I'm here, Everything's alright, Feels weird but calm, I wanna hear It's alright" to the whole sound of it- its all great. Equal parts distressing and sad with an almost eerie calmness to it. Despite it all theyre gonna be alright, right?

The Second Little Piggy by Worthikids: Another one that I think is sort of self explanatory- at least with the chorus. "If my brain turns to mush, If the shit hits the fan, Will you be my friend?" Kind of the falling apart of everything, specifically their relationships, in light of the incident.

Poor George by James Supercave: Another case of "listened to at the same time I read the book" BUT I was actually making a Troop PMV script with that song. I never finished it but maybe Ill revisit it... just for you

Cold Summer by Le Matos ft Computer Magic: I dont even think this takes place in the summer but the VIBES and also it came from Summer of 84, which is another good piece of murder boy media.

Treehouse by Alex G ft Emily Yacina: This is a Eef and Max type of song because they are bffs and thats final. Basic song because Im not creative, but I think its a nice heart to heart theyd have (with Eef doing the talking)

Fifteen Minuets by Nick Krol: On the flipside heres a song that goes with Eef and Maxs friendship fracturing, once again more from Eefs side than Maxs. THE GIRLS ARE FIGHTINGGG

As far as songs for the boys as individuals hmmm thats a good one that I havent thought about as much...

MAX + The Ghosts by The Real Tuesday Weld: That survivors guilt... lyrics arent like a perfect match but I think it gets that sort of hollow feeling across. Hes haunted man... + Final Girl by Electric Youth: Ok its a little funny because har har Final Girl Trope but I mean HE IS ONE. ANd dont look at me its a nice song- "Others were gone, and you kept going on, You know they never really noticed, you were always different, One by one, They're all done, And you're the last one standing" + Going Grazy by Lonesome Wyatt and the Holy Spooks: HONESTLY this could go for all the characters but Im tagging it onto Max because hes the one who has to deal with the aftermath of losing everyone (sorry survivors guilt Max again </3) "Everyone's saying my mind is unsound, 'Cause I always see you when you aren't around" "They're gonna wrap me in a jacket of white, And lock me away in a room without light" is what cements it as a Max song for me

EEF + The Existential Threat by Sparks: Once again starting sad, I link this one specifically to his paranoia about the worms- especially with lines like "Can't they see the existential threat is on its way". Kind of exasperated no one else can see the danger (he thinks) hes in. + Wrecking Ball by Mother Mother: I know I know its basic but I cant help it!!! Eef anger issues arc we are shaking hands me too + Haunted by Laura Les: Eef struggles with people seeing him as "just like his father" and I think we can get some good angst out of this track if we keep that in mind. Especially the back half of the song with lyrics like "Do you think I'm frightening?" and "Mirrors shatter when I'm passing, broken glass and crashing" since he is just a reflection of his dad (to others at least). Also song good.

KENT + Goodbye Mr A by The Hoosiers: Mfw the disillusionment with authority sets in. I think the vibe fits when he had that little epiphany about how adults are fucked- not perfect but it gets the idea across me thinks. + I'm Gonna Win by Rob Cantor: Ties into his need to "win" aka be the best at everything, be in charge, all that jazz! Hell do whatever it takes to be successful, even if it hurts. That was a little emo + Toba the Tura by Forgive Durden ft Chris Conley: Not to be emo again but "They say you're gifted, well I just see a scared kid. They must have flipped it, your skills are latent. O, you snuffed the glow. Replaced it with coals. Threw away the throne... This mess that you've made, it's a six-foot grave. It's a home for your lonesome bones that remain. We'll disappear, but you'll stay here to rot" AND SO ON AND SO FOURTH representing his fall after it was revealed he was sick. He was referred to as "the uncrowned king" and was on top of the world but then POOF that all crumbled and it was made out that he basically deserved what happened to him. It would be fun to make a pmv of him with this song (Simplifying my thoughts a bit because Ive already written a LOT)

NEWT + I Earn My Life by Lemon Demon: Ok a little Kentcore but Im actually having a hard time coming up with songs for Newton so here we are, they can share. Newt existential crisis moment time I guess + Know How by The Crane Wives: POV Newt struggles with going through with the plans he makes to keep everyone safe (stopping Max from touching Kent, going back into the cabin, etc) "I am not brave, I am not brave, I keep my focus on what is safe, You drew a line, made up your mind, And now I'm struggling to realize" And also maybe struggling with his place in the group and as a person in general- all that living through his cousin thing. "I gotta wrap my head around, What my heart is telling me, I've been trying to drown it out, Just because I know what I am, I am supposed to do now, Doesn't mean I know, Doesn't mean I know how" + On The Outside by Oingo Boingo: Idk man. Hes on the outside lookin in!! Loner nerd!! Its ok though, we still love him

SHEL + Bad Blood by Creature Feature: The lyrics speak for themselves: "I can guarantee I will do evil things, The only way that you can stop me now, Is if you put me in the ground, Somewhere I'll never be found" + Frontier Psychologist by The Avalanches: Hinges on the fact that the principal or whoever was like "Your sons a freak" and Shels mom was like "HES PERFECTLY FINE" while Shelley was like dismembering an animal or something + Johnny by American Murder Song: The songs good but theres this ONE LYRIC that sucks so the link provided is an edited version and also a lovely Warriors oc video I think you should all enjoy and support <3 Anyway Shel would be Johnny I could see this song being a scene in the book. Field trip to Shels house and they find his murder garden

If anyone wants more for Im not opposed to making another post :^)

#SORRY THIS TOOK A BIT #I had to use my brainpower and I am very easily distracted #max kirkwood #ephraim elliot #kent jenks #newton thornton #shelley longpre #the troop #the troop nick cutter

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improbablecarny · 5 years

Text

The Best Good Parts of The Wicked Symphony

As according to me

Two years after The Scarecrow, we got not just one, but TWO albums at once to serve as the conclusion to The Wicked Trilogy. Continuing down the musical path set by their predecessor, The Wicked Symphony and Angel of Babylon have a curious set of songs for you to dive right into.

Storyline: After agreeing to the terms set by his mysterious benefactor, The Scarecrow continues down a righteous path of self-destruction, with little recourse in sight...

Quick Notes

If you were lost trying to figure out the story in The Scarecrow... good luck with these two.

They were also released the year I graduated high school so some emotional imprinting happened there.

Gonna slap a minor content warning for substance abuse on this one (particularly for Blizzard on a Broken Mirror, Runaway Train and The Edge) but it’s vague enough that you could easily miss it if you weren’t paying attention.

And what do we have here but the link to the album on the official Avantasia Youtube!

Note that this is all on Spotify as well!

The Wicked Symphony

Look out, it’s a ten minute long intro song!

Its also a VERY GOOD intro song, with a deep, smoky instrumental opening

“A seeker enthralled by a flame...” JORN JORN JORN

I’ve been using the chorus as my ringtone for several years

“HEY MAN IN YOUR HIDEAWAY WHERE DO WE GO? FROM. HERE! ANGELS IN A TRAGEDYYYY”

I think Afflatus Divine was also my blog title for a while

The weird dreamy stuff Tobi’s doing in the post-solo section

THEN

DA NA-NANA-NA-NA-NA DA-NANANANANA - CHUKKAWUKKAWUKK

The bass going nuts under the second solo

The live rendition of this with Eric Martin and Amanda Somerville taking the leads is 😍😭🤯

Wastelands

“You / you close your eyes / to blink the tears away...” shit dude I sure do!

“You! You’re old and blind!” The Scarecrow IS a BASTARD!

This is like... the anti-Shelter From the Rain and it hurts so good

Scales of Justice

Ripper is playing Fury and you can tell

The sudden change in tone right before “just close your eyes”

The kick back into the chorus

Dying for an Angel

The album’s single, featuring Klaus Meine, who you may know as the guy who Rocked You Like a Hurricane hint hint (he’s the Scorpions dude)

“Gotta learn to FLY and learn to FALL”

This was the first Avantasia music video ft. a guest singer

Blizzard on a Broken Mirror

Andre Matos returns! Sadly he has not returned to Avantasia since. I wonder what he’s been up to lately... I miss his voice 😭

Spooky opener, really good.

The whole bit starting at “Fortune favors just the brave...”

TIE THE DREAM. I’VE HAD MY FILL

Sands of... tiiiiiime

Runaway Train

Oh here we go, it’s a crying catharsis song that’s 8 mins long

The piano intro

Bob’s entrance

Jorn’s entrance (he knows how to make an entrance... that may be a running theme here)

“DON’T KNOW IF I AM SORRY / BLIND ME! BLIND ME”

The string arrangements

“IT’S ONLY HUMAN NATURE”

The piano ramping up to...

“Reaching out to rule the world...”

This entire passage is bonkers and is very cool to listen to while riding a fast bus going over a bridge.

OH BOY THE ICE WILL BREAK

RIDING ON TO THE WORLD OF FUNNY FLOWERS!

You WILL listen to this and immediately choreograph a dance to this part

“Days gone by... who’d want to live forever?” 🥺

“Fly high / where angels can’t breathe no more” 🥺 🥺 🥺

Crestfallen

The binky bonky intro

The distorted pre-chorus

Then the BADASS CHORUS-CHORUS

“AND YOU’LL FALL AWAY FROM HEAVEN”

“ O͉N̫͓͙̜̦C̢E҉̝Y̬̳͟O̯̬͉̺̻̳̩͠U̞͇̖̦̲̼̤͝K͓̝̲̩͎ͅN͕͎̯̗̝̯̫O͖̗ͅW͉͚̰̘͉ͅY͖O͏̱̩U̩̜̬̼Ç̭ͅA̜̱ͅN̷̥͕̤’̳̰̼ȚT̸A̧̬͚͇̖K̩̜E̗̦ͅN̟̣̤̖͞O̤M҉̖O̢̭̦̻̪̙̜R̤̟̭͞E̜̮̘̲̯͘O̵̥̖F͚͚I̛̺̗T҉͈ ”

“I am the fury in your eyes / I am reason, I am VICE”

Forever is a Long Time

This is a fairly simple Tobi/Jorn back-and-forther but something about it just makes me go batshit the entire time

Probably the lilt

Jorn’s “WHOAOAHA YEEEAAAH.... MHMMHMHM” at the beginning

The brief silence and then Tobi’s entrance

“WHEN YOUR FAIRYTALE’S OVER”

“no right OR WROOOONG I just keep goin OOON”

The repetition of the first verse 🤘

Black Wings

The ever-mysterious Ralf Zdiarstek takes home this dark and heavy little ditty

Heavy intro is great but especially

THE COWBELL

(I think it’s a cowbell, whatever it is that’s donking around in the second go at the intro)

I AM FURY, I AM FIRE, I AM THE WORM INSIDE

The whole “who do you think you are” part is VERY “sign me up as scared AND horny!”

States of Matter

Has one of my favourite first verses on the album for some reason

“HATE AND AFFECTION / PLEASURE AND PAIN / MODES OF VIBRATION...”

“UNVELING tooo BEEE alll THE SAME!”

Then later on...

“MIIIIIIND OVER MATTER!”

The clear quality to the guitar solos

The Edge

This song has country energies and I’m here for it

The prechorus... this album has some strong-ass prechoruses

The second verse is really strong just in general

“Fingers BLEED ONTO THE IVORYYYY”

“They dance on the keys...”

“To a churchyard. OF. ANGELS.”

And that chorus!

That’s the Wicked Symphony, but it’s not until we take on the Angel of Babylon that we can say this story is over! Stay tuned...

Cast List:

Tobias Sammet as The Scarecrow Jorn Lande as Mephistopheles Michael Kiske as Mentor Russel Allen as Inspiration Andre Matos as Acedia Bob Catley as Conscience Klaus Meine as Future Scarecrow Tim “Ripper” Owens as Fury Ralf Zdiarstek as Shelter

#avantasia #the wicked symphony #music #metal #avantasia breakdown blog

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biofunmy · 5 years

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The 2010s Have Broken Our Sense Of Time

This is one of those places you go for Instagram. The Manhattan Bridge looms, immediate and substantial, over a cobblestone street, framed on either side by a pair of old brick buildings; if you’re standing in the right spot, you can see the Empire State Building through one of the bridge’s uprights. Imagine a woman, young and ambivalent, staring into the middle distance, white sneakers aglow in the dawn, bridge overhead. This area of Brooklyn, once home to abandoned factories and warehouses, now hosts an annual festival for $3,000 German cameras.

A couple weeks ago in New Mexico, a few thousand people in suburban Albuquerque were waiting for the president, the one show we’re always watching.

The time between when you enter a Trump rally and when he finally concludes can be long. You might come in from a bright desert evening, as the crowd did that night, and exit into a pitch-black thunderstorm. In between, you wait for Trump, indoors, without windows, listening to the same 20 songs selected by Trump, from Tina Turner to Andrew Lloyd Webber — that are, like anything else selected by Trump, booming into your brain.

Eventually, to kill time, people at the Santa Ana Star Center did the wave. Seven thousand people rose and fell in red hats and T-shirts — to Luciano Pavarotti’s performance of “Nessun dorma” from a Puccini opera. People raised “Latinos for Trump” signs. A group of teens let out long Woooooooos. Pavarotti wailed in Italian. The wave continued right into the playlist’s next track, “Hey Jude.”

“Is there any place more fun and exciting,” the president asked later that night, “than a Trump rally?”

Trump inspires weird scenes like this from the lovers and haters alike. Pull up YouTube now and you can watch him perform a poem in different cities and in different years, sometimes in reading glasses and sometimes without, sometimes dedicated with cruelty and spite to Syrian refugees and sometimes to the US–Mexico border. Despite the provenance of “The Snake” (an R&B song from 1968), the lyrics have that Classic Tragedy vibe that matches Trump’s acid edge id. “‘Oh, shut up, silly woman,’ said the reptile with a grin,” goes the poem. “You knew damn well I was a snake before you let me in.”

He’s the man for a moment of algorithmic timelines.

But the algorithm didn’t used to rule all. Most of the basic experiences on our phones didn’t even exist 10 years ago. In 2010, Instagram launched and the messaging app WhatsApp came to both Android and iOS; in 2011, Snapchat opened for business and Spotify came to the US; in 2013, the workplace chat system Slack launched. When Pew first began collecting data on the subject in 2011, 35% of US adults owned smartphones; in 2019, 81% do. Here at the decade’s end, there are 1 billion global Instagram users.

The early part of the decade was about building the systems. And though Twitter preceded this decade, the platform came to political and cultural prominence in the 2010s. Initially, information flowed in chronological order, unfiltered, strictly concise, and mostly from strangers, which distinguished the platform from the more insular and curated Facebook. During the 2012 election, Barack Obama’s presidential campaign formalized a kind of faux-intimate voice — personal messages, initialed by the candidate — that retained a corporate distance. But that kind of fakery couldn’t hold; as the decade progressed and platforms like Twitter shifted from novel experiences into assumed foundations for business, media, and culture, the nature of what we put into the platforms also changed.

This isn’t contained to Twitter: The internet has finally and firmly moved from being an obscure gathering for nerds to the foundation for most communication. Linguist Gretchen McCulloch traces that history in Because Internet, her recent book that is particularly interested in the different waves of users — people who started using email at work in the ’90s, for instance, or millennials who grew up chatting on instant messaging apps — and how those platforms or users have affected language. These generational differences can manifest in small but familiar ways; McCulloch explores why people who are long accustomed to chat and text use line breaks for timing and emphasis, and intuit information left unsaid in an ellipsis. (Hey are you around…) She contends that a younger generation of users over the last decade, who’ve never known an internet without Facebook or YouTube, have turned to a phone experience that emphasizes control over context: disappearing messages, live video, using second and third accounts for specialization and privacy.

As the 2010s went on, the platforms adopted the live and the disappearing and attempted to reach you with what you care about most — to make the experience less disorienting by focusing on what garners the most attention. During the 2016 election, Instagram added the ephemeral stories and shifted to an algorithmic timeline. “If your favorite musician shares a video from last night’s concert, it will be waiting for you when you wake up, no matter how many accounts you follow or what time zone you live in,” reads the corporate unveiling, a cheerful promise of permanent detachment from the clock in favor of what you (are thought to) care about.

Twitter had built its business on the ordered timeline, but it too introduced algorithmic weighting that same spring. “Someday soon, the tweets you see will be a little more interesting, and the tweets you miss won’t be as important,” a former Twitter employee wrote at the time. “And guess what: You won’t even notice. You won’t! You think you will, but you won’t.”

The new Twitter feed transformed how a user perceived something going viral; while a viral tweet used to get a few thousand retweets, it would now get tens of thousands — or even hundreds of thousands — of retweets. Powered by the new algorithmic weighting, the platform’s new quote-tweet function further turned Twitter into an ever-escalating, ever-nesting series of warring comments, dunks, and owns. Memes take hold, then disappear. One link of breaking news might hang suspended in your feed, hurtling through time like when astronauts do zero-gravity somersaults. You might see this as it happens — or 6, 9, 15, 22 hours later.

Trump’s racism, excess, nihilism, humor, and all the rest make him the ideal host for such a system — destroying forever that antiseptic corporate voice. But what Trump does best is reveal the nature of people and institutions. Even when Trump is gone, we’ll still have the algorithms; whether it’s that track from 2009 crossing from TikTok to Spotify, or a politician going live on Instagram, or whatever is happening on your phone right now — we’ve already adapted, and the next thing will be built on that shifting foundation.

Change like this can be overwhelming. The first run of Black Mirror, the dystopian British show that rose and fell inside Netflix, featured an episode about the relentless fragments that people now accumulate. Filmed in 2011, “The Entire History of You” takes an existing technology (the archival breadth of our phones), applies the logical conclusion (in the episode, people receive implants to track their every interaction for later playback), and sets both against a simple Greek tragedy–style story (a husband suspects his wife has betrayed him, and is driven mad by jealousy). The wife, hair over her eyes like a veil, reaches up to replay her memories for her husband.

Even in 2011, the episode presaged the now ever-present dialogue about cutting back, dropping out, and disconnecting: At a dinner, the table marvels at a woman who, without regret, has risked her memory and her eyesight to remove her implant.

The dynamic of overload and disorientation, and the final cathartic break from them, isn’t isolated to Black Mirror — it’s a dominant theme of the last five years of culture.

In real life, in the wake of the election, Facebook, Twitter, Google, and Instagram have talked about screentime limits, mute functions, preventing harassment and abuse — clawing back control. How to Do Nothing, Jenny Odell’s case for reasserting yourself in the tangible world, has become the centerpiece for essays and takes about cutting back and seeing, again, reality free from the algorithmic commodification of the personal. There are the essays about quitting Twitter, or the inherent avarice of Instagram, or reclaiming the life beyond the external presentation of self.

But people always seem to come back.

“This watch tells time,” begins a recent ad for the Apple Watch that then lists off all the other non-time-telling functions the item can do, from taking phone calls to playing music to performing an eletrocardiogram, before looping back around one last time at the end to say “This watch tells time.”

The introduction of this watch (that tells time) in 2015 deepened a kind of existential dilemma for the other kind of watches, which merely tell time. What purpose does a machine serve when the commodity that machine produced is all around us? “Why Men Are Wearing Watches That Don’t Tell Time,” read a Wall Street Journal headline a few years ago, like a riddle, above an old black-and-white photo of Andy Warhol wearing a Swatch.

Some men, the Journal reported, buy vintage mechanical watches but never get them serviced or repaired, or even wind them — they simply leave the watches dead. Stories like this can’t apply to that many people, but even if it’s just one man, somewhere right now, he walks this earth with a beautiful, broken watch.

Over the last decade, there have been little niche resurgences for items like this: record players, for instance, which promise tangible craftsmanship, and an audio experience that can’t be replicated in the digital. For $41.98, you can buy a lime green vinyl copy of Lana Del Rey’s new album and listen to her describe the end of the world and promise that she’s signing off before whispering at the very last moment “I hope the livestream’s almost on…” in perfect offline clarity. It’s hard to shake, however, the idea that these machines are simply counting off something that no longer needs counting, and trying to reassert the physicality of something no longer physical, detached and distinct from where all things meet.

We all know what’s changed — what’s really happened in the 2010s. It’s beneath that bridge in Brooklyn and it’s at the Trump rally in New Mexico, where exiting fans stopped to take selfies with the president speaking behind them in the distance. The man with the broken watch knows, the people who can’t quit know, and so does Lana Del Rey: The internet is no longer a place you go. Who we are on the phone and in the walking world have merged.

This is why algorithmic time is so disorienting and why it bends your mind. Everything good, bad, and complicated flows through our phones, and for those not living some hippie Walden trip, we operate inside a technological experience that moves forward and back, and pulls you with it. Using a phone is tied up with the relentless, perpendicular feeling of living through the Trump presidency: the algorithms that are never quite with you in the moment, the imperishable supply of new Instagram stories, the scrolling through what you said six hours ago, the four new texts, the absence of texts, that text from three days ago that has warmed up your entire life, the four versions of the same news alert. You can find yourself wondering why you’re seeing this now — or knowing too well why it is so. You can feel amazing and awful — exult in and be repelled by life — in the space of seconds. The thing you must say, the thing you’ve been waiting for — it’s always there, pulling you back under again and again and again. Who can remember anything anymore? ●

Sahred From Source link Technology

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toogoodmusic · 6 years

Audio

TOO GOOD TUESDAY INTERVIEW: EXES

Allie McDonald and Mike Derenzo of the indie-pop duo EXES are currently gearing up for the release of their second project Before You Go which is the follow up to their first project – an EP titled The Art of Saying Goodbye. In between the two have also released a slew of singles which is quite impressive when we learn that the two are bicoastal. And not bicoastal as in one of them is simply from the East coast and the other from the West but they actually live and create music together on separate coasts! While it may seem surprisingly (although maybe not nowadays considering technology) this separation clearly hasn’t hindered the quality of their music. Luckily, Allie and Mike took some time from their upcoming project Before You Go to answer some questions from Too Good Music. See below to find out what they say about being bicoastal, finding out that they were apart of Taylor Swift’s playlist of Songs Taylor Loves, if they’ve broken any bones and more.

TGM: What’s the story behind “Bones Break?”

MIKE: For this track, we collaborated with our drummer Peter Martin. Inspired by the constant movement of the snare drum in Dave Mathew’s “Crash Into Me” [after a viewing of Ladybird] we set out to make a contemporary version of songs we loved as teenagers. Taking in influences from Dave Matthews to Death Cab for Cutie, we tinkered away until we created "Bones Break”.

ALLIE: Lyrically, I wrote Bones Break following a difficult breakup. It was at my lowest moment that I remember thinking the heartbreak was so painful that I’d rather feel my bones break. And from there, we ran with it. It’s definitely one of our more honest and vulnerable songs, but it was important for me to tell the story.

TGM: Have you ever broken any bones? If so, what’s the story behind it?

ALLIE: I’ve always been clumsy, awkward, and tall (so naturally far away from the ground). I’ve broken some toes and fingers just by existing. The most embarrassing was when I broke my arm from literally running into my sister.

MIKE: I’ve never broken a bone! I got stitches for the first time last month and that was enough

TGM: What’s the creative process like for you two?

ALLIE: It’s honestly different every time. Sometimes I’m sending Mike voice memo ideas in the middle of the night. Sometimes he sends me tracks that I’ll write over. Usually Mike focuses on production and I focus on lyrics and melodies, but we aren’t afraid to share ideas. We’ve been doing this for a few years now, so it’s nice to have a process that works and that we’re comfortable with.

MIKE: I like to start the tracks with sounds that I know Allie and I both like. Once we have a grasp on what the song is going to be about I like to go back in and make sure the production matches the sentiment Allie has lyrically/melodically. I try to make sure all of the tracks are grounded in a organic space with room for contemporary flourishes and electronic touches.

TGM: What’re the benefits of being “bicoastal?” What’re the challenges? Is there a coast that you draw more inspiration from?

ALLIE: Every time we tell people we’re bicoastal, they give us a strange look. Yes, in theory, it should be difficult, but for us, it works. We’ve been working together for so long that we don’t need to be in the same room to create songs anymore- there’s a level of trust now. I’ll take writing trips and fly back to LA every once in a while, which is definitely helpful. Mike has a better mic than me so I suppose that’s a challenge hah. Since I moved to Brooklyn in March I am honestly overwhelmed with inspiration. It’s been an interesting transition, but it’s inspired so many new EXES songs. Stay tuned.

TGM: How do you guys work through creative differences you may have about a song?

ALLIE: Like any relationship, it’s important to compromise. We don’t always have the same opinions, but I view that as a strength and not a weakness. I think that’s what makes EXES our “baby”- 50% of it is Mike’s perspective and 50% of it is mine.

MIKE: We try to not be too precious about any particular idea and always be flexible to the others opinion. Luckily Allie is my favorite songwriter [LOL] so there haven’t been too many times we disagree!

TGM: How did it feel knowing you were included on Taylor Swift’s list of “Songs Taylor Loves?” Where were you when you found out?

MIKE: Allie always texts me when things pop up on our Twitter. This time was a particularly urgent flurry of texts. Lots of “OMGs”, exclamations points, and definitely some “aioefdsfsdajkf” excitement gibberish lol.

ALLIE: yes, I found out from twitter- we had fans tweeting to alert us. And yes, I definitely fangirled. I’ve been a fan of Taylor Swift for ages. It’s a cool feeling to be noticed by someone like that.

TGM: Opening for Børns and Ella Vos had to be pretty cool experiences. What was the best thing you learned from sharing a stage with them?

ALLIE: It was awesome opening for them. As a fan of both Børns and Ella Vos, I felt very lucky to share a stage with them. We learned a lot from Ella Vos as it was our first “mini” tour where we played LA and San Francisco. She’s so humble and sweet. Plus she has such a calm presence. It was honestly an unforgettable couple of shows.

TGM: If you guys were to form a super group titled “EXES and OHS” who would you like to join your band as the “OHS?” (aka which (2) artists or musicians would you like to form a super group with?)

MIKE: We work with producer Christoph Andersson and writer/singer Jesse Epstein a ton and they have a band called JOME [who we’ve collaborated w/ before]. Jesse and Allie’s voices sound wonderful together!!!

ALLIE: I grew up playing the violin, so I’d love to collaborate with an orchestra. I realize this isn’t 2 artists, but it still remains a dream of mine- Mike and I backed by a full orchestra. That would be insane.

TGM: Which song of yours was the first to rack up a million streams? What’s it feel like having a song of yours be streamed over a million times?

ALLIE: I think it was “twentythousand”? I remember thinking it was crazy when twentythousand had 20,000 streams. It’s still very surreal to think that over a million people have heard a song that two kids made in a garage in Venice Beach. I feel very lucky. It feels very much like a dream still.

TGM: I laughed seeing your tweet where you said that when you meet a group of new people, your favorite thing to do is play who would die first in a horror movie…so between you two, who would die first in a horror movie?

ALLIE: Don’t get mad, Mike, but I think it would be you hah. I’m very into horror movies, Halloween, and true crime. I have anxiety about getting murdered, so I always have an escape plan figured out at all times. I’m also the opposite of brave so I’d never go into an isolated cabin in the woods pretty much ever. I’d probably be the girl at the beginning of the movie who warns her friends, “I don’t have a good feeling about this” and ends up staying home.

TGM: I also laughed when I saw another tweet where you said an Uber driver asked you if he could take you out to Subway and that he might be the one. If someone were to propose to you with a ring inside a Subway sandwich – what would that ideal marriage-material sandwich have on it?

ALLIE: I’m a breakfast-for-all-3-meals-of-the-day kinda girl so I’d have to say: an everything bagel, crispy bacon, scrambled egg, and cream cheese. I know, very nutritious. I would for sure say yes.

TGM: Which music festival would be a dream to headline at?

ALLIE: I think for me it would be Outside Lands. I’ve been once before, and I remember having the best time. The weather is always beautiful and fall-like. And it’s in one of the best cities. We haven’t played a festival yet- it’s definitely on the bucket list. Cross your fingers for us!

TGM: What can fans expect from the upcoming album, Before You Go?

ALLIE: As we’re growing, our sound is also maturing. It feels like a great next step for us. We’re still creating music based on our real life struggles, heartbreaks, fears, and joys - but the sounds and the ideas are more unique and explorative. We weren’t afraid to try new things this time around.

MIKE: GUITAR! Lol. I made a point to try and have more organic instruments across the whole project. Allie and I both grew up loving indie music and whats indie music without guitars!! We also messed around with song structure in ways we never had before. The 2nd song and 2nd to last song mirror each other structurally and really help bring home the thematic narrative of the project.

TGM: Individually, if you could only listen to (5) artists for the rest of your life, who would they be?

ALLIE: ok, these might be a bit all over the place but: Frightened Rabbit, Regina Spektor, Phoebe Bridgers, Arctic Monkeys, and Dashboard Confessional (I’m an emo girl at heart)

MIKE: Death Cab for Cutie; Kanye West; Frank Ocean; Blink 182; Bon Iver

TGM: What does the rest of 2018 look like for you?

MIKE: Writing more music! We just had a great writing trip in July and have another planned for October! Trying to explore more avenues of what EXES can be.

A HUGE shout-out to EXES for taking the time to answer some questions from Too Good Music. Be sure to follow along with their journey through the links below and be on the look out for the upcoming release of Before You Go!

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epistaxis2008 · 7 years

Text

WAV>MP3

(hyperlinks used throughout, click directly to see sources, audio and images)

Some of The 5 W’s of Wav and mp3 Music Files:

Random thoughts on the basics of Waveforms, Analog to Digital Conversion, and Wav to mp3 Conversion So You Can Make the Most Out of Your Music Experience, Equipment and Career

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In response to many questions I have seen all around the web, in forums, Facebook communities, YouTube comments and arguments (from the keyboard warriors) and questions even directed to me, about which type of file is best and where and when should each file be used (i.e. streaming, DJing, music production, studio recording, listening enjoyment, etc.) I have decided to write up some information about what I have learned over the years about sound waves, bitrates, conversion and compression to help explain the difference in audio formats and how to get the most out of your music.

First just a little background about me, I am no professional or claim to be any type of expert but I have had some sort of music or sound related connection in almost every aspect of my life for quite some time. I have been interested in all things music, sound, electricity and electronics for as long as I can remember. Also, which you may have already or will soon notice I am not a writer, blogger or any other type of professional author by any means. I will try to explain, to the best of my ability, all the technical stuff pertaining to where, when, how and why of Wav’s and mp3’s with as many examples and diagrams as possible, to make everything as easy to understand as possible, while citing as many sources as I can.

I have been a professional electrician in the past and have studied electrical in vocational high school. Moved on to college and studied electronic engineering where I learned all sorts of stuff about analog, digital, signal, processing and components. All whilst being an avid music production hobbyist bringing myself up from recording my friend’s first mixtape on a karaoke machine over 15 years ago to now having my own underground indie experimental electronic influenced hip hop albums commercially released in all digital online music retailers like iTunes and streaming services like Spotify. Way way back in the mid-90’s I delved into onscreen display midi, a process of placing markers along a timeline associated with keys of a piano which represent individual sounds. It was quite mind-blowing the first time I made a basic boom boom clap / kick snare kick kick snare pattern out of little blue rectangles spread across the matrix. From there I could see that working the knobs, pressing the pads and adjusting every little detail of every single note in each individual track of the entire song creation and digital production process was something I wanted to be a part of for the rest of my life. Over time I have moved on up to multiple generations of updates in my DAW (digital audio workstation). Attempted fruity loops back when it was a free download, years before it became one of the most well-known music production software programs, now known as FLstudio. Also stumbled upon Ableton once upon a time, along with a few other lesser known programs, and eventually worked my way from scratch in Maschine to be pretty proficient with that. Although none of them really stuck with me as did that first midi and DAW for ease of use and understanding of what was going on, on the screen, while editing and producing music. Now that I’ve got my background out of the way, on to the most common sound quality question I receive…

…What is the difference between wav and mp3; why not just use the smaller file?

Well first off, if you want highest quality sound output from your music to sound the best no matter where you tend to listen you absolutely need the file which most closely replicates the actual original sound recording. Whether you’re DJing a small club or a stadium, listening on ear-buds, over-ear headphones or house speakers, in the car or in the studio, it is imperative to use the highest quality file and play the best version of the song you can find. If you want the HD equivalent of music you need a lossless file. If your OK with watching a 2 knob Zenith with rabbit ears wrapped in tin foil then maybe lossy, staticy, lacking type files are more your cup of tea. If you’re DJing and you want your clients of the wedding or party to be impressed and be able to really get into the moment and feel the music and not get distracted by low quality sound, definitely go lossless. If you’re listening on headphones or house speakers to your favorite song you want to be able to notice details you probably never noticed before and want to feel like you are right there in the studio with the artist when they made it, then you want lossless. If you’re in the car and you want to be able to put your new system to the limits, rattle the mirror, shake the lug nuts loose, and feel the bass in your soul, then you need a lossless file… why spend extra on a subwoofer and amplifier if you’re only going to end up playing inferior sound files? And if you are into music recording and production and you want the mix to sound professional and be taken seriously, then you can have it no other way. You will be wasting the entire production team’s, and your own, time if you do not use lossless audio files every step of the way. So in any case for the best sound you need the best reproduction, and for that you need the highest quality format.

A wav file or a lossless file is what you are looking for, NOT an mp3. ALL mp3’s are sampled, compressed and down converted from a more superior file, most often from a wav, into an inferior, lossy, degraded file. The only advantage of mp3’s, compressing and converting any file, is saving storage space. So the more storage space you save on an iPod or on your hard drive or in your phone it allows you to be able to save more songs. If you want to be able to have tons and tons of songs, and to NOT be able to listen to them in high quality sound, then mp3’s are the way to go. If you are tone deaf, partially deaf or have a narrow frequency response, then will not be able to hear the whole range of the sound and in turn you will not need the ability to play the whole range of the sound so mp3’s may be for you.

So what’s the big deal anyway…what’s the big difference? Well if you use a lossless format or file you are listening to as close of a representation and reproduction of the actual analog waveform as possible. If it is a converted file that has been compressed to save space by sampling at a low bitrate then it is essentially an ‘estimate’ of the original not an actual reproduction. The result is a tinny, metalic sounding song with less low end and high end frequencies (less bass and treble). The following are some visual and audio examples I put together to better showcase the differences of wav and mp3 and for you to get a better understanding of what is literally happening to the sound wave during the conversion process of audio files.

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I made a quick one minute song that starts off with a kick drum, clap and hi-hat then layers them to form a full drum loop, Followed by a bass line, a synth and then all three layered over each other, the drums, bass and synth to form an entire arrangement. Sound waves can range from 1Hz maybe up to infinityHz but humans typically hear from 20Hz to 20kHz with some exceptions. For this reason that is why you will find most speakers and headphones only have a frequency range of 20Hz – 25kHz, with higher end models ranging a little further from 1Hz to 50kHz. Low bass notes like kick drums and bass lines are closer to the 20Hz zone of the low end of the human ability to hear. Low end sine wavs can be lower in the 1Hz to 20Hz range and your body will perceive them through movement, as to be felt, rather than heard. And high range sounds are typically bells, whistles and cymbals around 8kHz to 17kHz and are more towards the upper limit of human hearing. So with these basics of sound in mind as a guide to how I would test the difference between file formats at different bitrates I made the song with a well represented range of sound from the low end to the high end of the human audible frequency range.

In this first picture you can see the layout and structure of the song. This is a visible representation of the sound waves used to produce the music. The upper most line with the green wave forms is track 1, it is the drums. Starting with the kick drum farthest to the left and then moving along to the right to the clap and then hi-hats and so on. From left to right time is represented, so far left is 0:00 seconds and far right is about 0:57 seconds. It is relatively short but is just for demonstration purposes. In the next track below the drums is the bass line, which is the blue wave form and then below that in red is the synth. You can hear what this track sounds like HERE. Follow along with your eyes in the picture as you listen to see the different points as you hear them.

PIC 1

To export a sound file means to take it from this visual form and turn it into a playable file such as wav or mp3. The link above is for the wav of this song. When exported it becomes a song or a single track, unlike what is shown here as three separate lines of audio.

In the next image the wav, shown in dark blue, shows how the green, light blue and red have melded into a single song, track and wave form.

PIC 2

Exporting audio as wav takes up around 35MB for a typical song, compared to an mp3 of the same song which could take up far less, around 5MB. Clearly space saving is the advantage to mp3. The lower the quality, the higher the compression then the more space you save, but the worse the sound is. Sound is sacrificed any time a file is compressed and converted to a low resolution, low bitrate, low sample rate file. So the next step I took was to export this same song into many different sample rates from the highest quality available mp3 to the lowest available, ranging from wav at 1411kbps or kilo bytes per second or 1,411,000 down to a 32kbps mp3 or 32,000.

The next image shows the difference in file size to the file type, as the size goes down so does the quality.

PIC 3

As you can see the wav is 9.9MB and the lowest mp3 is a mere 226kB. There is always arguments amongst the people questioning what is the better format or file size. This shows exactly why a low quality mp3 sounds low quality, it is physically impossible to ever store as much of the song’s information into an mp3 as a wav. Yes a wav is sampled and yes there are compressed versions of wavs. But a wav is sampled over 1 million times in each and every second throughout the entire song. The most an mp3 can be sampled is 320,000 times per second, that’s more than 4 times less than a wav file!!!

Here are the audio exports of each of these files so you can listen to them back to back from highest to lowest or vice versa to hear what is missing form each track as you compress it more and more.

Example 1 WAV

Example 1 320

Example 1 256

Example 1 192

Example 1 160

Example 1 128

Example 1 96

Example 1 80

Example 1 64

Example 1 32

You will notice less and less bass and kick. It will be more and more distorted low end as well. Further and further down the list you will notice less and less top side of the hi-hats, they will become more and more robotic and metallic sounding too. The last time I checked no one purposely wanted their music to sound like they were listening to it while stuck on hold or in a dentist’s waiting room, unless said dentist was a hip audiophile with some insane high end speakers for his patients to enjoy their last moments whilst awaiting impending doom. But give those files a good listen, at different volumes, with a concentrated ear, on multiple output devices, your favorite headphones, on the aux cord in your car or computer speakers to truly hear the degradation of the music as you move down the list.

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This next image shows each of the file types and sample rate changes in the visual graphic display so you can physically see the loss of sound due to the sampling process.

PIC 4

Along the left hand side each track is labeled with the kbps sample rate and each track is displayed in a different color just for higher contrast and visibility. Similarly to the audio image from earlier the wav is the dark blue track. This is the same song from earlier on, and as you can see they look almost identical.

But take a look at the highlighted section outlined in green in the next pic, can you spot what is happening to the audio?

PIC 5

That’s towards the beginning of the song, the kick, then the clap and the outlined part is the hi-hats. If you look closely you can see the height or amplitude is lower. The actual size of the wave form is smaller. This height variance directly correlates to the volume of the song. None of these file were changed or edited or have any special effects on them. I literally just clicked [ file > export ] and changed the sample rate each time over and over again from the original source wav file. So the only change being made is in the actual file conversion process during the exportation of the audio. So without lowering the volume the only reason the sound is visibly smaller is the fact that there is actually less sound and the fact that the sample rate, and location of each sample never actually makes it to the peak or top of each wave in the sound. Remember when I said an mp3 is like estimating the wave form and not reproducing it, this change in amplitude of the hi-hats is a great example. I have more about analog to digital conversion and how sampling works later.

Another thing you can notice in the next screen shot shows what I mentioned about the low end sounding distorted.

PIC 6

Here, on the kick, at the very beginning of the song, you can see the difference from the wav to mp3 is very significant. Compare the outlined areas. Notice on the wav there is plenty of room above the wave form, but on the mp3 the sound is over extended past the limit of the height of the track. This causes distortion and even further audio loss. The height of the kick drum is amplified so far that it literally chops its head off. For example let’s say the total height can be 0 – 100 and a normal amplitude would be around 75 – 80 without any affect on the sound quality. In the picture the amplitude of the mp3 at the bottom is hypothetically 125, over the max of the example of 100. In the case of the sound being too small on the hi-hats and now being too big on the kicks, you can see the music is dramatically affected by the conversion to mp3. When a wav is converted to mp3 it is basically ‘squeezing’ the track into a smaller box, it came shipped like a refrigerator and is now being shoehorned into a deck of cards to save on export fees (PunnyMcPunPun) to get transported all around the world.

Some of what I am talking about may be difficult to see if you are unable to zoom in on these pics so let’s take a closer look.

PIC 7

Now I have zoomed in on just the beginning of the song with the 32kbps mp3 on top in red and the wav in blue on the bottom. All three of the outlined areas show what I was saying about the amplitude differences in both hi and low end of the sound.

Now If we continue from here, to zoom in more and more, you will start to be able to see what sampling does to the individual rise and fall of each sound wave within the song or audio file.

PIC 8

Take a look at the outlined areas showing the fade of the kick also known as the tail, or its release zone. Every note will have an attack, decay, sustain and release. They are like the beginning, middle and end of a sound. The attack is the initial start of the sound, the hit, or pluck if it were an instrument. The decay and sustain are the middle, decay being the initial drop from the attack and the sustain being its ability to prolong or stretch itself. And the release is the final descent of the wave from its volume or amplitude as a musical note to total silence.

When you look closely and compare the wav to the mp3 you will start to see a difference in the shape of the wave form as we zoom in more and more.

PIC 9

Notice here the mp3 is feathering in appearance while the wav is staying true to its original form. Another downside to mp3 conversion now reveals itself when we zoom in to this level. Take a look at the 5th kick drum in the red mp3. There is a gap and it then makes the rest of the remaining kick still within view out of sync with the wav below it. Up to that point they all line up top to bottom. These gaps are another drawback to mp3 conversion. The process tries to be as much time saving as it is space saving. When listened to these are quite noticeable as blips, clicks and squeals and can occur randomly and intermittently along any portion of the song and are nearly impossible to avoid. If I were to export it multiple times from wav to 32kbps it could have a gap in the same spot or in a different spot each time. When I zoomed in on the other image with all the mp3’s aligned above each other this incoherence was noticeable to the eye without zooming in more than 1 – 2 times for all the files at 128kbps and lower. This may have happened on the higher bitrates as well but I did not go over those files with as much scrutiny.

Keep watching as I zoom in even more.

PIC 10

Now we are in far enough that only one single kick drum is within frame.

Zoom in again and see another problem with mp3’s, the waveform has shifted itself off center from the 0 mark of the Y axis.

PIC 11

The more we zoom in the easier it is to see the damaging effects of estimating the wave form.

PIC 12

PIC 13

In the 2 pictures above the ‘step’ as it is aptly named can be seen easily in the red mp3 wave form.

PIC 14

Now zoomed in as far as my program would allow, the digitized look of the mp3 is indisputable. After hearing it in the audio examples above and then to be able to physically see the degradation on the actual structure of the wave form itself I hope it is a little clearer to people asking which is the better choice for music. It served its purpose well as a way to quickly send small files all over the world through slow internet connections to computers and devices with small storage space. But with the ever increasing size of hard drives and the matching blazing (when compared to 56k dial up) speeds of internet nowadays, there should be no excuse as to why you can’t listen to or play for an audience a high quality sound file.

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To learn more about why that staircase is happening to that kick drum my next few images go over analog to digital conversion and sampling. An analog signal is a purely uninterrupted sound wave, with the finest details in every nook and cranny. If the sound spikes around looking like a lightning strike then the analog wave does too. Like the kick drum displayed earlier the wave form had a familiar hill like flow up and down above and below the x-axis in the y-axis direction of amplitude, spreading left to right along the time of the x-axis in a certain frequency which was the repetitiveness of the up and down of the wave. Now if we were to sample that wave form and try to replicate it quickly by only taking snapshots of the height at intervals along the way during the same amount of time as the original wave we would only be able to come in contact with the wave at those intervals and nowhere in between while were moving along to the next sample. A few ways this can be represented to be more easily envisioned in your head. Imagine you were to get a sample size bag of small chocolate chip cookies. Your bag would be small enough to fit in your hand and would only hold a few cookies. Each cookie would have a different amount of chocolate chips and be a slightly different size. But the picture on the packaging shows a perfect cookie with the same number of chips as all the other cookies in the picture that are all the same size. Aside from the obvious false advertisement for the company to try and depict that they are able to deliver perfection, the reason your cookies are not totally a match is because you only got a sample. If they make 6,000,000 cookies a day, every day, and all you got was 3 measly little cookies it is impossible for your little bag to properly represent with 100% accuracy what every single cookie would become. Your sample may be comprised of cookies from 3 different conveyer belts, from 3 different times of day along the assembly line and conveyer belts of the factory. So if you take a sample here and there you are getting an overall estimation and generalized representation, not an actual identical representation. The only way to accomplish that would be to actually have every one of those cookies in your hand. Damn I must be getting hungry. I have another analogy after a few more basics and images displaying wave characteristics.

Moving on now, to see the waves to get an idea of the basics.

PIC 15

Here we have 2 waveforms shown in blue. The thin red line goes from 0 of the x-axis and travels up to the top and bottom of the wave in (fig a.), this shows the amplitude measured in decibels, dB. This wave is approximately 60 – 70Hz. Here it touches the crest of the wave, the upper most part with the highest amplitude of the wave. If you were to move the red line left or right it would get shorter and would be a different value from the left, in this case anywhere along the 0 to 100 dB range. The frequency, shown by the purple line, is measured from the beginning of the wave to where it starts again. This wave starts at 0db and goes up then back down to 0, then goes below to negative and then back to 0. This above and below motion is one full wave and is called its cycle and is referred to as Hertz, Hz, it takes 1 second for this wave to complete its cycle. Now in (fig b.) all the characteristics are similar except there are more waves within the same 1 second of time along the graph. Therefore it is a faster wave, has more cycles and has a higher frequency. These wave basics will come in handy when viewing a lot of the images anywhere in this article.

PIC 16

In (fig a. and fig c.) we have an analog wave. (Fig a.) is a sine wave similar to a sub bass or 808 sound at 1 Hz, the lowest sounding , smoothest looking and slowest moving of all sound waves. (Fig c.) is more typical of the look of waves in music with multiple instruments layered over each other in an arrangement masking and ducking each other to hide some of the shape and add to each other to form the shape. (Fig b. and fig d.) show the identical wave from above it with a portion of it being sampled. When you look close at (fig b. and fig d.) there is a thin dark blue line over laying the original thick light blue line of the original wave. This thin dark blue line is the wave that is formed when the thick light blue wave is sampled. If you travel along the x-axis over time and in regular intervals go up or down in the direction of the y-axis at each grey line you will come in contact with the wave at some point. You take that as your amplitude at that point in time along the wave. You come back down to the x-axis and travel along it again for the same amount of time and go the same distance until you again go up to where you meet the wave, and you now have a new amplitude. For example in (fig b.) the first wave at the first grey line the amplitude is about 25dB and the next sample at the second grey line is about 50dB and so on. After you get each amplitude at each interval you will have a succession of plots along the wave. If you were to play connect the dots with those samples you would have a nearly identical wave, but when sampling a sound wave each amplitude is held until the next time you sample, it interprets that sample at that amplitude as a flat line between each sample point, to form the steps as seen in the dark blue wave at the tops of the grey lines. The grey lines represent the spot at which each sample is taken and the dark blue line represents the new wave form made by the sampling process. If you look closely you can see little triangle shaped gaps above and below the original wave when compared to the new wave. Every single one of these spots is audio which was never sampled and is thrown away and lost during the sampling and conversion process. The loss of sound is emphasized even more by (fig d.) where the sharp spikes in the wave form are not represented at all by the sampled wave form. This is where the estimations made by sampling are apparent. Once this audio material is lost during conversion it can never be restored! So when we went from the light blue original sound wave to the digitized step wave form it was an analog to digital conversion. Now that we have a step like wave form we can save the file as wav, but it will only be the file name, the number of steps will increase to the standard 1411 for wav but that just means there will be more steps along the flat horizontal steps of the mp3 digital dark blue wave. So in a 320kbps mp3 the number of times the wave is sampled is 320,000 times per second. That means in the example in the image there would be 320,000 grey lines showing where 320,000 samples were taken and there would also be 320,000 flat horizontal step-like surfaces in the wave. This means 320,000 places in every second that at lost. Albeit the more you sample, to say the higher the bitrate is, then the smaller those little lost triangles will be. See more here about why there is loss that is never regained from digital to analog conversion.

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Well I’m exhausted… 16 pages at size 11 font, nearly 5,000 words later and years and years of development, with hours and hours of fact checking and cross referencing while writing this and producing my own audio and visuals to support it have made for this to be quite a long day. I hope at least I made my original point…hmm – what was it again?

Now nearly midnight as I wrap up I feel I forgot a lot, may have rambled, definitely got spelling and grammar mistakes but will sleep easy knowing that someone may have gained some knowledge from my rantings on the general where, how, when and why on sound! If someone you know is a victim of bad audio quality link them this article. If you enjoyed the article or would like to add anything or have suggestions for what I could possibly write about next time, hit me up almost anywhere on the web at username and artist name Epicstaxis.

Twitter, Instagram, Facebook, Tumblr and more…

One last link to another convincing and interesting piece of audio. In this link you can here each of the kick, clap and hi-hats from the earlier linked audio in decreasing bitrate and really notice the sound quality degradation as the sound travels from wav to 32kbps mp3.

Good night, thank you for your time, if I got time to ever proofread and edit this I might, but don’t count on it, LOL Until next time keep the audio curiosities coming…

p.s. I know I said there was another analogy but as long winded as this article already is I figured I would spare the audience. If you want to see it I posted it as a comment in response to a question on Facebook today which was the inspiration for my writing this piece in the first place.

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