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Howdy. You know how some listings specify "studio-quality tracks"? I have a Fostex MR8 digital recorder. I love this unit, and i can produce what i consider to be very listenable tracks on it. But it is just 16 bit, and its very limited in terms of EQ. Will the quality be good enough to submit to these listings? How can i make the objective assessment of the production quality of my tracks? I don't to be dq'd because of production limitations.thanks!

Hi there!It would really help if you posted a few of your "best of" tracks from that rig, so we can check it out and provide some feedback on the quality. Don't be shy! (I know, easy to say...) By far the majority of feedback here is direct, compassionate, and usually very accurate.That's the best way to find out if your technology (and your driving skills ) are current. There are some hyper-talented folks here (not necessarily me though ) that can get amazing results with a very basic setup...and they are very good at sharing what works for them.It also depends on your genre too. High end samples for orchestra work or hip hop may be in order, as an example.I've seen instrumental guitar tracks forwarded with tracks made on a 16 bit 44.1kHz machine, using an SM57, for direct consideration in film (not going to be re-recorded).

hey! I'm tracking into a Fostex vf 160 and then throwing my tracks into Tracktion to mix. I have about 60 songs signed outside of Taxi and somewhere in the vicinity of 50 Taxi forwards. When recording at 16bit you just have to make sure to have really hot levels (without distorting of course!) to max the bit depth for quality. The biggest plus recording at 24 bit is that you can ease up on your tracking levels w/out worrying about a loss of quality or of distorting. If you're tracking at a greater bit depth at 16 bit than someone who is at 24 you can somewhat make up for the difference. I have worked with people who have sent me files tracked at 24 bit but at -15db! I don't know the math but I'm pretty sure that's less than 16bit recorded at say -3 or -5 db. Maybe someone who knows the math can chime in. The rule is that when recording at 16 bit get the best levels you can and you'll be ok (a good compressor/limiter is your best friend).

Hi Julia, i agree with devin that if you're willing to post a sample it will be easier to know. however, you could also go to the "forwards" section of this forum and listen to some of the songs posted there- particularly ones that got forwarded for listings that say "broadcast quality/ studio-track quality needed," and compare yours to them.another thing you can do, if you haven't already, is submit some of your songs to those listings and see if you get forwarded (seems a little obvious, right?) try to submit to a listing that provides a critique, and they will definitely let you know. it will cost you $5 or $10 but will be worth is if you get a critiquebillg, thanks for that info about 16 bit vs 24 bit, i had no idea that tracking levels should be different. i've only recently begun tracking in 24 so it's good to know these things

"It's not the gear, it's the ear"If your stuff sounds great, it doesn't matter what you record it on. It's really nice to have nice tools but great tools and so so music just helps one put out great sounding so so music.The difference between 16 bit and 24 bit can be noticeable with some styles of music but many modern styles of music use so much compression on the master that all of that painstaking attention to bit depth and recording levels, etc. is thrown out the window when the mix is turned in to a square wave at mastering.Learn to maximize your usage of the gear you do have until you start to outgrow it (which may be already happening in your case, I don't know). You should be able to make very nice sounding tracks on the Fostex. High end orchestral trailer stuff? Maybe not, but lots of library tracks use fairly simple arrangements but still set the required tone. And for songwriter demos, if you know what you're doing, you should be able to get something that sounds good out of that box.Post some stuff up so we can give a listen.Cheers!Mazz

I'll second the post above from mazz.you can do some great tracks with very basic equipment, provided however that you know your gear and have the necessary musical skills.

I'm familiar with the type of system you have, here's my suggestion. With these systems you need to add an extra step to the mixing and mastering process or you won't get the volume you need or the clarity. First off, always record in NORMAL mode, this puts you at 44.1khz which is CD quality (Do not use Extended Mode, it will sound like crap). Second, after you are done with each track make a disc of it so you have a back up and can reload it if necessary. After you have made the backup mix bounce your guitars and bass to one track and EQ it, then bounce the Vocals to one track EQ it, then the drums EQ it. Not necessarily in that order but you get the picture. Now before you bounce it over to the stereo track on 7/8 bounce those 3 tracks to track six for an overall pre-EQ, after you have EQ'd that, bounce track 6 to your stereo track 7/8 to do a final EQ and up the decibals. It gets tedious but I used to use something very similar years ago and I got great results like this. Hope this helps.