It wasn’t until the 2000s that audio software started to offer a different approach to the digital time-shifting degradation problem.
(Look up Nyquist Theory to discover more.) The number of these samples recorded is determined by the sampling rate, but when recording at 44.1kHz - as was the norm in the early days of digital recording - you can barely slow down the audio at all before audible artifacts come into play. Each digital ‘word’ contains all the information for a sample, and it varies in size depending on the word length of the recording system (commonly 16- or 24-bit). Pepper’s Lonely Hearts Club Band is a great example of this.) But when digital audio started to gain dominance, it became more difficult to manipulate the speed of audio while maintaining its integrity.ĭigital audio is sequence of samples represented by a long string of binary digits. But creative artists would get around this by recording at a different tempo and key, then playing back at a speed to compensate for the changes. The main downside is that pitch and tempo increases and decreases in relation to the playback speed.
With analogue audio, time-stretching is fairly straightforward.
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