@24bit recording

[firubbi]

strange is that 16bit and 24bit is sounding same + it took the same space! 5MB/min(mono) so my 24bit selection is not correct. but how can i record @ 24bit?

i switch my apogee minime to 24/44.1khz + select 24bit in sonar + select asio2 24bit source and asio2 64des.... ... is there anything else is there?
Thanks

[firubbi]

opps its working. but i will ask few question about 24bit
thanks

[firubbi]

i'd record few piano notes @ 16 bit 44.khz and export as riff@16/44.1 and record 24/44.1 and export as rill@16/44/1.

and both sounds same except 24 one got less 0.1 level. so is it no use to record @24bit if my final product goes to 16bit?

[King of Snake]

I think the most common way to record nowadays is to record everything as 24 bit 44.1 Khz or 48 Khz, then only as a final step (after mastering) convert the 24 bit master to 16 bit, using dither to get rid of quatisation errors that would otherwise occur when downconverting.
There is probably not gonna be a great whopping difference between a single audio clip recorded as 16 bit versus one recorded at 24 bit, but mixing everything in 24 bit will give you more headroom.

[firubbi]

mixing everything in 24 bit will give you more headroom.

this is a good point for recording @24bit. thanks.

[astroman]

it's also much more convenient to deal with only one file format and 24/44 seems to be more or less standard today (and diskspace isn't a concern).

On the other hand I'm absolutely convinced that you won't notice a quality difference between a proper 16 bit recording and it's 24bit counterpart.
At least I remember I was very disappointed (some years ago) that my NI B4 and the EVP88 produced exactly the same sound with Asio-16 and Asio-24 bit drivers...
For processing the extra bits are very important, though.

cheers, Tom

[medway]

I think the most common way to record nowadays is to record everything as 24 bit 44.1 Khz or 48 Khz, then only as a final step (after mastering) convert the 24 bit master to 16 bit, using dither to get rid of quatisation errors that would otherwise occur when downconverting.
There is probably not gonna be a great whopping difference between a single audio clip recorded as 16 bit versus one recorded at 24 bit, but mixing everything in 24 bit will give you more headroom.

Generally the record format does not determine the mixing format. The 16/24 files get converted to the mixing engine depth, either 32float or 32integer with Scope.

As discussed before the bit depth will just determine noise floor.

[Immanuel]

But that discussion was only about recording and playing back. It was not about build-up degradation of numerous DSP processes following the recording.

[King of Snake]

I think the most common way to record nowadays is to record everything as 24 bit 44.1 Khz or 48 Khz, then only as a final step (after mastering) convert the 24 bit master to 16 bit, using dither to get rid of quatisation errors that would otherwise occur when downconverting.
There is probably not gonna be a great whopping difference between a single audio clip recorded as 16 bit versus one recorded at 24 bit, but mixing everything in 24 bit will give you more headroom.

Generally the record format does not determine the mixing format. The 16/24 files get converted to the mixing engine depth, either 32float or 32integer with Scope.

As discussed before the bit depth will just determine noise floor.

ok, so my last statement is not really relevant then, since when mixing in Scope, the mixing will always be in 32 bit (this determines the headroom of the mixing engine right?), but recording in 24 bit will give you lower noise floor compared to 16 bit. Correct?

[faxinadu]

I think the most common way to record nowadays is to record everything as 24 bit 44.1 Khz or 48 Khz, then only as a final step (after mastering) convert the 24 bit master to 16 bit, using dither to get rid of quatisation errors that would otherwise occur when downconverting.
There is probably not gonna be a great whopping difference between a single audio clip recorded as 16 bit versus one recorded at 24 bit, but mixing everything in 24 bit will give you more headroom.

+1

[Shayne White]

24-bit/32-bit is important for mixing because instruments tend to be recorded soft so you have plenty of headroom, then made louder later with a compressor and other effects. With 16-bit recording, you would end up hearing the digital noise floor; with 24-bit you wouldn't.

Shayne

[medway]

I recommmend using 24bit so you don't have to pay attention to levels so much like you would with 16bit.

Don't confuse recording at 24bit with mixing at 24bit as the mixing bit depth is higher.