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#21
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Re: 32bit or 24bit
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uuuuuhhhhhhhh Huu Huu....... I can hear this.....soooo cooolllll yeah ! Yeah ! https://youtu.be/BjWf0keANT8 10khz sine wave , 2000 cycles more than 8khz , I can hear it on my cellphone speakers, iPad speakers, and its freakin louder than heck, disclaimer , turn your volume down, watch out now I will go take my Geritol & nap as I can’t mix anymore today....lmao.....
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#22
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Re: 32bit or 24bit
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#23
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Re: 32bit or 24bit
lol I'm 45 and can definitely hear a 17K LPF Been using 32 bit float lately and there has been no discernable hit to cpu or storage.
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#24
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Re: 32bit or 24bit
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-24-fixed vs 32-float is more of a safety net/workflow thing that will only affect the "quality" of the end product in certain cases. Mostly useful if you're working with people who have no idea what 0dBFS means (and don't need to know.) * -If you really want to get into the weeds, there are meaningful tonal differences between 44.1k and 48k. a) The anti-aliasing filter used for 48k can be shallower than the usually very steep filter used for 44.1k. 44.1 can sound more "dense", 48k can sound more "open." b) Whether by design or by accident, plugins can sound different at different sample rates. Even more important if you're working with virtual instruments etc. When starting a (music) project, if there is no technical reason to choose either, I make it an artistic decision: 44.1k for density or 48k for openness; then I commit and don't think twice about it until the next project. :) It's a very small, almost meaningless difference in the big picture but: death by 1000 cuts. 2x and 4x sample rates will sound different for the same reasons but nothing that I work on really warrants that and I generally need the CPU headroom and workflow of 1x rates. ymmv etc... * of course the catch-22: the people that would benefit the most from working completely in 32-bit float are the same people who have no idea what it means and will just go with defaults or something random anyway.
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#25
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Re: 32bit or 24bit
Anyone?
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#26
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Re: 32bit or 24bit
In Pro Tools start-up Dashboard, change a new Session’s Bit Depth to 32-bit float and import some distorted audio to test fixing it with Clip Gain …
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#27
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Re: 32bit or 24bit
AD converters are generally not floating point, but you can just try it.
Bear in mind the Protools floating point audio engine has been bugged for a while now and only allows about 20dB over zero. Anything over get's muted (not even clipped, but muted). Generally speaking, 32bit is for people that don't know how to properly gain stage a session or recording. Fix the issue at the source |
#28
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Re: 32bit or 24bit
The only time thirty-two float helps with headroom is when the audio has been calculated. Converters will still clip because they have analog stages and usually fixed-point math.
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#29
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Re: 32bit or 24bit
Sound Devices 32 bit is a twin set of A/D convertors extending dynamic range beyond what a single set would manage - this is useful in the world of location sound where the twinkly sounds of nature are interrupted by an explosion. You don't generally need it for music, because not even live music has that dynamic range, and once you've compressed the daylights out of it for playback, it's irrelevant anyway.
Taking 24bit files from 24bit convertors and running them in a 32-bit float DAW format gives you extra room to mix - and in the case of Studio One, if you don't choose 32bit as your song bit depth, the mixer runs out of headroom at 24 bit. (Or at least it used to on earlier versions of S1). A zillion channels of 24bit files all pushed hard need a mix engine with headroom. Or you can turn all the channels down a bit. I have no idea why the Carbon has 32bit A/D but for studio recording, it's pretty unlikely to be of any value whatsoever. Dominic |
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