I have been recording music since 1990. I started out with a Fostex 4 channel cassette recorder. Then I moved into the digital realm with my Roland vs-880 (16 bit). What a huge improvement over the Fostex. But then I discovered 24 bit recording via Sony Vegas Pro (yes I recorded music with that program) and 24 bit was so much more pristine. Now I am using Adobe Audition and continue to use 24 bit because I can't tell the difference with 32 bit. Great video btw! Subscribed!
I use 24b 48khz, just because newer PCs can handle it ok and it makes room for any audio or recording error down the line. As you say in another video, plugins can now over-sample when needed, which can solve any noise issues when required, so no need to record at stupid sample rate levels all the time either.
I record 16 bit 44.1 khz I am a sound guy at a church the sermons and the song service sound great I actually saw a TH-cam video that had explained the difference between 16 bit and 24 bit and I am a minimalist so it works for us
I work in 24 bit depth/88.2 K Hz. sample rate. I have a very Low noise floor. So 24-bit is the best choice for my recordings. If you practice good gain staging, I can’t see why anyone would ever want to exceed 0dB. Some people use this as an argument in favor for 32 bit float. But if I’m ever in a situation where I need to go over, I will likely just put on a brick wall limiter. But these situation‘s are very rare. For me, a fixed 24 bit is perfect both in terms of quality and headroom is never an issue. I know it’s slightly off-topic, but the reason I work in 88.2 K Hz sample rate, is because The higher sample rate reduces the amount of aliasing that can potentially occur in certain plug-ins due to harmonic information. I run UAD plug-ins, (as well as a variety of other brands) which always run off of CPU from the interfaces or satellite systems. Because my interface only has one core processor, I’m limited in the number of plug-ins I can run during a giving session. The higher the sample rate, the less plug-ins I can use. 88.2 is the highest sample rate I can run, to eliminate aliasing, while still being able to use a decent amount of UAD plug-ins. 😊
I think the argument for 32bit say, "what if you don't know you are going to go over?". This is probably why we see 32bit in a lot of field recorders. Recording a live event you usually only get 1 shot. On set audio capture for video, live concert, news event, etc.
But isnt the point of 32 bit recording that you can actually record much much hotter (no need to save the 10db headroom) because you can adjust gainsettings in post, and therefore your ratio from signal to noisefloor of the equipment will be greater… especially when the music has a huge dynamic range… and haven’t you ever had a band which got louder nd louder during recording… isnt it nice to not have to worry about that? So it actually makes sense to always record in 32 bit to me, considering these facts… and we arent even talking of recording gigs…
The first A Perfect Circle record was done in 16 Bit, 44.1k so that's good enough for me :P (also saves space on my digital porta studio) but good tip about basing it off the noise floor
I seen them twice with NIN about a month before Mer De Noms was released. Hadn't heard them at all other than a radio song with the singer from TOOL. Fair point for all CD audio. I'd been recording with maximum settings for decades, but now I'm going back and remastering things and finding a lot of redundant air space in wav data that can be optimized going back to the masters and reencoding them at lower bit rate. Sounds a bit better crushing the bit depth for drums to add a crackle to the punches.
Sorry if I have to ask: For some live events with speakers/moderators and musicians I plan to purchase either the Zoom Podtrack 8 (16 bit/44,1khz) or the Tascam Mixcast 4 (24 bit/48khz). I'm pretty shure that 16 bit/44,1 for voice is good enough but for the music parts (mostly classical music with piano, violine, singing covered with 2 overhead mics) I'm not sure how big is the difference between 16 and 24 bit. I would like to test your method with the noise floor but I did not understand how that works, I understand I have to connect the microphone, record and be quiet but how do I have to set gain and fader? What do I have to do after the recording? Clear, I load the audio file in the computer (I use Fairligh inside Davinci Resolve) but then what? raise the volume until I hear noise, increase the level in the audio file until I see noise? what does "load a meter on the track" mean? Sorry if this sounds stupid but is not clear for me. Thank you for answering.
5:30 ... the only reason I prefer to record at 32 bit floating point is that I have watched an official Steinberg tutorial that explained is easier for the CPU to do the calculations there. A "nerdy" thing that is!
I still record 16 bit almost all the time (unless it's a singer with just and acoustic guitar and a lot of quiet parts). Mostly everything I record is loud rock music. There's no noise to hear - it all is masked by the music. I also never use more than 16 tracks.
3 ปีที่แล้ว +1
personally i think a final file with 16 bit is totally fine but i record with as much bit as i can. While i do not care that much about if the bit are audible under normal circumstances, compressing and gating and normalizing a 16 bit wav is pretty ugly sometimes, 24 is okay but i think the future is multiple ad converters line in the zoom f6 or sound devices mix pre II ... the mix pre II for example has a dynamic range of 142 dB and that is the future imo. Other interfaces that offer 32 bit but do not have more AD converters to increase the dynamic range are less interesting to me but 32 bit is still something i like. IF an interface has only 16 bit you just have to level very well limiting/compressing on the way in to get the most out of the 16 bit, if you have to level -12 dB on the way in because the source is very dynamic you already loose 1,6bit ... sooo yeah ... no 16 bit for recording at my place
3 ปีที่แล้ว
same goes for the 44.1 vs the other samplerates 44.1 is cool for listening and on most cases for recording audio too but once you have to do a lot of time stretching it gets pretty fast pretty ugly ... a higher samplerate helps here a lot
I was already recording in 24 bit and at 44.1k but I seen a TikTok and dude said 32 bit saves signal information that goes over your ceiling and that kind of mixing allows your 808s to hit harder? So I wanted to come do some research. I guess this has more to do with recording than mixing and bouncing in 32 bit. This is a solid video though. I'm glad I was recording correctly! Lol. 🥂
32-bit audio doesn't necessarily work that way because at some point to hear your song you need to send the signal out to speakers. And that level will be at a defined value of 0 dbfs. So even though you're 32-bit audio file can encode signals above 0 dbfs, they will still clip when the signal is sent to your speakers and thus your 808s will not hit any harder. It's a little bit confusing but if this wasn't the case, you could make audio files that were at plus 700 DB and blow people speakers up all the time. And that would suck haha! I actually have a gain staging video where I do this here on TH-cam. It might help explain what I'm talking about. The advantage to 32-bit files is lower noise floor (but 24 bit is already really really really good), and also the possibility of digitally reducing signals that were exported above zero dbfs (for 32 bit float files) to digitally recover those clipped signals (which is only really useful if you're sending files to a mixing or mastering engineer to ensure that the songs don't clip when you export them). But again this is only in the digital domain and anytime you listen to any audio that goes above zero on speakers or headphones, it will clip and not sound great.
Great video. I use a Korg D1200MK portable multitrack and have only been recording using 16bit vs 24bit solely for the reason I get 12 tracks on 16bit and only 6 tracks on 24bit. I think I'll try 24bit and see how the final product sounds. Awesome video my Friend!
For a voiceover, is it ok to just get a 16 bit mic? I have an option at 24 bit depth, but i don't think it is what i need for some youtube and other kinds of voice recordings and voice calls.
mostly 24 bit, because my thinking is to stay away from clipping without losing too much dynamic range. I guess it's the opposite reason you say to use 24, but it's addressing the same thing in a way; maintaining enough dynamic range while staying away from the limitations. I don't have any issues staying away from the noise floor especially at 24 bit. I used to try to track too hot into my DAW. not that it would clip usually, but I would end up with tracks that I would have to turn the gain down on while mixing anyway. I've heard some interesting things about 32 bit floating point. that you don't even set input gain? seems weird, but I can imagine that if you can record in a dynamic range which exceeds what the ear can handle and even what a mic can pick up then, yeah, no need to gain up or down. I guess. I feel like you could go into more detail about how 24 bit can help people record at more reasonable levels. I feel like another video on setting good input gain for recording into DAWs would be great. maybe you did that already. hehe. thanks!
So if the camera is recording a video with 32 bit audio, and a separate mic is recording a 24 bit audio, it wouldn't be a problem to put the video from camera together with the 24 bit audio from the mic, right? Both are 48 kHz.
I have a question if you don’t mind me asking. In a home studio setup where the mic or the interface is 16 bit is there any advantage to recording at 24 bit?
In that case, there probably isn't any advantage to recording at 24 bit if you are limited by your interface or microphone. The 24 bit audio files will be much larger than 16 bit and not contain any additional useful audio information. Hope that helps!
Great explanation without unnecessary condescension. Thanks. By the way, I tested my floor. It's concrete with laminate overlay, does that make it eligible for 8 bit? hahaha
I can sometimes hear in my headphones this white sound that you show here. Wondering where does it come from. I need to specify that i use a pair of wireless headphones, with the dongle plugged into a usb port at the back the computer, into the motherbord itself. It's something like some pop up's, not a continuous sound. Is it becouse i have the sound level in windows set too loud? It seems to not realy change anything when i change sound settings.
Great video thanks! I wonder if recording and working in 24 bits (for the safety of keeping a very low noise floor) to then exporting in 16 bits would be good practice for most of my production (SFX, music, film sound design...). After all, if you normalise all the sound you wanna export for your soundbank (around -24 lufs with -1db peak), you won't gonna push the level much louder once reworking on them. Therefore I don't see any situation where those 16bit SFX(or ambience, soundtracks...) will have a noticeable noise floor, correct?
When starting to learn recording in the early 2000's, learning that CDs were 16 bit and 44.1 khz and that DAWs were capable of 24 bit and 48 khz recording and what those meant scientifically, it sounded like even 24 bit 48 khz could be slightly overkill. So, when I started seeing stuff spec'd to be capable of 32 bits and 192 khz, I immediately thought "WHY?!" Learning about both just makes me think of T2 and Jurassic Park. Just because we CAN do it, doesn't mean we SHOULD.
Also, I don't think humans will ever evolve to comfortably hearing 100 db levels or that we'll ever be able to detect 96 khz or 192 khz rates on playback. Like trying to tell the difference between 60 fps, 120 fps, or 240 fps video, it's pretty pointless because brains can't perceive past a certain point.
Oh man that will be really low. It's going to be based on your converters and can get tricky depending on which interface you have. I'd definitely go 24 bit for sure because you will have a lot more dynamic range from synthesizers compared to live mics with instruments. Hope that helps! Cheers!
I have a Steinberg UR44C. I originally bought it because it can do 32 bit. However I discovered that when I tried to record in 32 bit, my external USB keyboard wouldn't work. Also some of my plugins wouldn't work. Do you happen to why this is? After I discovered that I now only record in 24 bit.
Hi, right now I have several projects in 32float/96. Can you advise me, should i lower quality to 24/48 or 32/48, to reduce the load on my computer and soundcard and then work faster , or does 32float/96 give me more quality? I want to process my DI guitars with VST And get the best quality I can.
Lowering the bit depth from 32 to 24 shouldn't lower the quality at all. Changing the sample rate is more difficult to answer because there are a lot of variables with that. If your plugins have oversampling then you probably are okay lowering it to 48 without any loss and quality. I have a video that will be released in the next week or two that will talk about 96 khz sample rate in a lot more detail, so keep an eye out for that!
I have rme ufx 2 . enabled monitoring with plug-ins in daw, when I record a voice at 24 bits and 44.1 clicks are heard. the only solution to this problem is to switch to 16 bit. if I want to record a voice in a daw with plug-ins with monitoring enabled, 24 bits do not sound clean in this audio interface. who else has this problem?
If you havent solved the problem already: Try to record on a usb stick (on the ufx) and check if you have the same issues there… if yes, its the interface, if no its the computer/daw
Hey bro great video..but i have a question..it might be stupid question coz i am complete beginner..if possible plz reply.."what if i record at 16bit (i turn my interface to 16bit) and then after recording is done I turn back my interface to 24bit..will it affect my recorded sound??
Can you tell me what interface you have? Usually you can't switch the converters back and forth between 16 and 24 bit. If you are talking about recording in 16 bit and then converting it to a 24-bit file, you won't find any improved quality. Everything is already captured at that lower bit depth and your noise floor is locked in. All you end up doing is increasing the file size without improving the audio quality at all. Hope that helps!
@@RaytownProductions thanks for the reply and yeah it helped..I have m-audio fastrack interface which they stopped making anymore..so I am using that..and I have a different qu regarding same situation please reply one last time "What if I made a song with midis (no instrument recording) at 24bit and then I record my vocals at 16bit..will it affect my recorded audio?? Coz if I made in 24bit and change setting to 16bit for recording..will it not affect my project and recorded audio..??
@@SAGE1991 in that case when you export your MIDI, there's a pretty good chance that you will improve the noise floor of the rendered audio. Basically it will be a little bit cleaner. But if your MIDI is sampled instruments that have a dynamic range less than 16 bit, it won't really help. I would say in your case just to be safe, I would set your session project right to 24 bit even though your interface is 16 bit. Either way it probably won't make that much of a impact to your music. Your 16 bit interface won't hold you back 🙂 now go make some awesome music 🤘
I've been recording 16 bit at 44.1 kHz. This is because for all practical purposes, people won't hear problems with low level signals with my music. I have an older computer, and I don't want to use up any more mass storage space than I need to, so a lower sampling rate (which any discrete voltage level would fit well within what 16 bits is capable of) eats up less memory. If you want to hear the results, here is one of my songs. th-cam.com/video/dwaCmEdlLEk/w-d-xo.html
I would agree with Chelo Scotti. Yes, 32bit files are larger, but I would not say that using 32bit is pointless. 32bit files provide that additional headroom or what I call a safety net for any accidental overs/clipping. This can be an extremely useful feature to have when working with EDM projects. Mostly because I am frequently "bouncing in place" live Virtual instrument tracks, with plugins added to the same channel.
I have been recording music since 1990. I started out with a Fostex 4 channel cassette recorder. Then I moved into the digital realm with my Roland vs-880 (16 bit). What a huge improvement over the Fostex. But then I discovered 24 bit recording via Sony Vegas Pro (yes I recorded music with that program) and 24 bit was so much more pristine. Now I am using Adobe Audition and continue to use 24 bit because I can't tell the difference with 32 bit. Great video btw! Subscribed!
24/48. makes sense for everything.
This is my go to 🙂
I use 24b 48khz, just because newer PCs can handle it ok and it makes room for any audio or recording error down the line. As you say in another video, plugins can now over-sample when needed, which can solve any noise issues when required, so no need to record at stupid sample rate levels all the time either.
I record 16 bit 44.1 khz I am a sound guy at a church the sermons and the song service sound great I actually saw a TH-cam video that had explained the difference between 16 bit and 24 bit and I am a minimalist so it works for us
Keeping it simple isn't a bad thing 🙂 thanks for sharing!
I work in 24 bit depth/88.2 K Hz. sample rate. I have a very Low noise floor. So 24-bit is the best choice for my recordings. If you practice good gain staging, I can’t see why anyone would ever want to exceed 0dB. Some people use this as an argument in favor for 32 bit float. But if I’m ever in a situation where I need to go over, I will likely just put on a brick wall limiter. But these situation‘s are very rare. For me, a fixed 24 bit is perfect both in terms of quality and headroom is never an issue.
I know it’s slightly off-topic, but the reason I work in 88.2 K Hz sample rate, is because The higher sample rate reduces the amount of aliasing that can potentially occur in certain plug-ins due to harmonic information. I run UAD plug-ins, (as well as a variety of other brands) which always run off of CPU from the interfaces or satellite systems. Because my interface only has one core processor, I’m limited in the number of plug-ins I can run during a giving session. The higher the sample rate, the less plug-ins I can use. 88.2 is the highest sample rate I can run, to eliminate aliasing, while still being able to use a decent amount of UAD plug-ins. 😊
These are great point and important ones to also consider. Thanks for sharing!
I think the argument for 32bit say, "what if you don't know you are going to go over?". This is probably why we see 32bit in a lot of field recorders. Recording a live event you usually only get 1 shot. On set audio capture for video, live concert, news event, etc.
@@cali4tune great point! Absolutely agree!
But isnt the point of 32 bit recording that you can actually record much much hotter (no need to save the 10db headroom) because you can adjust gainsettings in post, and therefore your ratio from signal to noisefloor of the equipment will be greater… especially when the music has a huge dynamic range… and haven’t you ever had a band which got louder nd louder during recording… isnt it nice to not have to worry about that? So it actually makes sense to always record in 32 bit to me, considering these facts… and we arent even talking of recording gigs…
Great video. I also turned the volume down to where i couldn't hear the white noise and of course the tone was very audible.
The first A Perfect Circle record was done in 16 Bit, 44.1k so that's good enough for me :P (also saves space on my digital porta studio) but good tip about basing it off the noise floor
Love that album 🙂 I wonder if APC and the engineers based that decision off the noise floor in the studio🤔
I seen them twice with NIN about a month before Mer De Noms was released. Hadn't heard them at all other than a radio song with the singer from TOOL. Fair point for all CD audio. I'd been recording with maximum settings for decades, but now I'm going back and remastering things and finding a lot of redundant air space in wav data that can be optimized going back to the masters and reencoding them at lower bit rate. Sounds a bit better crushing the bit depth for drums to add a crackle to the punches.
thanks, these 2 videos were very helpful
Sorry if I have to ask: For some live events with speakers/moderators and musicians I plan to purchase either the Zoom Podtrack 8 (16 bit/44,1khz) or the Tascam Mixcast 4 (24 bit/48khz). I'm pretty shure that 16 bit/44,1 for voice is good enough but for the music parts (mostly classical music with piano, violine, singing covered with 2 overhead mics) I'm not sure how big is the difference between 16 and 24 bit. I would like to test your method with the noise floor but I did not understand how that works, I understand I have to connect the microphone, record and be quiet but how do I have to set gain and fader? What do I have to do after the recording? Clear, I load the audio file in the computer (I use Fairligh inside Davinci Resolve) but then what? raise the volume until I hear noise, increase the level in the audio file until I see noise? what does "load a meter on the track" mean?
Sorry if this sounds stupid but is not clear for me. Thank you for answering.
5:30 ... the only reason I prefer to record at 32 bit floating point is that I have watched an official Steinberg tutorial that explained is easier for the CPU to do the calculations there. A "nerdy" thing that is!
the audio engine is probably working at 64bit float whatever the audio bitdepth is.
I still record 16 bit almost all the time (unless it's a singer with just and acoustic guitar and a lot of quiet parts). Mostly everything I record is loud rock music. There's no noise to hear - it all is masked by the music. I also never use more than 16 tracks.
personally i think a final file with 16 bit is totally fine but i record with as much bit as i can. While i do not care that much about if the bit are audible under normal circumstances, compressing and gating and normalizing a 16 bit wav is pretty ugly sometimes, 24 is okay but i think the future is multiple ad converters line in the zoom f6 or sound devices mix pre II ... the mix pre II for example has a dynamic range of 142 dB and that is the future imo. Other interfaces that offer 32 bit but do not have more AD converters to increase the dynamic range are less interesting to me but 32 bit is still something i like.
IF an interface has only 16 bit you just have to level very well limiting/compressing on the way in to get the most out of the 16 bit, if you have to level -12 dB on the way in because the source is very dynamic you already loose 1,6bit ... sooo yeah ... no 16 bit for recording at my place
same goes for the 44.1 vs the other samplerates 44.1 is cool for listening and on most cases for recording audio too but once you have to do a lot of time stretching it gets pretty fast pretty ugly ... a higher samplerate helps here a lot
i could hear the test tone at -50, i needed to ramp up vol.
24b / 96khz. PC´s nowadays are so powerful that performance penalties dont really matter anymore.
Super good . thanks, Btw you have a ghost in the background 5:08 :)
I was already recording in 24 bit and at 44.1k but I seen a TikTok and dude said 32 bit saves signal information that goes over your ceiling and that kind of mixing allows your 808s to hit harder? So I wanted to come do some research. I guess this has more to do with recording than mixing and bouncing in 32 bit. This is a solid video though. I'm glad I was recording correctly! Lol. 🥂
32-bit audio doesn't necessarily work that way because at some point to hear your song you need to send the signal out to speakers. And that level will be at a defined value of 0 dbfs. So even though you're 32-bit audio file can encode signals above 0 dbfs, they will still clip when the signal is sent to your speakers and thus your 808s will not hit any harder.
It's a little bit confusing but if this wasn't the case, you could make audio files that were at plus 700 DB and blow people speakers up all the time. And that would suck haha! I actually have a gain staging video where I do this here on TH-cam. It might help explain what I'm talking about.
The advantage to 32-bit files is lower noise floor (but 24 bit is already really really really good), and also the possibility of digitally reducing signals that were exported above zero dbfs (for 32 bit float files) to digitally recover those clipped signals (which is only really useful if you're sending files to a mixing or mastering engineer to ensure that the songs don't clip when you export them). But again this is only in the digital domain and anytime you listen to any audio that goes above zero on speakers or headphones, it will clip and not sound great.
24/48
Great video. I use a Korg D1200MK portable multitrack and have only been recording using 16bit vs 24bit solely for the reason I get 12 tracks on 16bit and only 6 tracks on 24bit. I think I'll try 24bit and see how the final product sounds. Awesome video my Friend!
Thanks for sharing your time with me! Glad you found it helpful :)
For a voiceover, is it ok to just get a 16 bit mic?
I have an option at 24 bit depth, but i don't think it is what i need for some youtube and other kinds of voice recordings and voice calls.
mostly 24 bit, because my thinking is to stay away from clipping without losing too much dynamic range. I guess it's the opposite reason you say to use 24, but it's addressing the same thing in a way; maintaining enough dynamic range while staying away from the limitations. I don't have any issues staying away from the noise floor especially at 24 bit. I used to try to track too hot into my DAW. not that it would clip usually, but I would end up with tracks that I would have to turn the gain down on while mixing anyway.
I've heard some interesting things about 32 bit floating point. that you don't even set input gain? seems weird, but I can imagine that if you can record in a dynamic range which exceeds what the ear can handle and even what a mic can pick up then, yeah, no need to gain up or down. I guess.
I feel like you could go into more detail about how 24 bit can help people record at more reasonable levels.
I feel like another video on setting good input gain for recording into DAWs would be great. maybe you did that already. hehe. thanks!
Very informative.
So being set at 24 bit, what should be our sampling rate?
44.1 or 48?
Almost always 48.
44.1 is for CDs. 48 is for DVD, video, and most digital audio situations.
So if the camera is recording a video with 32 bit audio, and a separate mic is recording a 24 bit audio, it wouldn't be a problem to put the video from camera together with the 24 bit audio from the mic, right? Both are 48 kHz.
Correct! No problem at all
I have a question if you don’t mind me asking. In a home studio setup where the mic or the interface is 16 bit is there any advantage to recording at 24 bit?
In that case, there probably isn't any advantage to recording at 24 bit if you are limited by your interface or microphone. The 24 bit audio files will be much larger than 16 bit and not contain any additional useful audio information. Hope that helps!
@@RaytownProductions Thank you for your reply, makes sense.
Thank you very much explaining this to a beginner!
Of course! Glad I could help. Cheers!
can anyone explain me, i didnt understand. -70? what was that?
I was wondering because of the new interface from SSL that records In 32bit
What about wave vs. Flac
People say 24-bit is better for television
Great explanation without unnecessary condescension.
Thanks.
By the way, I tested my floor. It's concrete with laminate overlay, does that make it eligible for 8 bit? hahaha
🤣🤣🤣
Concrete with laminate overlay.... Hmmm..... Is it noisy? If not, I might look into reflooring.
@@bthellam it's not a large space so I'm not sure it's of any consequence.
Hey! Thanks so much for this video. For the rest, should I have my input gain set to 0?
I can sometimes hear in my headphones this white sound that you show here. Wondering where does it come from. I need to specify that i use a pair of wireless headphones, with the dongle plugged into a usb port at the back the computer, into the motherbord itself.
It's something like some pop up's, not a continuous sound. Is it becouse i have the sound level in windows set too loud? It seems to not realy change anything when i change sound settings.
Great video thanks! I wonder if recording and working in 24 bits (for the safety of keeping a very low noise floor) to then exporting in 16 bits would be good practice for most of my production (SFX, music, film sound design...).
After all, if you normalise all the sound you wanna export for your soundbank (around -24 lufs with -1db peak), you won't gonna push the level much louder once reworking on them.
Therefore I don't see any situation where those 16bit SFX(or ambience, soundtracks...) will have a noticeable noise floor, correct?
When starting to learn recording in the early 2000's, learning that CDs were 16 bit and 44.1 khz and that DAWs were capable of 24 bit and 48 khz recording and what those meant scientifically, it sounded like even 24 bit 48 khz could be slightly overkill. So, when I started seeing stuff spec'd to be capable of 32 bits and 192 khz, I immediately thought "WHY?!" Learning about both just makes me think of T2 and Jurassic Park. Just because we CAN do it, doesn't mean we SHOULD.
Also, I don't think humans will ever evolve to comfortably hearing 100 db levels or that we'll ever be able to detect 96 khz or 192 khz rates on playback. Like trying to tell the difference between 60 fps, 120 fps, or 240 fps video, it's pretty pointless because brains can't perceive past a certain point.
Haha love this analogy!
If you want to watch a movie with your parrot, 32 Bit and 192 Khz might be better and sound more natural for your bird.
Great video! Thanks. How to measure noise floor in an electronic production studio (no mics)?
Oh man that will be really low. It's going to be based on your converters and can get tricky depending on which interface you have. I'd definitely go 24 bit for sure because you will have a lot more dynamic range from synthesizers compared to live mics with instruments. Hope that helps! Cheers!
@@RaytownProductions Thank you! That's fine!
24/48 for at least 20 years and it just works
I have a Steinberg UR44C. I originally bought it because it can do 32 bit. However I discovered that when I tried to record in 32 bit, my external USB keyboard wouldn't work. Also some of my plugins wouldn't work. Do you happen to why this is? After I discovered that I now only record in 24 bit.
Try to use another USB port.
GOOD ADVICE
Maybe? I can hear it easily.
Still hear it at -50 dB, barely.
Hi, right now I have several projects in 32float/96. Can you advise me, should i lower quality to 24/48 or 32/48, to reduce the load on my computer and soundcard and then work faster , or does 32float/96 give me more quality? I want to process my DI guitars with VST And get the best quality I can.
Lowering the bit depth from 32 to 24 shouldn't lower the quality at all. Changing the sample rate is more difficult to answer because there are a lot of variables with that. If your plugins have oversampling then you probably are okay lowering it to 48 without any loss and quality. I have a video that will be released in the next week or two that will talk about 96 khz sample rate in a lot more detail, so keep an eye out for that!
Where can I buy the Eat Sleep Produce Repeat badge?
I actually will begin selling them in my yt channel very soon! Stay tuned!
I have rme ufx 2 . enabled monitoring with plug-ins in daw, when I record a voice at 24 bits and 44.1 clicks are heard. the only solution to this problem is to switch to 16 bit. if I want to record a voice in a daw with plug-ins with monitoring enabled, 24 bits do not sound clean in this audio interface. who else has this problem?
If you havent solved the problem already: Try to record on a usb stick (on the ufx) and check if you have the same issues there… if yes, its the interface, if no its the computer/daw
@@PaulPaul-vj2vx Thank you. everything works on another pc.
Would have been cool if you'd have linked "Part 1" within the description...If there were even any real reason to have 2 parts to begin with. :-)
My videos tend to run long 😂
I will definitely link part two in the description. Great idea! Thanks for that
Hey bro great video..but i have a question..it might be stupid question coz i am complete beginner..if possible plz reply.."what if i record at 16bit (i turn my interface to 16bit) and then after recording is done I turn back my interface to 24bit..will it affect my recorded sound??
Can you tell me what interface you have? Usually you can't switch the converters back and forth between 16 and 24 bit. If you are talking about recording in 16 bit and then converting it to a 24-bit file, you won't find any improved quality. Everything is already captured at that lower bit depth and your noise floor is locked in. All you end up doing is increasing the file size without improving the audio quality at all.
Hope that helps!
@@RaytownProductions thanks for the reply and yeah it helped..I have m-audio fastrack interface which they stopped making anymore..so I am using that..and I have a different qu regarding same situation please reply one last time "What if I made a song with midis (no instrument recording) at 24bit and then I record my vocals at 16bit..will it affect my recorded audio?? Coz if I made in 24bit and change setting to 16bit for recording..will it not affect my project and recorded audio..??
@@SAGE1991 in that case when you export your MIDI, there's a pretty good chance that you will improve the noise floor of the rendered audio. Basically it will be a little bit cleaner. But if your MIDI is sampled instruments that have a dynamic range less than 16 bit, it won't really help.
I would say in your case just to be safe, I would set your session project right to 24 bit even though your interface is 16 bit. Either way it probably won't make that much of a impact to your music. Your 16 bit interface won't hold you back 🙂 now go make some awesome music 🤘
@@RaytownProductions hey thanks for clearing my doubt..you are awesome man..big confusion cleared. ♥️
I've been recording 16 bit at 44.1 kHz. This is because for all practical purposes, people won't hear problems with low level signals with my music. I have an older computer, and I don't want to use up any more mass storage space than I need to, so a lower sampling rate (which any discrete voltage level would fit well within what 16 bits is capable of) eats up less memory. If you want to hear the results, here is one of my songs. th-cam.com/video/dwaCmEdlLEk/w-d-xo.html
24 Bit 48 khz = best
48.000hrz and 32bit, for undestructible clipping ;)
I would agree with Chelo Scotti. Yes, 32bit files are larger, but I would not say that using 32bit is pointless. 32bit files provide that additional headroom or what I call a safety net for any accidental overs/clipping. This can be an extremely useful feature to have when working with EDM projects. Mostly because I am frequently "bouncing in place" live Virtual instrument tracks, with plugins added to the same channel.
bear trap
:)