What bit depth should i use to export

I usually work inside the box in and only switch to when I need to avoid aliasing when working with curtain plugins or when very high frequency modulation is used, like super fast LFOs, FM, ring modulation. And for extreme pitch shifting as well. First is online and offline rendering. Some plugins can apply advanced techniques during offline mixdown, like higher quality and more CPU intense algorithms, multi-pass or oversampling. Second is while working at we can always choose higher sample rate for offline project mixdown, without even changing audio driver settings.

This can be dangerous though if used carelessly. Thanks for the comment Denis. Very interesting. Never thought of working at and bouncing higher. Makes sense — definitely going to try this out. Price was one of them. Another reason is because I know how to track proper levels, and have never ever ever run into any issues what so ever with 16 bit. And of course, the age old tale of the Beatles recording everything in mono to 4 track machines, and making better music than any of us ever will.

No mix has ever been made or broken by the addition of 8 bits. The question here is not wether you can make good music in 16 bits — surely you can — like you said music is about ideas and not equipment. I have never had a problem because of working with 24 bit audio, what kind of trouble are you referring to that your friends have been experiencing? I can bounce at 32bit whereas my recording input can only reach 24bit. I was told that bouncing at 32bit gives you more headroom?

I work at For me it comes down to what your ear-holes tell you. The bit depth only affects amplitude, not frequency the x axis on a graph. However, 32 bit floating point does not add any more dynamic range than 24 bit integer since no DAC exists that can use the full dynamic range of 24 bit audio and is used internally in DAWs to avoid word length truncation and to improve accuracy at lower amplitudes. This is an interesting post and something I was looking into myself about a year ago.

Some plugins may sound better at higher sample rates — others may do internal supersampling so you will get pretty much the same result with You can get some lower latencies with higher sample rates as well. What is important for sample rates is the quality of the conversion, if you are using higher sample rates.

Back when Reason 6. If you take a look at Reason 6. Personally I only use As for 24bit vs 16bit: 24bits gives more headroom for the working stage. Yes, the sweep test should produce a single clear line. It is all explained in the help section, which also has some other interesting information on how SRC works.

Yeah, checked the help and FAQ sections, good info. But then I again my ears told me that already. It has just one line, and a very defined one! BTW bit and Just get the mix right and balanced. When working with organic sound recording 88,2khz is considerable easier to resample to its half value. Or 48khz if computer resource is limited. Music is music, not just calculated bits. Daft Punk recorded worked on first album roughly in bits, and no more than Billions listened to them.

Bear in mind humans do not like steril sound. We are not used to it. Just like UHD movies with high fps still seems to be weird e. The Hobbits , vs a good old fps analog tape recorded movie. Who knows. By the way, in these discussions it is quite necessary to separate recording sample rate from the sample rate you are working with in a DAW with plugins and soft synths.

Nyquist—Shannon sampling theorem Now if you record some live source at 96kHz, you are recording audio frequencies up to 48kHz, which are inaudible as no one hears above 20kHz really , but may contain some audio information.

If you convert this recording to And in that case you would have gotten a better result recording straight at As for DAWs, mixing, plugins, soft synths I think you will find that many people perceive better quality with higher sample rates in online discussions on the topic.

Like said, it gives more CPU headroom and at least for my purposes the results have been exactly the same as with higher rates. Also the resolution of the reproduction becomes worse as the frequency goes up so like think KHz for everything if you really want quality. I use the 48khz sampling rate in Reaper and when I switch the oversampling on in z3ta, you can clearly hear the difference in the high frequencies.

So that means z3ta can work independently for example at 96k when your project is at 48k? There is an audible difference when using the oversampling option.

And I suppose it did since I kept with that. I suppose that when this subject comes to a more professional level say, mixing and mastering services for example the samplerates and bitdepths matter more and more.

My analogy here is that when you have better equipment to perceive and manipulate sound the more the quality of the signal matters. Hearing more nuances. For e-learning or radio I record at 44 kHz 16 bit. There should not be difference in the sound!!!! At the same time, this mass producer of the noise pollution is praised of his awareness of environmental issues by the media.

So, go figure…. If you record, mix down, and master at a high sample rate then put your final customer copy as an mp3 it will sound almost as good as if the customer copy was 24 but K.

If you record, mix and master at a lower sample rate, each individual track will sound great but when mixed together you will be missing prices of the original tracks. Each sample contains bit depth information. The Nyquist theory explains why you only need The final product will sound fine at 16 bit Some people seem to think that sample rate only relates to frequency. With digital audio the sample rate is the number of samples taken per second of an analog audio signal. Each sample includes frequency and sound level decibel information encoded in a 16 bit, 24 bit or 32 bit word length.

There are 8 bits in a byte. So there are two bytes in every 16 bit sample. There are bytes in a kilobyte and kilobytes in a megabyte. So there are 1,, bytes in a megabyte. That is how many bytes are in one second of a mono digital audio file at 16 bit Now there will be additional bytes added to the file so the computer knows what type of file it is. Probably a bit off topic but… what bit rate should I use for ripping vinyl?

I have an iMac with Ableton running. I have encounters some strange glitches when running at 48 or I have increased the sample rate and now have less glitches. My question is… Am i doing the this the correct way and am I loosing any quality by increasing the sample rate?

The glitches of course should not be happening in any sample rate, so that is something you may want to look into unfortunately I am not very qualified to help there. One thing you should try though, is increasing the buffer size inside Ableton. For ripping vinyl you can max it out. This might help getting rid of glitches. To answer your actual question, I would personally use 48 kHz and 24 bit format for ripping vinyl.

That offers plenty of resolution for capturing everything. Also make sure you are recording loud enough watch for clipping though, but you probably knew that. But some slight deterioration might happen if you later convert that high sample rate file into lower sample rate CD compatible The quality of the conversion depends entirely on the converter, some are better than others. And dont forget thats only for the bass and mids, treble has little energy because its only harmonics so they maybe another 20db below!!

Sign in Sign in Sign in corporate. Browse Search. Ask a question. User profile for user: aSignal2Noise aSignal2Noise. Hi there I have to export all of my tracks so I can give to someone to mix elsewhere and so I can play around mixing them in another program for fun as well.

I have disabled all my effects and sends as I was instructed to for bouncing tracks for mixing and when I go to "Export all tracks to Audio' it brings up the dialog box with the format and bit depth. I assume I keep the format as AIFF as it is still going to be used on an apple, but how much does the Bit depth matter?

Also as this is the first time I am having to do this is there anything else I should be aware of when exporting tracks out of Logic?

Reply I have this question too 2 I have this question too Me too 2 Me too. All replies Drop Down menu. Loading page content. User profile for user: Eriksimon Eriksimon. That said, there is practically no audible difference creating 24bit files from 32bit or 64bit whether dithered or truncated. Do apply dithering when going from anything higher than 16bit down to 16bit.

This often does make a noticeable difference. Unless you plan on taking the export into another tool such as Ozone or and audio editor for additional processing, export to the bit depth you plan on using while listening.

Dithering, if done at all, should happen one time, when creating the final version of the file. Thanks for taking the time to respond to this. Ok, so from what you have said, am i right in assuming the following:. This is important to know due to knowing if i need to apply Dithering or not to my final "master" export.

Also, should i leave my Render Bit Depth at 32 bit and not just set all of these 3 settings at 24 bit? I've heard having the render bit depth at 32 is beneficial during the mixing process? Lastly, I've found that there seems to be a massive debate on whether you need to dither from 32 bit to 24 and this was reflected in your post. So In your experience, would you suggest not dithering at all in this instance and only when going down to 16 Bit.

I've heard a range of things on this subject, such as it causing more harm than good when dithering from 32 bit to 24 but i could use some guidance on it. The audio engine runs at 32 or 64 bit depending on the 64bit Double Precision Engine setting in preferences. Unlike sample rate, projects can have clips at a variety of bit depths. As mentioned before, the Render Bit Depth is used any time files are written to disk except when recording or importing.

Recording and importing have their own settings on the same preference page. Some interfaces with built-in DSP are locked at I leave the Import Bit Depth at "Original. If necessary, the sample rate will be altered to the project sample rate but the DAW can handle clips at different bit depths. That said, if this is the final export, dithering won't hurt. Try it and see. In some cases it may not even matter when going to 16bit. It really depends on the material and the final audio format. I rarely export 16bit anymore.

When I do, I use dithering. Bottom line, dithering should be done at most one time. It is most often used when creating 16bit files but there is no harm using anytime the bit depth is being reduced. Would you possibly be able to give me an example of files that the DAW can create in a project that would use the Render Bit Depth? I understand what you're saying but I think an example would help me to get my head around how it works.

I see So for example, if i want to export the final version at 24 Bit depth, i know that the project will contain some elements with bit depths at 32, as that is what the Render Bit Depth is set at.