24 bit Vs. 16bit

what do ya'll think


I personally use 24/48 all the time, but can't really tell the difference. from my old 16 bit work.

i usually stay away from 24 bit......

bit depth affects the dynamic range and for most pop music (rap included) this is unecessary (ie highly compressed tracks that do not have many dynamic changes throughout the song)

not to mention the conversion from24/48 to 16/44.1 for CDs

(just more math on my mixes = me not happy)

I do record @ 16/88.2........its gives a larger freq spectrum and the math is cleaner......

might not make a difference but it seems better to me

I can notice the difference between my 16/44 tracks and my 24/48 ones.
But I generally and 99.9% of the time use 16/44.

thanks for the replies, guys.

Lampdog wrote:I can notice the difference between my 16/44 tracks and my 24/48 ones.
But I generally and 99.9% of the time use 16/44.

ever a/b 16/44.1, 16/48, 24/48, and 24/44.1 to see if your preference is based on sr, bit depth, or both????

Never did the a/b thing to that degree. I probably never will.
I'm satisfied with my 16/44.

Lamp at least give it a try...

I mostly do 32bit floating point on 48Khz for vocals, but I have no choice when it comes to the MPC...till it all gets mixed down though...

some ears can hear the difference some cant...

32 float to 48, Yeah I can already guess I would hear the difference.

I have good ears, good sony mdvr700 headphones but I have a tad bit of that tenitis.

Aiight, Pen and J, I'mma try this for you guys but don't think for a sec u special. Cause both ya still raggedy ass guys in my book.. jk

Yep, also still with 16bit. Like a few of you have said - probably only because I am happy with 16bit and have never tried 24bit. You guys mention using 48kHz but you do often read accounts that say you should use either 44.1 or 88.2 as taking 48 back to a CD rate (44.1) will introduce more rounding errors (no idea how audible this will actually be..)

On a practical level, I have read that one of these gives big improvements but the other only gives smaller improvements:

16bit, 88.2kHz
verses
24bit, 44kHz

but cant remember which one gives the biggest improvements.. Anyone know?

All mainstream music from Jessica Simpson to Britney Spears to Lil Jon to Kanye to Maroon 5 to Coldplay is recorded in 24-bit, and *ATLEAST* 48Khz.

Apart from the mainstream albums that are recorded purely analogue. Also, before 24bit only recently(ish) became the Pro rate of choice, there were many many years when even the Pro studios were running at 16bit and no one in the listening public was saying 'this sounds shite - hurry up and invent 24bit!'

Anyway, at my level and the level of 'most' people on these forums, 24bit is more pain, more CPU strain, relatively small gain (I should be an MC!).

btw, Im not knocking 24bit - we all want the best technology/sound quality possible. Im just saying, Im happy with 16bit for the time being..

never messed with 24-bit, so couldnt say if i could tell the difference.

well it exists for a reason dont it?

i dont have any probs with 24 or 32@48khz, infact i going to experiments doing 88.2 and 192 all at 24 and 32bit and see what i get.

Penfold wrote:well it exists for a reason dont it?

i dont have any probs with 24 or 32@48khz, infact i going to experiments doing 88.2 and 192 all at 24 and 32bit and see what i get.

what sound card do you use?

What are u listening to the 24 bit files on?
YOur computer or cd.... Cause once 24 bit goes to cd its dithered down to 16 bit so it doesnt matter...

Why 24 bit is good is the headroom...Why it is bad it takes up to much memory too fast...

See the fact of the matter is 24 bit does not matter till the listening process.. B/c if you cant listen to your music on the cd or dvd in 24 bit then its not 24 bit...

There is a big difference between 16 bit and 24 bit....
You will only truely hear it when playing a pure 24 bit dvd audio in a dvd player that can support 24 bit whihc most can these days....


So here goes your test dvd burner and dvd audio software that supports 24 bit..
DVD studio pro for mac....
Dont kno for pc....
Bounce your 24 bit file 48hz or 98 what ever you picked and keep it in 24
Then upload the file into the dvd audio software and load it onto the dvd...

Record the dvd...
Play back on dvd player.
Play back cd on cd player and compare....
Trust me you will hear the diff...

And dont come at me saying I did this and didnt hear anything..
Main reason your dvd audio software dithers at burning to 16 bit find one that doesnt...


Why all recording studios that are pro status now days record at even higher bit rates supported in protools HD....
The reason and the Main reason Has to do qith qaulitu yes, but MASTERING...

When a mastering engineer requests files he will say The best possible scenario would be to send me all your track file s in the highest qaulity format recorded.. So if 24 bit then hes estatci then maybe he asks for 3db of head room too...

U see When working with 24 bit you get all that headroom to allow for mastering to go in and adjust the music to cd red book standards...

If you dont belive me about the 16 bit vs 24 bit Discussion

Go look up super auio cd on google.
And see why japanese audiophile buy 6 thoushand dollar cd players which are made for superaudiocds only recorded at 24 bit 48 and higher...
U see listening to a cd of a band sounds like a cd of a band super audio cd makes it feel like u can hear the actually resonace of the string hear whear each instrument is postioned..

http://www.superaudio-cd.com/
http://www.superaudio-cd.com/technology_explained/

Aight peace

This was the situation as of the end of the 1990s, with efforts being made to
reproduce digital audio with the meticulous nuance of an analog signal. The DSD
(Direct Stream Digital) method was developed based on this idea. Now 20 years
after digital audio was developed, recording engineers have come in for yet
another surprise, with new DSD technology that makes it possible to create
“atmosphere,” in other words transferring the performer’s breathing and even the
exciting tension of the venue to a Super Audio CD.

This was the situation as of the end of the 1990s, with efforts being made to
reproduce digital audio with the meticulous nuance of an analog signal. The DSD
(Direct Stream Digital) method was developed based on this idea. Now 20 years
after digital audio was developed, recording engineers have come in for yet
another surprise, with new DSD technology that makes it possible to create
“atmosphere,” in other words transferring the performer’s breathing and even the
exciting tension of the venue to a Super Audio CD.