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In Reply to: RE: Dither as a last step? posted by brew on January 20, 2011 at 12:57:38:
brew,
Thanks a lot for the info. Yes, for quite some time I've recorded at 88.2/32bitFP, saved as 32bitFP, and later done all the processing in that domain. My editor can do the actual recording as a 32bit Float file. When you said "A better rule is to dither after any reduction in word length" it hit home- I know that's correct because I've read that many times before.
I had researched dither before and was unable to answer my questions, so after posting here I researched some more and was able to come to the same conclusion that you gave me. For the last several weeks I have been doing exactly what you described. My last steps have been:
> Back up a processed 88/32bitFP file to HDD as 88/24.
> Downsample the 88/24 file to 44/24.
> Apply a 16bit dither to the 44/24 file (if end product is to be a 16bit file).
> Split and save the 44/24 file to CD tracks. My editor can combine splitting into Redbook CD tracks and wordlength reduction as one operation.
You said:
"If you want a high res version, instead record at 88/24, process, resample to 44/24, then dither to 44/16 for CD."
The exact procedure of doing that and which dither to use can be confusing! I think you're saying apply a 16bit dither to the 44/24 file, correct? This is what had me stumped before. I need to set the L1 to 16bit dither and apply the 16bit dither to the 24bit file. To me this is counter-intuitive until you think about it awhile, then it makes sense.
Regarding hi-rez:
I really have no use for hi-rez. All I want to do is get my vinyl in the computer, perform noise reduction, and save as CD tracks. I find the idea of recording at 44/24 intriguing and avoiding having to re-sample seems to be a very good point, but I think this would mainly be to avoid overloading that can occur between samples on highly compressed and limited music, correct? Even so, it looks to me like the high sample rate isn't necessary at all, especially if I'm just going to throw half of it away at the end, right? All the hi-rez is doing for me is using up my HDD space and doubling the time it takes to process. The important thing is to have the 44.1kHz as a 24bit file. I do understand about division in calculations and how the word length increases. I think I'm going to start recording this way.
You said:
"I'd recommend setting the highest peaks for maximum of -2 or -3 dBFS to avoid distorting DAC's on playback".
Did you mean to say -0.2 or -0.3dbFS? In the Nielsen-Lund overload pdf you pointed me to, section 5 on page 12, regarding a fixed gain reduction as one solution to DAC overload they state "...a small headroom was found to be sufficient to avoid problems in the tested converters". The Waves L1 manual covers this in detail and they recommend -0.3db, so that's where I've always set the peaks at.
One (possibly) silly question:
I like to create mixes from assorted LPCD tracks by combining them into one long CD or a long file for later recording into my A810 reel to reel. I like to adjust the rms output of each track to be the same, as it makes for a very listenable composition. This is really the only reason I save the original hi-rez recordings. Thus, my question becomes "Is it possible to do a gain change to a CD track (i.e. 16bit track) with little or no signal degradation, what is the best way to do that, or do I need to start with the hi-rez backups to do that properly?" Many thanks for enlightening me!
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Follow Ups
- RE: Dither as a last step? - midimaniac 18:56:29 01/20/11 (0)
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