24bit in CEP?

R

redheadedboy

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i'm using cool edit pro LE and am recording at 32bit 48k.

is it possible to record at 24bit?

seems like a waste of disk space since my converters are 24bit. it looks like the create new wav panel jumps from 16bit to 32bit. can these settings be adjusted?

thanks
 
so maybe it was a dumb question -- cause no one is responding, but Syntrillum replied: (quickly, too!)

"You can record into 16 bit or 32 bit float but can save as 24 bit. 32 bit float is better quality and allows for floating samples to allow for better audio overall. Once the 32 bit recording is done go to File > Save as and choose the Windows PCM .wav format and then click the Options button. Here you can select to save into any 24 or 32 bit format you like."

sounds good to me!

hope this helps anyone else with this same question.

--tim
 
They call it 32-bit, and in a kind of temporary way I guess it is, but my understanding is that it is essentially 24-bit, that when you save your tracks, they're in 24-bit.
 
I record using the 32 bit setup which brings in no more than the 24 bit soundcard signal. The reason 32bit float is good to use (even if you have a 16bit card) is that it mixes all the wave tracks much better. When you do a final mixdown it then gets to do this at 32bit. Noticeable better than 16bit, even though your final cd version will end up at 16 bit later on.
As a matter of interest cooledit pro has had 32bit mixing way before protools ever did, and 64 audio tracks as apossed to 24 for protools. I could go on all day about all the good things in cooleditpro, It rocks, I love it. It runs on any sound card too. I just took one of my cooledit mixes into a pro mastering suit and the guy couln't beleave that it was recorded in a garage in cooleditpro.
 
Yeah, it does internal processing at 32-bit, and the higher resolution produces better results apparently. But there is a possible issue if you're using Cool Edit with say, digital outboard gear that only accepts 24-bit signals. You have to convert the file to 24-bit before you send it to the other machine.
 
Since there are no realtime effects you would be sending out a wave at a time for external proccessing then back in again back into the mix. Just convert your 32 to 24bit, externally proccess the data the convert back to 32 for your mix. don't just leave your files at 24bit for the mix because for some reason 24bit files don't create those nice little pk files that load up (the graphical representation) the waves quicker. It has often been said that nothing digital will mix tracks together better than a good analogue desk (SSL, Neve, ). true, but 32 bit mixing goes a long way to bridging the gap.
 
Yes a new session is 16 or 32 bit, but if you have a 24bit card and want to record all 24bits then choose the 32bit new option. Don't worry you will get all your 24bit recorded quality plus the addad bonus of 32bit mixing. A 32bit cooledit wave file IS 24bits if it came from a 24bit sound card. Once you mixdown to stereo, you can either master it yourself or save as 24bit (see below) and get someone else to master your 24bit original.
As to the use of 48kHz, this is a TV broadcast standard that we don't have to adhere to. Unless you working for them. The extra quality from 44 to 48 isn't worth the effort as when you dither down to 44 for CD replication the losses are greater than the gains. Maybe from 96kHz to 44 might give you some improvement (maybe). Just remember our ears at best can hear up to 20Khz and to represent this correctly we must record at double this value. So 40Khz is enough but when CD's were invented they decided on 44Khz too be sure.
 
"As to the use of 48kHz, this is a TV broadcast standard that we don't have to adhere to. Unless you working for them. The extra quality from 44 to 48 isn't worth the effort as when you dither down to 44 for CD replication the losses are greater than the gains. Maybe from 96kHz to 44 might give you some improvement (maybe)."

Scott, after listening to some old debates about 44 vs 48, I used to think this way too - I thought that the extra 4 KHz weren't worth the dither. But recently, Sjoko (very knowledgeable pro in digital recording) said that it's very much worth recording at the higher value and dithering down from there. He knows more about it than I do...
 
Yes Sjoko seems to know a lot and I value his comments too but when he jumps of the cliff so does everyone else. Iv'e done vocal tests all at 24bit with 44, 48, 88 and 96Khz and dithered them all down to 44 and couldn't tell the difference at all. Do the test yourself and tell me what you hear. Maybe my old rock and roll ears need a bit of dedithering but if I can't hear the difference, I ain't going to do it. I'm not saying Sjoko's wrong, but back in the 16bit days of recording it might of made a difference doing the 48 to 44 thing but not with 24bit ? (in my musical opinion).
 
Well, yeah, being a pro he obsesses about this stuff and has far higher standards. Here's an example of an exchange I had with him recently (I'm paraphrasing). He was talking about a test you can carry out to show the effects of high-quality recording: he said something like "you might not notice it at the simple track level, but as soon as you start adding tracks and building up a session, you'll hear the difference." I said to him: "Well, since I only do live to two, it won't make any difference then." His response was something along the lines of: "It *always* makes a difference!"

Well, everybody makes their choice. :D I want quality, but I'm not going to obsess about it.
 
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