According to a post in EM.
According to a post in Electronic Musician mag, Pro Tools records a more “pro” or “analog” and spacious sound because it records in linear 48 bit depth as opposed to other apps that record in 32 bit floating point. This sounds logical. What do you all think?
I would say negative ghost rider…but I haven’t use the new HD and new versions of PT. So…maybe.
It doesn’t sound “analog” due to the bit depth…i would say that has more to do with your front end. but I could be wrong.
Moreover, I have never claimed PT sounds any better than n-track, Sonar, Cubase, Tracktion or even Crystal…I just have always liked the workflow better. Suits my way of thinking, I guess.
Short answer: Bull.
Er…umm…yeah. What phoo said. This was in PRINT in EM magazine or on their web forum? I like EM magazine OK but making lame-o statements like that in print would make me reconsider…
Oh boy, both a high bit discussion and a pt vs n discussion, all rolled into one! ding ding ding Round one!
Did we find a burner that burns at 32bit?
I’m I missing something here? Or don’t you have to reduce your final mix to 16bit before burning, regardless of what rate you recorded it at?
I guess you have a great point there et. Not shure if this is the right place to make it though! tee hee
Please correct me guys if I’m wrong, and I know you will.
BTW- don’t beleive everthing you read! LMFAO!
Dither. Dither down to 16 bit from 24bit.
Yeah, I know, only been lurkin’ for a year or two now…tee hee
I didn’t even know there was a 48 bit soundcard.
But if there is does it really bridge the gap to anolog recording? This in itself would be news to me.
in my most humble opinion analog and digital are two completely different beasts…
trying to make digital sound analog is one expensive proposition!
|Quote (jeremysdemo @ Feb. 19 2005,14:24)|
|I didn't even know there was a 48 bit soundcard.|
They are talking about the internal processing. PT records in 24 bit, but the internal mix bus runs at 48 bit (at least according to above). N-track runs 32 bit float internally though no one has a 32 bit float DAC. What makes analog sound analog is tape, pure and simple. You don't get the same compression and tape saturation with digital that you do with tape. Now here is the kicker, if digital came out first, every one would be bickering over how to make their analog stuff sound digital.
Good point. Its what people get acclimated to that they feel is a standard. At one time all drums used animal skins- not plastic. I bet if you research it drummers back then complained that even though animal skin had troubles (humidity, etc) they sounded better than plastic.
Maybe some people have the ability to hear very fine differences in tone color (you must- your records sound great) but to me a CD and record both sound fine- just slightly different with the LP being a bit more rounded than the CD which seems more detailed. I like both because they have music on them!
who cares what they say! as long as N can do the job recording good music. analog or digital as long as the music gets through. just my opinion & no mean to rival anyone. N is a poorman’s DAW with profesional output. I love N-Track!!! plus this is the wrong forum for we all know DAW is a matter of taste to the user. (or a matter of what suita best for your MUSIC) Music is what matters here!!! sorry guys i just had a drink & i’m drunk! but i sure know what i’m talkin’ about…
me limey used lotsa diff trackin n recordin oftware’’’’‘expensive n cheap’’’‘n it dont blinkin matter’’‘fer cheap pkges oi loike big
n track n pg’s powertraks sw’’‘ther r pluses n minuses in evry sw cheap or mucho quidlys’’’’‘but as i used ta say yer can do a hit record in any blinkin sw’’’‘but wot seperates fings is da engineer n da blinkin song’’‘yer culd give a blinkin A one pro engineer any blinkin cheap sw n e could do a blinkin gonzo song even at 16 bits’’’‘providin de sound card got gonzo convertors’’’‘forget bout software dese days’’’‘just get yerself good songs n playas n verters n engineers n microfones n pre’s n a BLINKIN GOOD ROOM’’’’’’‘n yer can do a hit like blink blonk blank,blink blonk blank blank ,blink blonk blank,blink blonk if yer get me meanin’’’’
Technically, Muppet Baby Gonzo used to refer to himself as a Blue Nosed Wierdo.
Wonder if the guy who wrote the article buys those $7,000 speaker cables or that $5,000 volume knob somebody posted a while back???
There are some advantages to 48-bit fixed point. However, it makes writing DSPs more challenging, and we don’t get to use any of those cool VST & DX plugins, in 48-bit fixed format.
In the future, we’ll all use 64-bit float internally and then PT will have 128-bit floating point in order to have bragging rights. And 384kHz sample rates, too. After all, if we don’t keep musicians thinking newer is better, we won’t sell all that new hardware and software the industry wants to peddle!
There are pros & cons to everything. But when it boils down, you gotta be a pretty dang good engineer before any of these subtleties matter for squat. I mean, a really dang good engineer. And if you hand it over to a mastering engineer using today’s oversquashed commercial music as the goal, there’s no point in even creating that perfect spacious mix because it’s going to get the sh*t stomped out of it anyway!
OK, rant over!
Anyone want to speculate about whether or not the Korn or Rush CDs were recorded in PT…would it make any difference?
Forget Snow Job Tools!!
There is stuff already higher-fi than 48 bits and probably much cleaner in terms of math.
This one is 64 bits! So Pro Ghouls move over.
I don’t plan on switching out because I invested time in learning N and its what I like best.
But for the price of an ovwerpriced evening at Applebees (they kill you for the drinks) I could stay sober and have a new program to play with that has more bits per inch than Flow Tools.