The lowest of the sample rates available and the lowest sample rate that’s required to capture the full frequency range, accurately, that humans can hear. Working at 32-bit isn’t really essential in the studio (unless you want the extra resolution), but I like use it for live concert recordings for those unexpected hits that end up clipping your input. The downside is that not all DAWs can read 32-bit float files so you’ll find your self converting the files down to 24-bit if you want to collaborate with someone who can’t use 32-Bit float files. The secondary benefit of the 32-bit float file is that it can be adjusted in real time so if the signal exceeds 0dB during recording, the Clip Gain can be reduced to eradicate the clipping.Īlthough the file can’t be clipped (15oodB is a lot of dynamic range), Pro Tools’ fixed bit outputs *can*. The result is an insane dynamic range – 1500dB in theory – which means that a 32-bit float file cannot clip. Think of it as a decimal – we shift the decimal to make ever bigger (and smaller) numbers. The 32-bit Float file is essentially a 24-bit filing system with additional bits and a movable exponent (the floating point) which allows the file to make increasingly larger binary numbers as the exponent shifts. There would be no benefit to rendering a 16-bit record in 24-bit.) (But only if it’s recorded at 24bit as well. The 24bit master has a bit more 3-dimensionality to it.
Plus – the difference between a 16bit master and a 24bit master is stark. No upsampling will occur so you’d be robbing your bounce of 16 million distinct amplitude measurements. Similarly, many distribution services these days want 24-bit files, therefore if you recorded at 16-bit, you’d be rendering a 16-bit recording into a 24-bit file with none of the benefits. It’s always worth capturing your audio higher than the derivative masters will be. When you mix down your music for distribution (say CD at its most basic), you’ll be bouncing down to 16-bit. Instantly, we can see how much extra data is being sampled. The industry standard for recording is 24-bit, which provides us with 144dB of dynamic range and measures 16.8 million distinct amplitude levels per second. There isn’t much point in selecting 16-bit, though. 16-bit will provide you with 96dB of dynamic range and can measure 65,526 distinct amplitude measurements per second.
Pro Tools offers you the following options.