That 48 bit mix buss

[@?,*???&?]

I took time to read those downloadable articles from the Digidesign site on their 48 bit mix buss.

http://www.digidesign.com/index.cfm?lan ... temid=5143

I was shocked to learn that the HD Pro Tools hardware and the stock Pro Tools converters are only capable of 120 db of dynamic range inspite of being a 24-bit system.

With signal-to-error ratio calculations we should, theoretically, be able to achieve 145.8db of dynamic range.

All things being what they are, if we run their 120db dynamic range system at unity gain, we are achieving little better than a +9 alignment with analog tape.

Question is, with a UAD converter or an Apogee, how much better does the signal-to-error ratio get if at all?

[jv]

I think 120 db is about as good as it gets. That's the thing they don't tell you about 24 bit converters. At very best, you're only getting 20 or maybe 21 bits.

[GooberNumber9]

I would guess that their dynamic range is limited more by the analog components of the converters, as opposed to the bit-depth used. Also, 120 dB is the average intensity difference between the average listener's threshhold of hearing and threshhold of pain, right? Do we want more than that?

Todd Wilcox

[apropos of nothing]

I would guess that their dynamic range is limited more by the analog components of the converters, as opposed to the bit-depth used. Also, 120 dB is the average intensity difference between the average listener's threshhold of hearing and threshhold of pain, right? Do we want more than that?

38 Screamo vocalists named Helen agree!

[cyantologist]

I would guess that their dynamic range is limited more by the analog components of the converters, as opposed to the bit-depth used. Also, 120 dB is the average intensity difference between the average listener's threshhold of hearing and threshhold of pain, right? Do we want more than that?

38 Screamo vocalists named Helen agree!

- that was awesome

[ashcat_lt]

I don't know anybody named Helen, but I do wonder how much good it does us to have more dynamic range ITB than we get out of the analog stuff we're recording and playing back through. To a point I can understand, but how far do we need to go?

[dynomike]

Whats the point? I was just at Lacquer Channel here in Toronto and Noah recorded their noise floor and played it back for me - it was a pleasant -75db. From my experiences at other mastering studios, this is actually pretty good. You're not gonna get anywhere NEAR 120db dynamic range or snr on the final CD.. I don't see why we can't be happy with 90-100 db of clean range on the recording.

[Johnny B]

I don't know anybody named Helen, but I do wonder how much good it does us to have more dynamic range ITB than we get out of the analog stuff we're recording and playing back through. To a point I can understand, but how far do we need to go?

Math. The extra bits are good for more precise calculations while the audio is ITB. There, more bits is better, provided you have enough storage and processor speed to be able to work with it. For recording and playback, though, there's that ceiling.