So there is no need for truncation/dither between plugs.
You just hear the result of the mixer-plug ins on the audio file/tape.Īnd just to point out I'm only assuming pro tools will now allow the plugs to keep the audio as 32-bit float if you select that option. Unless you rerecord the audio feeding the mixer, it's still the original take. So the plug had to either truncate or dither back to 24-bit fixed before sending the audio stream to the next part of the mix engine.īut one thing to note is the actual audio file is still at the beginning of the chain untouched. In older versions of pro tools the plug in had to do this. So once it's been processed by the plug-in the audio stream is no longer 24-bit unless it's converted back. Most plugs use either 32-bit or 64-bit floating point math. But add the extra dynamic range and the potential to cut out some dithering and IMO it makes sense to use 32-bit float sessions.ĭithering is only necessary for reducing bit depth.Īnd it works something like this. A 32-bit file has a theoretical dynamic range of something crazy like 1600dB. A 24-bit fixed point file has a maximum dynamic range of 144dB. The difference in headroom is due to floating point vs fixed point. The noise on the other hand is something to consider. The noise is super high in frequency, but I guess it does indirectly steal some headroom. Dither is the process of adding noise to the audio when rounding the math back to fixed point after being floating point. I then import the audio files into pro tools.Īnd no dither isn't related to headroom directly. We use an iLive and record via Dante into reaper. Less dithering = more headroom is what he was getting at. What is the bit rate of the audio you usually get from elsewhere? Depending on how the plugs process the audio.Īnd if I'm right it also gives more headroom through the mixing process. Youll find the mixer scenes in the bottom-left corner of the mix window. It can simply output the result of the plug-in process. Mixer Scenes allow you to quickly save and recall your knob settings of the mixer: this includes the fader, panner, sends, send levels, eq settings, compressor settings, and plugin settings. But if pt now allows plugs to pass 32-bit float files there's no/less need for truncation or dither. They claim to have emulated every single resistor, capacitor and transistor in the original hardware to bring a previously unheard of level of analog sonic character to a software. So it must be converted back down before going to the next plug or mix engine.Īnd I do know in earlier versions of pro tools it had to be converted back to 24-bits before leaving the plug. The Mixbus 32C takes this further by faithfully emulating their famous Harrison 32C hardware console used by all sorts of famous people on all sorts of famous albums.
But once an audio file goes through a plug-in and is processed it is probably a 32-bit or maybe even 64-bit file inside the plug. My reasoning is, while I've not read or heard anyone confirm this, that it might allow the audio to stay 32-bit as it passes between plugs.Īnd to explain that a bit more. Pro tools will play back 24-bit files in a 32-bit session no problem.
You don't have to convert the audio files. However I mostly mix audio that is recorded elsewhere. Mixbus is a full-fledged workstation allowing you to combine all the benefits of a typical DAW.
At first glance, the Mixbus 32C is a software recreation of an analog large-format console, but this is only a semblance. So you're not gaining anything at that stage. Ascetic, climatic going back to the past when mixing was done with the light turned off.