I am wondering if it would be best to record in 32bit and bounce down to 24 when I export to .WAV, or just record in 24 if there won't be any difference. No matter what I will need a 24 bit file in the end to convert to .flac as it is the highest bit rate the format supports.
Furthermore, I am confused as to whether to use IEEE Float or PCM. I understand the IEEE float was developed for the broadcast industry while PCM is used in the red book CD standard. I'm guessing when I convert to .flac it will end up as PCM anyway and am not sure if I would get any benefits from utilizing IEEE Float. If anybody can shed some light on this I would be most appreciative and believe this sort of information should be included in a wiki somewhere as I have been unable to find any useful information as to the pros can cons of IEEE Float and PCM .WAV files with regards to audiophile needs.
Gosh, greynol! The OP didn't even mention audibility or sound quality. If I didn't know any better, you were putting words in his mouth.
I have the option to record in 24bit or 32 bit at 192 Khz and save the .WAVs in using IEEE Float or PCM. I am wondering if it would be best to record in 32bit and bounce down to 24 when I export to .WAV, or just record in 24 if there won't be any difference.
convert to .flac as it is the highest bit rate the format supports.
Quoteconvert to .flac as it is the highest bit rate the format supports. FLAC is lossless, period. When you decode/playback a FLAC, you always get-back the exact-original PCM data. When you encode FLAC, you don't "choose" a bitrate or quality setting.
The argument that 16 bits is overkill for vinyl is that the SNR of vinyl playback is less than what 16 bits can provide (96 dB or so). That sounds completely reasonable. I have a question though, about the nature of noise in an audio recording. Can we hear into the noise? In other words, can we hear things below the noise floor? If so, would we need to use some figure in addition to SNR to describe the amount of audible information that could potentially be captured in the playback of a vinyl recording?
It's very simple, really.If the analog signal contains NO content above Nyquist, then it can be reproduced EXACTLY by sampling at 2x and then converting back to analog. End of story!
Doesen't the analog (vinyl) signal always contain content above Nyqvist (when recorded > 44.1kHz)?Juha
"content"? No. Not always. Not even usually. Very occasionally.Noise and distortion: yes.Anyway, how well do your ears work above 22kHz?!
Doesen't the analog (vinyl) signal always contain content above Nyqvist (when recorded > 44.1kHz)?
Hmm... least 2nd - nth harmonies of tone can be seen above 22kHz in spectrum analysis (aren't those part of the base tone least when tone is from acoustic instrument)?[...]My ears works well even @ 192kHz but I can't hear/feel those high frequencies if levels are that low (I'm over 50 so maybe I can hear somewhere upto around 18kHz nowadays).
Guess you're talking about fundamental frequencies and harmonics here.
As everyone else has pointed out, 24 bit recordings (of an analog medium as inherently limited as a vinyl LP) are a massive waste of hard drive space with no value other than a psychological one.
For post-processing sake, wouldn't it be better to have 192k samples/s than 44.1k samples/s and bit-resolution as many bits above 16 than it's possible (meaning use of ADC max bit-resolution))?
This then makes me wonder why we even have 24/192 dacs in the first place except to sell stuff or make use of some psychoacoustical effect of higher frequencies or if there is a secret audiophile community of dogs somewhere.