Rendering vst synths to audio - quality

Discussion in 'Mixing and Mastering' started by a1000, Feb 20, 2025.

  1. Will Kweks

    Will Kweks Rock Star

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    24bit format is signed integer, 32bit is floating point, so they're two entirely different number systems (I'm assuming most common formats here, some weird cases exist where you might have 32b integers, but rarely in audio), so it makes little sense to try to compare them as such. Going from floating point to integer is not truncation or bit-depth reduction like going from 24bit to 16bit.

    If you're really interested, look up how floating point numbers are handled https://en.wikipedia.org/wiki/IEEE_754
     
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  2. xorome

    xorome Audiosexual

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    The format of the sample does not determine the bitdepth and sample rate the sample is processed in. Your DAW doesn't care what your sample is rendered as - it'll convert it to 32b/64b float as soon as you drop it on a track anyway. Your rompler too will convert it to 32b/64b float as soon as you hit "load library".

    Every effect applied to the sample inside the rompler/DAW will always, always, always do its processing in 32b or 64b float.

    If your endgame here is to render your samples to save CPU, remove the rompler, load the sample, apply fx, render again, fuck, forgot something, load the processed sample, make changes, render again, load the sample ... then you'll be converting between 24 int / 32/64 float every time + several times.

    Where you draw the line and whether any of this even matters to you (or anyone else) is your decision.

    You know where 24/16 int distortion starts (-144/-96 dB), and you know you'll be adding it every time you render to 24/16 int, and you know how much post processing you'll end up applying. If you run a saturation effect at 24 dB gain on your 16 int sample, followed by an instance of OTT that brings up another 24 dB, then your 16 int distortion from your previous render is now -48 dB loud.

    Does it matter? Not if your sample never gets quieter than -48 dB. Or if you post-gate at -48 dB.

    Up
    to
    you.

    Context is everything. I've put 50 dBs worth of compression and saturation on snares (and pretty much nothing else, except for sound design).
     
    Last edited: Feb 26, 2025 at 4:41 PM
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