Fons Adriaensen wrote:
On Tue, Apr 24, 2012 at 06:43:41PM +0100, Stefan Schreiber wrote:
You also seem to think that 16 bits are enough FAPP, but orchestra
recordings have often more than 96dB dynamic range. I know that you can
hear under the noise floor. But then, you probably will hear also some
noise?
More than 96 dB dynamic range ? I've done some 20th and 21st
century music recordings that had 60 dB or so of dynamic range,
but that's about the widest I've ever seen. For any practical
use you have to reduce that anyway.
For properly dithered 16-bit the A-weighted noise floor is well
below -96 dBFS as well. And then you have to consider the ambient
noise level of the reproduction location. Considering all this,
16 bit as a final delivery format seems to be perfectly OK.
Ciao,
Orchestra recording?! As tonemaster, you would aim for a range from
"silence" to the strongest "peaks", surely more than 60dB.
And don't assume I didn't do such a stuff, at least playing...
Next time I will ask some Pentatone tonemaster how much dynamic range he
"needs" for an orchestra piece. (He is not recording in 16 bits anyway.)
(Don't forget you need really 2-3 bits reserve, so nobody I know would
like to record just at 16 bits.)
For properly dithered 16-bit the A-weighted noise floor is well
below -96 dBFS as well.
Is this correct? Didn't you have dithering noise at -93dB, and probably
white noise?
You can do some noise shaping, but then the peak noise gets actually higher.
Noise floor below -96 dBFS sounds actually wrong, or did I miss some
very important fact?
Best,
Stefan
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