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I use recordpad to record the audio for my LPs that I do with my cousin using a Blue Snowball. Since .wav format doesn't work correctly over 4GB in size I need to tell the program to record for x amount of time before stopping and making a new recording, right now we have it set at 3 hours using a 48,000 32bit uncompressed PCM setting. But it's recently occured to me that not a lot of people I've seen with all these 'best settings for x' videos do much over 16bit audio. It's the default for Dxtory, for Vegas's sound options and might be the default for the HD-PVR (I'm unsure on this, the audio from my PVR doesn't specify the bit depth in Vegas, I record in AC3) I could record somewhat larger .wav files if I went down to 16bit, which would be useful. There's a lot of LPers on here, what bit depth do you use for your commentary?
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Oct 7, 2014 17:00
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| # ? May 3, 2024 11:49 |
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Recording at 48kHz may be sensible if that matches your other video project settings, though 44kHz is fine quality-wise, especially for voice. Recording in 32 bit is nonsense, even in most professional contexts. 24 bit may be sensible if you suck at setting levels and/or are going to process the crap out of your audio. If you are vaguely competent at recording without clipping and without having your voice drowned out by ambient noise and you're just going to mix it with another audio stream once, 16 bit is absolutely beyond fine. Just to make the point, you could probably record at 32kHz/12 bit without anybody really noticing. Never mind recording 44.1kHz/16 bit to some resonable quality MP3 directly. Anyway, if you're hitting 4GB at 48kHz/32 bit around 3 hours, that implies you are recording your mono microphone to a stereo wav, which seems pretty dumb considering that halves your recording time for no reason. If you're paranoid about quality, recording 48kHz/24 bit/mono should net you around 8 hours recording time. A pretty standard 44kHz/16 bit/mono around 13.5 hours. I'm not familiar with LPs in general, but I think that should be plenty in either case.
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Oct 7, 2014 19:46
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As silly as it may sound, I don't think I understood what stereo/mono recording was. The Blue Snowball is a mono mic?... So recording in stereo or mono will come out exactly the same, regardless of having two commentatators? As for the bit depth, thanks for the clarification, I've definitely been overkill on the audio quality for absolutely no reason.
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Oct 7, 2014 22:39
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Yeah, mono. The SoundonSound Review spells it out in the third paragraph. Another thing you'll find there is that sampling frequency and bitrate of the built in convertors are fixed at 44.1kHz/16 bit, so it doesn't make a lick of sense to store the audio in a file with higher specifications than that.
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Oct 7, 2014 22:58
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No. Not in any way or form. 44khz. 16 bit. Only Musicians and only good musicians get any excuse to do anything else.
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Oct 7, 2014 23:20
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Xirix posted:As silly as it may sound, I don't think I understood what stereo/mono recording was. The Blue Snowball is a mono mic?... So recording in stereo or mono will come out exactly the same, regardless of having two commentatators? However, a lot of editing software will mess up combining Stereo audio (eg. game audio) with Mono audio (eg. mic audio), and you'll end up with your commentary only coming out of one channel, which is especially annoying for headphone users. So if you can spare the space, you might wanna keep everything Stereo just to be safe. SupSuper fucked around with this message at 23:52 on Oct 7, 2014 |
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Oct 7, 2014 23:49
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SupSuper posted:However, a lot of video editing software will mess up combining Stereo audio (eg. game audio) with Mono audio (eg. mic audio), and you'll end up with your commentary only coming out of one channel, which is especially annoying for headphone users. So if you can spare the space, you might wanna keep everything Stereo just to be safe.
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Oct 7, 2014 23:53
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England Sucks posted:No. Not in any way or form. 44khz. 16 bit. Even good musicians don't have an excuse. I'll spare you the math, but anything higher for sample rate is far outside the range of human hearing (and indeed speaker reproduction capabilities in 99% of cases). The only reason to use higher bit depths than 16 is if you need to maintain 16 bit dynamic range while using software volume adjustment.
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Oct 14, 2014 18:01
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24bit gives you some headroom when you're mixing a lot of tracks and do lots of DSP and volume processing on them, so that quantization noise doesn't add up significantly. If you're mixing a voice track and a game audio track, 16bit will do just fine. <---------- Insert the famous Xiph video here ----------> --edit: An argument for higher than 44KHz can be made in audio processing, because any DSP techniques that work with feedback will end up having different characteristics, if internal rates (e.g. oversampling) aren't fixed and scale with the external sample rate. At the end, things will be mixed down to 44KHz tho. Combat Pretzel fucked around with this message at 18:48 on Oct 14, 2014 |
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Oct 14, 2014 18:44
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| # ? May 3, 2024 11:49 |
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That's getting into really specialized techniques for professional mastering, and you never find anything higher than 24/48k in the final mix anyways. As always, if you have to ask, the answer is no.
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Oct 15, 2014 00:10
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