Better 16 bit or 24 bit? Which audio sampling rate should I choose?


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Record 16 bit or 24 bit, what changes?

16 or 24 bits

Today we live in the middle of the digital age, which has made the total distribution of music possible. Thanks to this, we can download an entire album “free” from the Internet in a few minutes. The benefits of the digital age were really impressive, but today we’re not going to talk about it, but rather focus the discussion on what the ideal recording is, choose between 16 bit or 24 bit and identify the sound differences between the two registration modes with the case’s various useful tips . The times when everything was recorded in analogue are far away. Think of the sound of Pink Floyd’s “Dark Side of the Moon”, “In the Court of the Crimson King” by King CrimsonO, Lonely Hearts Sergeant Pepper’s club band by The Beatles.

16 or 24 bits

We live in a time when digital is the master, but it is true that analog resists and can offer much higher quality. Let’s see what the differences between these two recording modes are between 16 and 24 bit. Before we start the decision with rather challenging speeches, we need to know what the word “bit” means, which indicates the amount of information in each sample and describes its resolution. Let us take a few explanatory examples: 16 bit is the sound depth used on audio CDs, while 24 bit is the definition of audio that can be achieved on an audio DVD. Now think about it: The CD generally has a storage capacity of around 700 MB instead of a 4.7 GB audio DVD, okay?

How are the audio files played?

We can say that a set of digital information is converted into an analog signal, which allows the sound waveform to be reproduced. Among the advantages that we undoubtedly have for an absolutely perfect sound cleaning, the digital audio file takes up considerably less space than the analog one, or rather we can determine the size of the file that we want to record or capture.

Let’s start with the recent past, when the widespread frequency on compact discs was 16 bit and 44,100 Hz, all albums and collections were recorded on audio CDs. This limit began to exceed thanks to the launch of new devices. Like drum machines, for example, the bits began to gradually increase from 16 to 18, 20 to 24 bits.

Today it is evident that an audio interface can work with 24 bits, including other alternatives to the recording mode, which can be performed at frequencies of 44.1, 48, 88.2, 96 to 192 kHz. Digital systems convert an analog signal to a digital format to store and transmit data using PCM (pulse code modulation). This quality is given by two factors, the first being determined by the bit depth and the second by the recorded frequency of samples. The first factor, bit depth, indicates the number of bits used that quantify the number of levels that characterize a tone in a second. In other words, the more bits a sound has, the more it is defined in level (for example, 16,536 levels are available per second for 16-bit recording.) We can say that the higher the sampling frequency, the more the sound area becomes defined, with the result that the transformation of the signal from analog to digital would be more accurate.
That means we can conclude with one consideration, ie the greater the bit depth, the greater the sampling frequency and the more audio information is stored, the more defined the audio quality. The development and continuous search for effective systems is a subject in which many studies are carried out.

Now we will delve deeper and deeper into our discussion by analyzing the different modes of audio resolution that enable sound quality and size. Suppose the larger the sound you want, the larger the file size.

What are Flac files?

FLAC is an acronym that stands for Free Lossless Audio Codec. As the English terms indicate, this literally means that it is a type of coding with which a signal can be read and written without data loss and which differs from the “lossy” types (Ogg Vorbis, MP3 or AAC). FLAC was deliberately designed and developed to compress audio files, which was not the case with other encoding types such as ZIP and gzip. For this reason, significant compressions can be achieved, which can be reduced from 30 to 50%


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24 bits vs. 16 bits are there audible differences?

24 bits vs. 16 bits are there audible differences?

The experiment

The author of the experiment plans to determine if there are audible differences between 24 and 16 bit audio trying to use an objectivist approach.

For this, it selects 3 audio fragments at 96/24, 2 of them edited by the renowned 2L label and a third belonging to the well-known Goldberg Variations performed by Kimiko Ishizaka. Particularly difficult passages are selected for their musical content or dynamic characteristics.

16-bit versions are generated from the 3 original samples, maintaining the sampling rate of 96 khz. Simple dithering is used in the process. In addition, special measures are taken (addition of noise at -140dB, offsets, use of flac compression with more or less efficiency) to avoid that the characteristics of the files themselves could reveal their nature.

The resulting audio files maintain a DR of between 12 and 14, with no evidence of clipping or compression of the dynamics.

The 6 files are arranged so that both versions of each of them are sequentially reproduced, but it is not known a priori if the 16 or 24 bit version sounds first.

In total 140 people participate, who must:

– Determine when one or the other version of each fragment sounds.
– Indicate the degree of certainty with which they have responded.
– Explain if they have used an ABX type comparison tool or similar.
– Provide a series of data, let’s say demographic, including whether they are musicians, have professional experience or not in audio editing and if they regularly analyze equipment.
– Describe the audio equipment used in the tests and indicate their cost.

The test runs for 2 months. Participants are encouraged to take their time.

Participants

Most of the test participants:

– They are men.
– Between 41 and 50 years old.
– They are not musicians (although 22% say they are).
– They have no experience in music production (although 24% do claim to have it).
– They use equipment whose cost is between $ 1,000 and $ 3,000.

The results

– The hit rate is practically 50%. Or what is the same, pure fluke.
– Participants who claimed to be more sure of their answers were not more correct than the rest.
– The group of “musicians” has failed more than the average.
– The group of “audio engineers” has made it a tad better than the average, but without exceeding 55% of hits in any fragment.
– The group of audio equipment analysts has also done worse than the average, but the size of the sub-sample is considered low (8 participants).
– Participants with expensive equipment (44 people with equipment over $ 6,000) did no better than average.
– The use of headphones has not been an advantage.

The conclusions

I translate more or less literally:

In a real study carried out over 2 months in which 140 people have participated and in which high-quality sound samples obtained from digital audio at 96/24 have been used, no evidence has been found that Digital audio with a 24-bit depth could be appreciably differentiated from its corresponding 16-bit versions obtained through Adobe Audition 3 using a basic algorithm (1/2 bit flat triangular dither).