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Dithering in Digital Performer

Discussion in 'Digital Performer' started by igloo, Mar 30, 2004.

  1. igloo

    igloo Guest

    Hi all,

    I read in a past thread that the best order to finish tracks is the following:

    1) Bring realtive track level up to -.1db

    2) Down sample tracks to 44khz (with anti-aliasing)

    3) Add dither noise and convert to 16 bit

    I have some questions though; When I have a mix in DP, I use a Limiter in the Main track. Is setting the ceiling to -.1dB in here what the first step refers to?? If I change the treshold to say, -3.00 dB, does it effect the level?

    What I would do next is make a bounce to disk at 24 bits and import the dual mono files into Peak and down sample the stereo mix to 44kHz. At this point I would like to know what anti-aliasing is... because there is not such option within Peak.

    Then I would import the stereo file back into DP in a 24 bit 44.1 kHz session and apply a Quan Jr. with 16 bit dither or a Limiter with 16 bit dither (0.00 treshold, 0.00 ceiling) and bounce to disk again with dithering on the stereo mix to finally create the master file.

    Is anything of this right?? or am I doing all of it the wrong way?? please help!!

    A final inquiry... once I have a final master in 16 bits 44.1 kHz, is it the same quality as a copy sent to press, assuming there was no mastering done at the cd press shop??

    Thanks!

    Rodrigo Montfort
    Mty, Mexico
     
  2. Michael Fossenkemper

    Michael Fossenkemper Distinguished past mastering moderator Well-Known Member

    I'm a little lost in your post. but i'll give it a shot. take your limiter off the mix. bounce the files. then treat the bounce files in a seperate mastering session, preferably another day. Then what I would do is either eq and compress then SRC then limit then dither. Or SRC eq compress limit dither. If you SRC after your limiter then you might run the chance of clipping due to the conversion, depends on how good the SRC is. If you have a good external SRC then you can put that after the limiter but you don't so I would put it before the limiter.
     
  3. igloo

    igloo Guest

    Turtletone, thanks for your reply-

    I mentioned using the Limiter prior to bounce because I used the Limiter's ceiling at -0.1. (Which is step #1 but I really don't know other way to achieve it)

    Ok, following your steps I would treat the bounced files with EQ and compression within DP. At this point, bounce the files again and import them to Peak and SRC. Right? (Or should I stay in DP and SRC there?)

    Should I apply a Limiter after this? I would rather not... But if I do, I would have to go back to DP in a 24/44.1 session and apply the Limiter and dither.

    Perhaps I confused you even more, so I'll approach this in a very concise way:

    1) Bring realtive track level up to -.1db

    How do you do this??

    2) Down sample tracks to 44khz (with anti-aliasing)

    What is anti-aliasing? And does Peak have that option? Does DP have that option?

    3) Add dither noise and convert to 16 bit

    Is the MAS plug-in MW Limiter with dither good enough for the job? Should I use the noiseshaping tool included? Or is it better to use the "Save as... 16-bit" option in Peak?

    Thanks!!
     
  4. Michael Fossenkemper

    Michael Fossenkemper Distinguished past mastering moderator Well-Known Member

    I'm not familiar with DP or Peak and their ability to do certain tasks, you'll have to experient to see what sounds best. To bring the level up to -.1, you'll have to use a limiter. You'll probably want to SRC before the limiter with your setup because the conversion might cause the file to clip. As far as dither and noise shaping, your going to have to decide what sounds best to you. everyone has an opion as to what sounds best. depending on you monitors, you may or maynot be able to tell. I would suggest you try it every kind of way and then listen to see what produces the best results. Different dither and noise shapping sounds different on different kinds of music depending on the density and timbres in the mix. It also produces different results on different CD players depending on how and where the dac filters and the levels of the file. Now that i've confused you even more, try some stuff out and let us know what you've found.
     

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