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Dithering Question

I really want to clarify this. I use Sonar (not that it makes a difference) and have it set at 64bit. I want to export this as an unmastered mix so I can master it however may times I may need to in the future. I like to master in a new project using Isotope Ozone, and have the Waves mastering plugins,... if that info is necessary...

Is there any point in exporting an unmastered mix as a 64bit file? IF NOT, then what dither setting should I use to export it down to a 24bit file.

Help regarding Dithering and Mastering

Forums

Hi there!

I’m doing a mastering session in Digital Performer using variety of plugins and working at 48/32bit. Once done, I’ll take this to a to a very good facility for final stage where they arrange all the tracks in Pyramix, bounce it to 44/16 and create the professional CD master.

My question is: If I decide to give them my master at 48/32bit, should I disable the default Dithering in Digital Performer and in my master plugins? They’ll use Dither when bouncing to 44/16 anyway, as far as I know you should use Dither only once, right?

Dithering necessary?

Forums

I've found that when a recording is made in an actual acoustic environment, dithering isn't necessary because the natural noise floor serves as a dither. Does anyone else share that view?

I quit using dither when I found that the noise it adds is often audible. I use Waves L1, which does have fancier types of dither that are inaudible, but the user is cautioned to make sure that the program is never re-dithered or else there may be audible artifacts.

32 >16 (Dither)...better results than 24 > 16

Forums

kinda wondering...

what happens when one dithers a (legal) 32-Bit FP file all the way down to 16-Bit w/ their favorite dither box ?

reason I ask is...I'd been used to (like everyone else, I suppose) bouncing out of the DAW (SONAR) at 32-Bit FP...then brick walling to legal in the mastering rig (WaveLab) while rendering to 24-Bit at the same time...then, dithering (UV22HR) & rendering to 16-Bit ftom 24.
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