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http://replace.me - Does Dithering Matter In Audio Production? | Production Expert
Turn off normalizing, as you've already mastered your file and do not want to change the level or ceiling. Bounce in realtime so you can hear. Tip: Dither your master. Don't worry so much about which dither. Any dither is better than truncation distortion! Happy mastering! Unlock a. Dithering is a crucial part of the mastering process. FREE MASTERCLASS: How to quit your day job & work on music full-time.
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Mastering in Logic Pro X : The Basics.
When we get into really low-level signals, like reverb tails, it becomes difficult for digital algorithms to know whether the necessary bits should be turned on or off.
The process of rounding off low-level signals to fewer bits creates "quantization noise. Dithering adds a small amount of very controlled noise to the original signal, so the bits can be made to switch on or off. When you buy products through links across our site, we may earn an affiliate commission. Learn more. Help: Dithering in Logic I'm tracking in Logic with 24bit recording enabled at When bouncing down the mix to burn on a CD, do I need to use the Dithering feature? Please help, thanks.
Reason: dd. Luna Sound. My Studio. Luke, as a Mastering Engineer, perhaps you could expand on why you say that and how you decide which dithering algo to use. Okay, the final output of a mix in Logic is 24bit.
CDs are 16bit. If you bounce the mix straight to a CD without dithering then the last 8 bits will just get thrown away. Using the dither will help to minimise the effect of the losses. Attached Thumbnails. Bounce to a There is no TPDF flat dither option available. Turning dither off will truncate your signal, simply discarding the last bits.
Logic does self-dither in other cases but that's not relevant here. Which POW-r algorithm is best for the job depends on the material. I find 3 works best on most material though I sometimes use 1 for heavily compressed songs. I never use 2 as it's not as well implemented for some reason, though it can sound great in the Weiss hardware. Just make sure there is an appropriate amount of dynamics in the music.
Calibrate Your Mastering Level This bit is huge. Gain Stage Your Reference Track s Now that you have set up your monitoring level , you may also choose to use a reference track in the mastering session. There is only one tip you need to know about using reference tracks… Turn them down or up to your mastering level!
That way, there is no loudness bias between your master and the reference track. Set The Ceiling As you probably know, a limiter is very much a usual suspect in your mastering chain. Find Loudness This where we start to work backwards, at least as far as the order of plugins in your chain is concerned. Problem Solving Now that you are close to the goal, any issues with regard to dynamics and EQ will start to make themselves apparent.
Happy mastering! Unlock Your Sound Ltd uses cookies to improve the experience and the content of this website. Functional cookies Functional cookies Always active The technical storage or access is strictly necessary for the legitimate purpose of enabling the use of a specific service explicitly requested by the subscriber or user, or for the sole purpose of carrying out the transmission of a communication over an electronic communications network. The technical storage or access is necessary for the legitimate purpose of storing preferences that are not requested by the subscriber or user.
The technical storage or access that is used exclusively for statistical purposes. The technical storage or access that is used exclusively for anonymous statistical purposes. If in doubt, just follow Bee Jay's advice and use the built-in Logic dither. If you want to use 3rd-party plug-ins, you'll need to be very aware of exactly what's happening to your output stream.
I believe if you follow my instructions exactly, you should get valid dithering, but someone please correct me if I'm wrong--to be fair, I am making some assumptions here For example, you are mastering 10 songs. You set up a Logic project with 10 stereo tracks and simply import each song into it's own track. To get the levels and fades if you like correct as between the 10 tracks you use the fader on each track.
You can use the inserts on each track for any plugins. What is the benefit of choosing a new bus for the output of each track? If any fades are needed I prefer destructive fades in the sample editor Sounds like it will do a nice job.
If any fades are needed I prefer destructive fades in the sample editor In your case, there's no reason to bus your outputs.
In a typical mixing situation, with multiple tracks routed to an output, it's useful to create an intermediate mix bus, so you have a fader you can pull up or down to deal with clipping, automate for a fade out, etc.
If you're dithering via a plug-in, you don't want to use the output fader where that dither plug is inserted, and most people like to have a master level control when mixing In your case--mastering stereo mixes that have already been bounced into a single file per song--you exactly right: there's no need for the bussing. Feb 17, AM in response to jnashguitar In response to jnashguitar From what I understand in Logic Pro you should not apply any dither or truncate to 16 bits before the Master fader which all plugins are.
Just as in Digital Performer, only truncate and apply dither Post master fader. DP has an option to place a plugin insert post master fader so you could use a plugin to truncate and dither in DP. In Logic Pro the only way to truncate and dither post master fader is with the Bounce dialog. All plugins are pre-master fader and therefore will be converted back to 32 bit float after you would apply dither or truncate and before your mix hits the master fader.
If you are using a plugin to dither down to a bit word length signal, that signal is still in the mixer and thus is still represented as a bit float value until it leaves the main channel on it's way to the audio interface, or the bounce to disk procedure.
It's then that Logic needs to convert from bit float, to a lower wordlength 16 or bit depending on what you are doing. And when lowering the word-length, we need to dither. That means you are dithering twice, and not in fact using the plugin to create our final bit word length CD file - even if we leave the master fader at 0dBFS.
You should not be trying to mess with the wordlength inside Logic's mixer, because if a signal is in Logic's mixer, it will always have a float representation right until it leaves the mixer. Downconverting and dithering is a process that should be done after Logic's mixer, not inside it, and therefore the proper place is the bounce to disk dialog - where in fact the dither options in Logic are indeed placed. User profile for user: M-De M-De.
Feb 17, AM in response to M-De In response to M-De however, based on what i'm reading here i'm actually dithering down to bit with the L2 prefader, it's then being "up-dithered" back to bit float and then dithered down again to bit.
What's happening is Logic's mixer always operates with bit float numbers, which has many advantages. What you are doing, is that a bit float number stream goes into the L2, and a bit float number comes back out of the L2, except now that bit float number stream contains a much smaller bit dithered numbers - in effect, you're still in bit float, but you've just thrown away a huge amount of resolution, which is better preserved right until the end and used to make a better output conversion.
That 32f stream continues through the fader and onto it's final destination, be it your audio interface or a bounce, at which point then it leaves 32f for a fixed point number representation, and that conversion uses the full dynamic range of the 32f data for the best results.
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