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How can I render on reaper and not lose audio quality?
Old 6th May 2019
  #31
Quote:
It certainly does sound like you were suggesting a 16 bit export.
"I would tell you to export it at the same exact bit and sample rate it was recorded at (16/44.1)"

In English, that means you export it at the same rate and bit depth you recorded it at.
what ever is, 16/44, 24/48, 24,96 and so on.

There is not one word were i said export it at 16bit
Old 6th May 2019
  #32
Gear Addict
 

Quote:
Originally Posted by CJ Mastering View Post
"I would tell you to export it at the same exact bit and sample rate it was recorded at (16/44.1)"

In English, that means you export it at the same rate and bit depth you recorded it at.
what ever is, 16/44, 24/48, 24,96 and so on.

There is not one word were i said export it at 16bit
The thread starter already said it was originally recorded at 16/44, so in effect that's how you suggested exporting it. Did you mean that they should export with the same settings they mixed at instead?
Old 6th May 2019
  #33
Lives for gear
 
loji's Avatar
Quote:
Originally Posted by CJ Mastering View Post
"I would tell you to export it at the same exact bit and sample rate it was recorded at (16/44.1)"

In English, that means you export it at the same rate and bit depth you recorded it at.
what ever is, 16/44, 24/48, 24,96 and so on.

There is not one word were i said export it at 16bit
Don't mean to misunderstand you, but the poster stated he recorded at 16-bit.

And that's the whole point .... as soon as mixing is done (summing, processing, volume adjustment, etc....) it expands the bit-depth.... so it will be BIGGER than what was originally recorded. (in this case double-precision float)

Here is a more detailed white-paper so others in this thread can get their personal learn on :

https://www.rane.com/note157.html

That tech document clearly states the differences between fixed/floating and illustrates some of the potential drawbacks ....
Old 7th May 2019
  #34
Gear Guru
 
Muser's Avatar
I tend to find the interpolation for sample rate conversion to more important in working practices than bit depth questions.
but high values for realtime interpolation quality are going to impact your CPU performance in the realtime condition.

how this might translate to a practice is partly to do with, what you need to do at some X point in a workflow, that either will positively or negatively impacts that task. so if you loaded in some program material you wanted to time stretch and pitch shift, either a little or a lot, a low point sinc value can sound significantly worse than a high point for that task. so you might be listening at 64 point, but if you render that altered part out 768 point, then loaded it back in, Reaper is no longer carrying out an SRC at a low point value, because you basically froze the program material at a high point sinc. so at that point Reaper isn’t carrying out any SRC on that program material. so in that workflow scenario, it can be useful to use the higher point interpolation value.

because I use a lot of synthesis plugins to produce most of the sounds, I want to know that what I hear is what I’m going to get if I render something out or convert a midi part to audio. so if my realtime condition is 64 point, I want to know that if I manually carry out a render, that it is also at 64 point.

I tend to work at 16bit 48K and don’t find this to be an issue with my working practices. even though I may produce a mixbus or even stems at 24bit (if) I were sending to someone else, because I’d assume they were normally setup for 24bit. when you are pulling in audio of different rates and depths into a project, and also have samples or libraries or synth engines whose content is a variety of rates and depths, I assume I’m programming and tuning the sound engines for whatever the rate and depth my project will force them into. so if I’m at 48K in the project, anything which is not 48K will presumably have to go through the 64 point sinc I have set for the projects realtime interpolation, to bring it to the projects 48K rate.

so it’s hard to find a general prescription for best practice as, even when you have set a best practice, the impacts might be different for different tasks at different points in a workflow. or for some auxiliary task based workflow as part of the overall workflow.
Old 4 weeks ago
  #35
Gear Maniac
 
askomiko's Avatar
 

I'm also having a weird bounce trouble for the first time in the 10 years I've used Reaper:

I can't render, Reaper just crashes immediately. Playback works fine so I figured I'll just bounce the output. Ok, it works, but the resulting file is different from the playback, like it's missing a master compressor or something. Around 3db quieter. The resulting file peaks at -0.5db, just like i had set the final limiter, but the overall level is lower. Next, i tried crushing the master so that it should result in a file that looks like a brick at -9lufs: got a file that looks normal, with overall lufs around -14lufs. And it isn't a brick that's just quieter, it has dynamics. Wth?

Built in volume war avoider feature? Ghosts in the machine. I'll need to troubleshoot which plugin causes the crash in the first place so I can return to rendering the usual way.
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