I have been way out of the loop for some time and have both GOS and GPO and wondered if any of you know about current thoughts/plans regarding 24 bit for GS3 GOS or even GPO for that matter.
Secondly ....should I even be thinking about this as maybe there just isn't enough benefit for the developers and composers to worry about 24 bit vs 16 bit.
I just upgraded my SAM Brass to 24 bit and for $49 it seemed a good idea although not sure of the practical benefits. Will I or listeners hear the difference.
Since , like many of you , I can't afford real string sections . I'm trying my best to sound convincing and just thought that maybe 24 bit would add a small difference just as great reverb , playing technique etc etc all add to the end result.
We all need every little ' bit' we can grab in every way to be convincing.
In my experience 24-bits really helps to create a great stereo image for critical listening. It makes no difference to me for casual listening.
That said, 24-bits is really critical to libs that are recorded in their seats, like EWQL, SAM and SISS. For libs like VSL and GPO that aren't recorded "in situ", it's less critical. Mixing in 24-bits and better, and maintaining 24-bits after adding ambience is important though.
I think you're saying GOS in 16 is ok but do record/mix in 24 which is exactly what I'll do.
I spent a lot to upgrade the home studio and I mean sound treatment and full surround monitors and expensive outboard and world class mic preamps etc.
So therefore my concern is with the 16 bit libraries.
If your'e implying that GOS should sound very good indeed mixed in 24 and not to worry about the 16 then that's good advice for me.
I have no idea whatsoever what's involved in changing a library from 16 to 24 but it must involve a great deal including Giga etc .
It would be nice however to keep up with my libraries that ARE 24 bit however.
I have no idea whatsoever what's involved in changing a library from 16 to 24 but it must involve a great deal including Giga etc.
The main thing is it needs to have been recorded in 24-bits in the first place, with the levels set very accurately. If the files are 16-bits, the only way to go to 24 is to re-record everything from scratch.
If the original 24-bit recordings are already there, it could be done with reprogramming, but the amount of work depends on who much processing (trimming and tweaking) was done to the 16-bit files, and not applied to the 24-bit files.