Yep. Some say MIXER GAIN is digital, I’m still not sure.
Gain aGain
most codec have an analog amp prior to the ADC stage, I would assume this is what the mixer gain is setting. ( I assume the same is also true on the output side)
this is what I tried to express above… by raising this, you are bringing your signal level a bit above the digital noise, aka quantization error, introduced by 16vs 24bit
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For reference purposes:
16bit 65536 levels resolution
24bit 16,777,216 levels resolution
Human hearing 120 levels resolution
Quite surprising huh?
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im interestd but thanksgiviving. sorry. you deserve it
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I use 16 bit. i feel like the analogue to digital converters on the OT are good enough to make up for any loss in quality. I had the DT and the automatic normalization seemed to color (in a good way as i remember) the sample. On the OT, it just normalizes the sample.
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Btw, changing bit depth also affects fx algorithms?
Heard that several times, never ran any tests though.
Possibly. Maybe they work in 24 bit.
In 24 bits I tested with 2 sine samples, 16 bits and 24 bits, with phase opposition. Same settings with Filters or LOFI didn’t seem to change phase cancelation.
In slots list, you can see 24 bits sample SIZE decrease in 16 bits, as they are converted to 16 bits.
This Video suggests there is a difference.
Right at the beginning he says “the resolution you choose to work with has a large effect on these low level artifacts”.
Interesting, but as it’s a recording of the tail of the reverb, I guess it’s normal if artifacts are different with 16 or 24 bits recordings.
I don’t think this is related to fx algorithms.
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Yeah, maybe that’s what he meant.
Best to just ask him. What’s his user name here again?
Thx my friend 
Everything in its right place.
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My ears aren’t anything to write home about, but I hear a difference between 16/24, mainly clarity and definition which could be about noisefloor ultimately. I have found how you sample into OT to be the most critical factor. The memory limit is something I may address head on. By getting another OT…,.
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Maybe @defenestration could chime in say smt about OT fx in 16 bit vs. 24 bit?
not sure what the question is exactly? Most of the time I have OT flex and record memory at 24-bit. Long before the OT ever existed I was favoring 24-bit recording and sources over 16-bit. Speaking specifically of the OT some of the FX do seem to sound different sometimes when I change these settings in some of my projects (particularly the reverbs); every now and then I favor the sound of certain projects with these settings at 16-bit but it is not common
re: dither I’m pretty sure the OT doesn’t apply any
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What
Some things you said in your videos seem to suggest a difference in Octatrack fx between 16 bit and 24 bit.
In the video about reverb artifacts you say "the resolution you choose to work with has a large effect on these low level artifacts”.
I wasn’t sure if you were talking about a difference in the actual algorithm or if the result came from the flex recording.
So, question was if you encountered any differences and if so which ones.
“ Listeners can detect a change in loudness when the signal is altered by about 1 dB (a 12% change in amplitude). In other words, there are only about 120 levels of loudness that can be perceived from the faintest whisper to the loudest thunder. The sensitivity of the ear is amazing; when listening to very weak sounds, the ear drum vibrates less than the diameter of a single molecule!”
Source of quote
https://www.dspguide.com/ch22/1.htm
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Around 7 bits! So we don’t give a f. about 24 bits! 
Strangely, at 7 bits, it sounds a bit different! 
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Yesterday I ran into an audio quality problem that got solved by switching to 24
The thing getting lost was a kind of high frequency artifact on a bass sound - but nice. It was from the Circuit and very obviously deadened when sampled into OT. I checked the usual suspects like gain, timestretch, filter but bitrate fixed it, so now I’m converted!
Edit: to clarify - changing BOTH bitrate settings to 24 and sampling again fixed it
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I missed this before, but my point was that human hearing doesn’t work in discrete “levels,” saying that there are “120 levels of loudness that can be perceived” is nonsensical.