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I wonder if those 24-bit files have less audible limiting than their 16-bit offspring....http://www.audioprointernational.com/features/146/Remastering-The-BeatlesIt was an analog process from that point on, Rooke comments. The tracks came out of Pro Tools through the Prism AD8s into the analog domain and were then injected into the studios 1972 EMI TG mastering console. We then eq'd and transferred them to a Sadie Series 5 PCM 8 DAW at 24-bit/441kHz. The main carrier was going to be CD so we kept it at 44:1 to avoid the extra process of sample rate conversion, therefore keeping the signal as pure as possible. Once each album was compiled we did a digital capture through a Junger DO1 digital limiter, the limiting was done afterwards to give us more flexibility. We didn't want to limit as we eq'd because it would have been difficult to change at a later date. The team listened to them post limiter.When we were capturing the final mastered version, we played the songs out of Sadie in the digital domain through the DO 1 limiter into a Prism AD-124 AD converter for noise shaping. All the songs were noise shaped and dithered back into 16-bit and then captured back into the Sadie at 16-bit/441kHz, which is what we made the masters from. During the mastering process we listened to each track and decided where we wanted to go with it, if we wanted to add or remove eq to help instruments or vocals. We went through each track, made the adjustments and then recorded into Sadie."
