The bigger the bit depth, the more faithful it is – the resolution and quality are also better. The more “photos” in a second of sound, the better the sample. It’s as if the digital converter took pictures every second the sound wave comes in. In a CD, every second of sound corresponds to 44 100 captures or 44.1 kHz. To transform an analog sound into digital data, its interface captures thousands of moments of sound in a second. In this situation, we see a very low SNR. Nowadays, almost all digital sound devices used in professional recordings are made to mute their sound outlets when there’s no signal coming in. That small, even “tolerable” noise makes all the difference in live playbacks and performances if it isn’t eliminated in the recording process. In recordings, not having control over the signal/noise ratio can ruin your work. Now let’s talk about how this relates to the digital world. Understanding the signal to noise ratio in digital recordings When you raise the overall gain, the volume of the noise is raised proportionally to the signal. That’s why only raising the gains in the sound device isn’t the perfect solution. SNR is measured in decibels, a measurement defined by logarithmic calculations. The most obvious and immediate thing to do is to raise the volume of the amplifier, right? No! Because when you do that, you raise the sound of the guitar and the noise together. The difference between the signal and the “noise floor” is small, even if the guitar is at its maximum volume. But if the noise is still there, strongly present in the sound that comes out from the amplifier, the SNR is low. The difference between the signal and the noise floor is small, even if the guitar is at its maximum volume. If there's almost no humming, great that means the SNR is high and there won’t be noise interference. The resulting sound will contain the chord you played and the humming sound on the background.
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