The #6 Key to Clean, Professional Audio: Correct Recording Settings

Author

Master Editor
July 11, 2025

If your audio still sounds messy, even after editing, chances are, the problem didn’t start in post. It started when you hit record.

Recording settings might not sound exciting. But they’re one of the biggest reasons some people consistently get clean, professional audio… and others don’t.

Before you even think about EQ or audio effects, you need to make sure your input level, project rate, bit depth, and recording channel are set correctly.

These are the invisible foundations of good sound. Let’s walk through them.

Input Level: Your Setup’s First Health Check

Before anything else, check your input level. This is the little meter (usually green, yellow, and red) that shows how loud your mic signal is while recording.

Of course, make sure the correct microphone is selected first, then watch the level.

The single biggest factor here is your distance from the microphone.

If you’re too far, you’ll sound thin and weak. Too close, and you risk distortion or capturing too much mouth noise.

But we don’t need to overcomplicate this with audio theory. Let’s keep it simple and aim for a clean input level.

The ideal distance is usually around 4 to 6 inches from your mic. Combine that with properly adjusted gain, and your level should bounce between -18 dB and -6 dB while you speak at a normal tone.

If you're landing in that range, you're good. That means your mic is in the right place, your settings are solid, and you’ve got a clean signal to work with.

Project Rate: Just Use 44100 Hz

This one’s easy.

Your project rate (or sample rate) is the frequency your software uses to capture audio. Most software gives you several choices between 8000 Hz and 384000 Hz.

Unless you're working with video, always choose 44100 Hz. It’s the industry standard for voice-over, audiobooks, and podcasts.

If you accidentally use a different rate, you may run into problems when exporting — things like pitch shifts, playback issues, or lower audio quality from resampling.

Just set it once in your project or preferences. Done.

Bit Depth: Record in 24-bit or 32-bit Float

(Then Export in 16-bit, 192 kbps MP3 for ACX)

Let’s clear up a common confusion: bit depth when recording is not the same as bit depth when exporting.

When you’re recording, your DAW will usually offer a few options:
16-bit, 24-bit, and sometimes 32-bit float.

Here’s what to use:

  • 24-bit is the minimum I recommend. It gives you more headroom, which means you don’t have to record too quietly, and your audio is less likely to clip if you get a little loud.

  • 32-bit float is even better — if your setup supports it. This format makes it almost impossible to permanently clip your audio. You can recover even very loud sections cleanly during editing. Think of it as a safety net.

So if your software and interface support it, record in 32-bit float. Otherwise, 24-bit is perfectly fine.

Now here’s where people get confused:

ACX requires you to export your final audio as a 192 kbps MP3 file. But they also expect:

  • Constant bitrate (CBR) — not variable

  • 44.1 kHz sample rate

  • Mono

  • 16-bit file encoding

So your full export settings for ACX should be:

  • Format: MP3

  • Bitrate: 192 kbps (CBR)

  • Sample rate: 44.1 kHz

  • Bit depth (file encoding): 16-bit

  • Channels: Mono

So your full process looks like this:

  • Record in 32-bit float (or 24-bit)

  • Edit and process your audio

  • Export as 192 kbps CBR MP3, with 16-bit encoding, 44.1 kHz, and mono

The 16-bit setting here refers to how the MP3 is encoded — it’s not related to the bit depth you recorded with. That’s why it’s totally fine to record in 32-bit float and still export as 16-bit MP3. You get the benefits of clean, flexible recording and meet the platform’s requirements at the same time.

Recording Channel: Mono, Always

This one’s easy. For voice work, always record in mono.

Your voice is a single sound source. Recording in stereo creates unnecessary problems: uneven waveforms, strange playback in headphones, with no actual benefit unless you are doing something.

Unless someone specifically tells you to record in stereo (which is rare in audiobook or voice-over work), just stick with mono.

Set it as Mono and you are fine.

That’s it.

When your input level, project rate, bit depth, and recording channel are set properly, your audio is already 70% of the way to sounding professional — before you even touch EQ or compression.

You won’t have to fight with invisible noise. You won’t have to salvage clipped recordings. And you’ll spend way less time trying to fix problems later.

These are the things most people skip or overlook — but if clean, professional audio is your goal, it’s worth getting right from the start.

Need help setting these up in your software — like Audacity, Adobe Audition, or TwistedWave?

Or if you want hands-on help fixing your workflow, this week only you can purchase my 1-on-1 consulting for $497 (goes back to $997 on Monday).

If you want to read other parts of this series:
The #5 Key to Clean, Professional Audio