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Any thoughts/opinions/expertise on the best method of recording the Triton Extreme? I know this sounds basic but i have bats rattling around in my head. Let me explain. My goal is to have the best audio replication of what's being generated directly from the synth itself. I want to minimize loss/differences etc.

Normally I don't even question this, but I've recently added and LOVE the moss board and I want to take as much care as i can on preserving the sounds/tracks when getting them into my DAW for mixing/mastering.

So i have a Steinberg UR22 24bit/192khz interface which is where i normally record into FL Studio... I know the 192khz probably won't do a thing but i do know the 24bit will capture more detail of audio sources but i'm not certain what the A/D converters produce coming out of the Triton Extreme. Because my other though is just to resample to my usb stick in wave files and transfer those over... but 16 bit 48khz?

I'm just not sure which one of the methods or others not mentioned would be the best way to preserve the deep sound. I will of course go thru the motions of doing both and listen but it would be nice to know if technically speaking one is clearly better/worse than the other.

Thank you in advance for entertaining my rantings.

This is a good question. I hope that someone with some nitty-gritty knowledge of the internal digital audio path and #bits per word of the Triton and DAC can chime in with some details. I suspect the internal audio processing is 16-bit, same as the sampler input, but I don't know for certain.

Recording from the Triton L/R main analog outputs does allow you to adjust the volume, but the audio path incurs a D/A conversion at the Triton output and an A/D conversion at your audio interface input. This might introduce the possibility of some extra noise.

I think it best to stay in the digital domain as long as possible. Recording from the Triton S/P DIF digital audio output (24-bit) may be a good choice. The digital output volume is fixed, the same as the main L/R at maximum volume. The sound itself may only be encoded with 16 bits out of those 24 (the upper 8 bits being zero?). I don't expect you'd get better audio quality compared to sampling a performance and writing to a WAV file. But it might be more convenient and faster in your workflow to avoid shuffling a USB flash drive between the Triton and your computer.

To obtain the fullest of sound, in general you want to maximize use of available dynamic range but below the point of clipping / distorting. That can be tricky when you've got multiple sound sources triggering at the same time mixed and routed to the same output. You can exhaust the Triton's internal dynamic range quickly. As an example, go to MFX and set all 3 MFX EQ bands to the maximum +18.0dB. Play a chord, and you will get internal clipping/distortion.
That clipping/distortion will persist irrespective of master volume or resampling level.

There is no level indicator to help you figure out whether or where such internal clipping is occurring. Often some sleuthing is necessary to find where in the audio signal path an adjustment in level is required. It could be the oscillators level of a program, or the levels of programs in combis, the level tracks in a sequence, or in the effects.

When you're using a DAW for the recording, with a much larger internal dynamic range, a good strategy may be to perform within the DAW any substantial mixing of Triton programs/timbres/tracks. Rather than recording an entire multitrack Triton sequence into L/R DAW tracks, playback and record the performance of individual programs/timbres/tracks from the Triton (with or without IFX/MFX) separately into their own tracks in the DAW. Then as you mix them in the DAW you have more audio dynamic range (headroom) to work with.

I found that sampling each track into a dedicated WAV file worked incredibly well for the quality side. It seemed to also better capture the valve force more authentically. I also found the workflow easier for my style... Export everything into individual well labelled parts, import into DAW and finish arranging mastering.