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Which sample rate are you working at - in 'high end' studios - in 2015/16?
View Poll Results: Which sample rate do you work at, at high end or large scale facilities?
44.1KHz
112 Votes - 36.84%
48KHz
91 Votes - 29.93%
88.2KHz
32 Votes - 10.53%
96KHz
69 Votes - 22.70%
Voters: 304. You may not vote on this poll

Old 12th October 2015
  #31
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Motoxxx's Avatar
 

Quote:
Originally Posted by psycho_monkey View Post
Not really - in the real world at least.

It's really only online I see any strong defence of higher sample rates.

If you're working on a full production, most of the time a 96k sample rate would bring a computer to it's knees.

I couldn't agree more! Typically if the project is being completely done at my facility and I am the one running it I will do it a 24/48K. I can sense a difference between the 48/24 and 44.1/16 that makes me at least think it sounds a bit better. I rarely go to 192 unless some one insists.
Old 12th October 2015
  #32
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Quote:
Originally Posted by psycho_monkey View Post
Not really - in the real world at least.

It's really only online I see any strong defence of higher sample rates.

If you're working on a full production, most of the time a 96k sample rate would bring a computer to it's knees.
While I prefer higher resolution, that wasn't actually what I was referring to. With the demise of the cd 48k makes a lot more sense, and that's pretty much the rate I see when something is recorded at a nice commercial facility.
Old 12th October 2015
  #33
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All over the place for me..

Can anyone hear a difference between 44/24 & 48/24 ?

Is it separation, quality, headroom, harder to mix, less bass, harsh etc.. for you ?
Old 12th October 2015
  #34
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Quote:
Originally Posted by Jack P View Post
All over the place for me..

Can anyone hear a difference between 44/24 & 48/24 ?

Is it separation, quality, headroom, harder to mix, less bass, harsh etc.. for you ?
I hear 48k as smoother. It's subtle, but can consistently pick it out, at least with the converters I've used.
Old 12th October 2015
  #35
Quote:
Originally Posted by johnnyc View Post
While I prefer higher resolution, that wasn't actually what I was referring to. With the demise of the cd 48k makes a lot more sense, and that's pretty much the rate I see when something is recorded at a nice commercial facility.
Oh right!

Yeah, I see what you mean. I use 48k because I do a fair bit of work to video, and because these days a lot of the mastered for iTunes stuff can stay at 48k, but there's no real processor overhead.

The only downside is using samples that are getting converted from 44.1.

If a mix arrives at 44.1 though, it stays there.
Old 12th October 2015
  #36
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PaulMac's Avatar
48kHz, 24bit.
If it's something very organic with a tonne of dynamic range like orchestral music I'll go to 88.2kHz... I haven't noticed a substantial difference using 88.2kHz though.
Old 12th October 2015
  #37
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Plush's Avatar
24/96 here. It is easy to work with the better sound.
Old 12th October 2015
  #38
Gear Head
 
Morrillo's Avatar
Quote:
Originally Posted by johnnyc View Post
Which converters did you use?
Hi Johnny I Used Apogees AD16x for the convertion with trinity/10M antelope
cheers
Old 12th October 2015
  #39
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burns46824's Avatar
If you're using plugins, they can sound considerably better...I mean CONSIDERABLY...at higher sample rates. Otherwise, I'm not sure it matters all that much.
Old 12th October 2015
  #40
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Squawk's Avatar
There's a lot of differing workflows and opinions, and while a few people seem to be really dogmatic about this (only on the internets!), there's maybe a couple factors to keep in mind that are worth considering.

This is just food for thought for the discussion:

1. Some converters may inherently perform better at different sample rates than others, magnifying the difference. A Lynx Aurora may show a bigger sonic difference at 88.2/96k over 44.1 than a Burl B2 for example.

2. Plugins. As Burns46824 has noted, some plugins may sound better in sessions using higher sample rates. With others, the difference may be nominal if at all.

3. ITB vs hybrid/analog/LFAC. In a mostly analog console based workflow, great live room, mics, placement, analog inserts etc. the differences between sample rates may be much smaller compared to mostly ITB workflows using plugins.

4. Genre. (a) A session/mix with distorted electric guitars, dirty vocals, compression, etc. vs. (b) acoustic instruments, orchestral recordings. There may be little to no benefit of higer sample rates with scenario (a), while (b) may benefit more from tracking at a higher sample rate.

I remember back in the days of Ensoniq Paris, we had similar discussions about working at 44.1/16 vs 48/24. Brian Tankersley (gearslutz member BrianT) used to do almost everything at 44.1/16 because he preferred how it sounded over higher sample rates/bit depth. His genre was mostly country/rock. If I remember correctly, he felt it was more immediate and in your face sounding. Again, Paris conversion and software would have factored in this, but it's interesting to note.

So while we sometimes tend to get dogmatic about all of this, one size doesn't necessarily fit all in every working scenario.

Last edited by Squawk; 12th October 2015 at 06:34 PM.. Reason: typo
Old 12th October 2015
  #41
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most of my conversion is done at 211k, downsampled to 88.2k. primarily to accommodate the use of hardware fx (interfaced digitally) which won't work at quad rates, which is a pity.
Old 12th October 2015
  #42
Lives for gear
 

Quote:
Originally Posted by Squawk View Post
There's a lot of differing workflows and opinions, and while a few people seem to be really dogmatic about this (only on the internets!), there's maybe a couple factors to keep in mind that are worth considering.

This is just food for thought for the discussion:

1. Some converters may inherently perform better at different sample rates than others, magnifying the difference. A Lynx Aurora may show a bigger sonic difference at 88.2/96k over 44.1 than a Burl B2 for example.

2. Plugins. As Burns46824 has noted, some plugins may sound better in sessions using higher sample rates. With others, the difference may be nominal if at all.

3. ITB vs hybrid/analog/LFAC. In a mostly analog console based workflow, great live room, mics, placement, analog inserts etc. the differences between sample rates may be much smaller compared to mostly ITB workflows using plugins.

4. Genre. (a) A session/mix with distorted electric guitars, dirty vocals, compression, etc. vs. (b) acoustic instruments, orchestral recordings. There may be little to no benefit of higer sample rates with scenario (a), while (b) may benefit more from tracking at a higher sample rate.

I remember back in the days of Ensoniq Paris, we had similar discussions about working at 44.1/16 vs 48/24. Brian Tankersley (gearslutz member BrianT) used to do almost everything at 44.1/16 because he preferred how it sounded over higher sample rates/bit depth. His genre was mostly country/rock. If I remember correctly, he felt it was more immediate and in your face sounding. Again, Paris conversion and software would have factored in this, but it's interesting to note.

So while we sometimes tend to get dogmatic about all of this, one size doesn't necessarily fit all in every working scenario.
Excellent summary
Old 12th October 2015
  #43
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Quote:
Originally Posted by Squawk View Post
1. Some converters may inherently perform better at different sample rates than others, magnifying the difference. A Lynx Aurora may show a bigger sonic difference at 88.2/96k over 44.1 than a Burl B2 for example.
This. One mans sonic bliss at 48k is another's at 88.2k hardware dependent.
Old 12th October 2015
  #44
It depends on the converter I use, they all sound the best at different sample rates... For now Avid HD io and Omni 96/24. Clear difference in depth and mass on short sounds like tambourines, overheads, vibraphones etc. Also available to capture more harmonic content and HW sounds way better thru mixing @ 96. Just my opinion.
Old 13th October 2015
  #45
24/48 for most stuff here. As previously mentioned, a full production with a bunch of plugins still makes a computer run out of puff at 96, though I do definitely hear a difference and would love to be able to remain at higher SRs.

However, I'm at 24/96 for all classical, jazz and more 'natural' sounding sessions here. Mixes always stay at the same sample rate they come in at.
Old 6th February 2016
  #46
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The Beatsmith's Avatar
 

Bump!
Old 6th February 2016
  #47
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kikin's Avatar
i work on whatever sampling rate is required but i prefer 96/24.....
Old 6th February 2016
  #48
Gear Addict
 
Overdrive's Avatar
 

24/96 all the way since 2005
I'll mix at the project sample rate if this is an outside job but when I have the say it will always be the above set up.
Old 9th February 2016
  #49
Since I do 50/50 pop/music for media, I just stay in 24/48. Can't be bothered to switch between projects. My ex studio neighbour did his entire recent album in 192k. It sounds damn good, but when you can't a/b don't know what it's worth
Old 10th February 2016
  #50
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SoZo's Avatar
Everyone I know who actually make albums track at 48/24... I have switched there because of them and I like it more actually, audio seems like it has more energy @ 48k then 44.1. Maybe the low pass filters ?
Old 10th February 2016
  #51
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96k when if I have the choice, 48k for film work. Output of the SSL to a 2192 to another computer at either 88.2 or 96k for masters when mixing hybrid.
Old 10th February 2016
  #52
95% live bands carving most of the sound the way in(pre's eq's comp's) and use only the stock eq compressor and reverbs of Studio One when needed.
16/44.1 here
cause all ends up worse than that anyway
Old 10th February 2016
  #53
Here for the gear
 

I use 48K mostly and sometimes i work on 96k when the tracks count are low because my computer cant handdle abig project in 96k.

However the 96k deffintly sounds better on my converters (Avid Hd io)
Old 10th February 2016
  #54
Sweetspot of my HD io seems to be 96/24.. Everything sound more relaxed and deep.
Old 11th February 2016
  #55
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chrisdee's Avatar
I wonder if people outside the audio community really care about sample rate as long as the music sounds good and makes them feel good?


That said i've been recording at 96 for many years, but that's just my personal preference.
Old 11th February 2016
  #56
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Motoxxx's Avatar
 

Quote:
Originally Posted by chrisdee View Post
I wonder if people outside the audio community really care about sample rate as long as the music sounds good and makes them feel good?


That said i've been recording at 96 for many years, but that's just my personal preference.
No....They don't even know what a sample rate is and there is so much distortion on vocals these days the general public would just think it sounds great even when it doesn't. The general populations idea of what sounds good has certainly changed over the years while mine has not....well for the most part anyway....
Old 11th February 2016
  #57
Gear Maniac
 
Roloalcien's Avatar
96/24 For audiovisual work 48/24 for live recordings
Old 12th February 2016
  #58
Gear Maniac
I mix /record mainly electronic based music (EDM,rap, hip-hop, R&B) with the vocal being the only mic'ed source. I want to know your (GS) option whether or not working at 88.2 or 96 would be a benefit since I'm not recording live instruments and the sources are usually samples (sampled) or sampled based instruments?
Old 13th February 2016
  #59
mpr
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In 2005 I did two transfers from my Studer 827 (23 tracks) into the dig 192s: one at 48khz and another at 96khz (using two different session files).

I then took the 48khz files and upsampled them to 96khz so that I could playlist them right next to the 96khz recordings inside the 96khz session file.

I time aligned both playlists to match each other and began switching back and forth in real time. My assistant ensured I did not know what PL was playing. I could pick out 96khz 10/10 times from the 23 track tape transfers.

For me this was not a subtle change, especially as Pro Tools was outputting all 23 tracks to a Neve 80 series console, so I was hearing 23 AD and 23 DA converters on exactly the same material from tape.

Last edited by mpr; 13th February 2016 at 07:14 AM..
Old 13th February 2016
  #60
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DarkSky Media's Avatar
Quote:
Originally Posted by OlofBerggren View Post
Sweetspot of my HD io seems to be 96/24.. Everything sound more relaxed and deep.
This!
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