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Which sample rate are you working at - in 'high end' studios - in 2015/16? DAW Software
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 13th February 2016
  #61
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ghostwriter's Avatar
Quote:
Originally Posted by DarkSky Media View Post
This!
Old 20th February 2016
  #62
96k

I pretty much keep my rig at 24/96 for all of my projects, although I have not done too much evaluating of the differences between sample rates. That said, every time I get a project to mix that is at 44 or 48, I immediately notice the difference throughout the mix process. In my case, I mix old school through a board with discrete summing amps, and a decent rack of outboard gear. I do use plugs, but not that many. Yes, the difference is subtle, but it becomes much more noticeable in the mastering stage, when the compression and slight high and low end bump suddenly bring everything into focus - including what used to be considered "subtle"...not a nice surprise to my ears...
Another thought to ponder is an interview with Dave Pensado from a few years back, where he claimed to mix different songs to a separate mix capture machine at different sample and bit rates, according to genre. R+B, Pop, and classic stuff usually got the higher rates, and most Hip-Hop, and more gritty sounding tracks were handed off to the basement...er...44k...an interesting approach that seems to have worked for him
As always, maybe try some different sample and bit rates, and see if the result works for the track you are working on. You may find your own preference. Good luck!
Old 21st February 2016
  #63
I keep it at 44.1 for audio and 48 for video. I have heard the effects of different SR on other converters. But my Prism converters on 44.1 sound superior to any converters I've used in the past, so I don't think about it anymore.
Old 21st February 2016
  #64
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Telefunk's Avatar
 

I like how my RME converters sound at 24/96. Smoother, deeper and natural, although the difference is subtle. Last year i produced two albums at 24/96 and i'm happy i did. I'm mixing hybrid and if the project have been tracked at lower rates i print on a second rig at 24/96.
Old 22nd February 2016
  #65
Quote:
Originally Posted by psycho_monkey View Post
It's really only online I see any strong defence of higher sample rates.
.
From Pono to Tidal there are a hundred schemes of "hi-definition" audio. And i really doubt that Neill Young can still hear frequencies and dynamic-differences above CD-quality at his age....

There is an industry incentive for hi-definition and insane sample rates, because of the susceptibility of such a market for music piracy. A market that attends said idea of "pristine fidelity", Authenticity, and such elitist, esoteric marketing-terms is a early adopter high-end market in which you don´t have to sell as many pieces to make a profit, also, the licensing models and music-subsciption services can demand hefty prices for people who wanna surf the latest hype and the probability of widespread ripping and pirating is not as probable as in a lower tech market segment which retains to the 44.1 for obvious, biological and technical reasons.

My suspicion at the moment? Tidal and associates run a huge law-firm acting against soundcloud at any instance. Because of said fact. Why have a market opponent providing free stuff for everyone, when their technical legality is in the grey for a lot of their users content when you want people to pay you 20$ and more to not even be able to OWN the music on any of your offline devices.
Old 23rd February 2016
  #66
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IanBSC's Avatar
Quote:
Originally Posted by deepandrare View Post
From Pono to Tidal there are a hundred schemes of "hi-definition" audio. And i really doubt that Neill Young can still hear frequencies and dynamic-differences above CD-quality at his age....

There is an industry incentive for hi-definition and insane sample rates, because of the susceptibility of such a market for music piracy. A market that attends said idea of "pristine fidelity", Authenticity, and such elitist, esoteric marketing-terms is a early adopter high-end market in which you don´t have to sell as many pieces to make a profit, also, the licensing models and music-subsciption services can demand hefty prices for people who wanna surf the latest hype and the probability of widespread ripping and pirating is not as probable as in a lower tech market segment which retains to the 44.1 for obvious, biological and technical reasons.

My suspicion at the moment? Tidal and associates run a huge law-firm acting against soundcloud at any instance. Because of said fact. Why have a market opponent providing free stuff for everyone, when their technical legality is in the grey for a lot of their users content when you want people to pay you 20$ and more to not even be able to OWN the music on any of your offline devices.
Perhaps you are unaware that Tidal is lossless 16/44.1?

If there really is an industry incentive towards higher sample rates why is the vast majority of engineers in this poll using 44/48k? Why is pretty much every commercial release still at 16/44.1 despite having consumer formats supporting higher bit depth and sample rates for the past 15 years? Even go on HD Tracks and you will find that by and large all the major label released are 24/44.1.

Some engineers and music consumers like the sound of higher rates, and find it reasonable enough to use them. No need for conspiracy theory. If your interface has switchable sample rates you can always investigate for yourself.
Old 23rd February 2016
  #67
Here for the gear
 

24/48 and i am a believer in those artifacts when dither down from 48 to 44.. Saracon ftw
Old 23rd February 2016
  #68
Gear Nut
 
albertors's Avatar
 

Chiming in from Berlin..and the vote goes for 44.1

No matter what, the amount of jobs coming in with "regular" 44.1kHz format is always over the others. When we track we have a tendency to go higher, there's all sort of discussion with the mixing engineer of the moment..some go 88.2, other 96, but even if we sum up all the times we stay over 44.1, the most tracks come and get out of here at 44.1

The second I would add is still 48..yes, in all the post production we get it seems to be the favorite..probably a device/cameras thing?
Old 23rd February 2016
  #69
Gear Nut
24/88.2 for us. I can certainly tell the difference in the program material I work on. Rock/pop. That extra resolution is there so why not use it I say. I'm surprised folks have issues with computers playing back the hi Rez stuff. My old quad core mac with SSD drives handles 80 plugs and 40 tracks all day long natively ...
Old 23rd February 2016
  #70
Gear Nut
Quote:
Originally Posted by nevefreak View Post
...It's well documented 60khz is optimal...better.
I understood 56kHz was the maximum quality the human ear could physically distinguish. Hence, when a group of a world renowned studio's engineers sat down some years ago and listened to a signal passing through the 48kHz converters of a Sony desk and the direct analogue signal, they were unable to distinguish the difference between the 2.

I have always used 48kHz. 44.1 always sounded worse to me. There was always a sonic gain in working at 48kHz. When computers are up to it, I would if money were no object work at 192kHz, just for the reduction in quantization errors. Music Industry standard was 44.1 or 88.2. I like to be different, erm.

But listening on an ipod, c'mon, you have got to be joking. Cost is keeping sample rates down, as well as reliability, which, is the main issue.

Peace.

(c) 2016 Claud
Old 23rd February 2016
  #71
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haryy's Avatar
As it's been said, every converter behaves differently. My cards have a punchy and dirty sound at 44.1 and goes up to super smooth (but) with flat dynamics at 192. I need both punchy and smooth sound, so i usually go somewhere in between.
I'll give you 3 examples from the same band recorded and mixed here with 3 different sample rates.

48K https://www.youtube.com/watch?v=C0Kd0CRMYkw (please lower the volume to half of the others in order to make a fair comparison)

96K https://www.youtube.com/watch?v=AwjdHrigbWo

192K https://www.youtube.com/watch?v=kHPlT7wc7CY
Old 23rd February 2016
  #72
Lives for gear
I use a Steinberg UR824 interface, and I can definitely hear a discernible difference between 44.1 and 96. Mostly in the high-end at, say, 10k and above. I generally always use 96, unless the session is particularly long, then I use 44.1, 48, or 88 to save on file size.

I'm wondering how much the converters determine whether or not you can hear a difference. Perhaps in higher-end converters the differences are more negligible.
Old 23rd February 2016
  #73
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The Beatsmith's Avatar
 

When I created this thread, it was mainly because I wondered what sample rate people *mixed* at.

What I mean is, I really don't think there's that much difference in the sound of the captured audio.

But once you start piling on the plugins, that's where the difference may well be worth it. And nearly all of the people on this forum are mixing ITB or at least processing a lot of stuff ITB, with plugins that oversample a LOT.

I'm currently up sampling my current album project (before tracking drums and re-tracking most elements that are in the demos) but i would probably put it down to OCD more than anything.

Cheers,

Ed
Old 23rd February 2016
  #74
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haryy's Avatar
Quote:
Originally Posted by The Beatsmith View Post
When I created this thread, it was mainly because I wondered what sample rate people *mixed* at.

What I mean is, I really don't think there's that much difference in the sound of the captured audio.

But once you start piling on the plugins, that's where the difference may well be worth it. And nearly all of the people on this forum are mixing ITB or at least processing a lot of stuff ITB, with plugins that oversample a LOT.

I'm currently up sampling my current album project (before tracking drums and re-tracking most elements that are in the demos) but i would probably put it down to OCD more than anything.

Cheers,

Ed

I wouldn't "leave" this thread, thinking that only the plugins are affected with the sample rate change.
Put some vocals and acoustic guitar in front of a good mic in a live room, and change your sample rate in real time. I think you'll hear some serious stuff changing!
Old 23rd February 2016
  #75
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The Beatsmith's Avatar
 

Quote:
Originally Posted by haryy View Post
I wouldn't "leave" this thread, thinking that only the plugins are affected with the sample rate change.
Put some vocals and acoustic guitar in front of a good mic in a live room, and change your sample rate in real time. I think you'll hear some serious stuff changing!
Sure man... (well, maybe?). But I feel like the bigger difference would come from all the processing, rather than just the capture. Maybe I'm wrong, I haven't done tests.

In any case, I've decided to move up to 96KHz, I think my machine can handle it.

Currently mixing a 5 track EP, each song is around 32 tracks @ 96KHz. I have Logic's 'Flex-Time' live on nearly all tracks, and it's definitely pushing my CPU resources... i'm getting by, though. Will get easier when i commit the tracks down.

I have some projects that use a lot of 44.1KHz sample libraries or audio that's already recorded at 44.1, so I'm hoping the up sampling doesn't cause too many artefacts. I've done it on a couple of projects and couldn't notice any difference.

Anyway, not to derail the purity of the thread!

Last edited by The Beatsmith; 23rd February 2016 at 06:52 PM..
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