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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 10th October 2015
  #1
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The Beatsmith's Avatar
 

Which sample rate are you working at - in 'high end' studios - in 2015/16?

Hi,

If you're going to - or run or work in a commercial 'high end' studio - what sample rate do most of the sessions work at, in 2015/2016?

Edit: to clarify, just for 'music', not music/audio for TV/film.

Cheers

Ed

Last edited by The Beatsmith; 11th October 2015 at 06:40 PM..
Old 10th October 2015
  #2
Quote:
Originally Posted by The Beatsmith View Post
Hi,

If you're going to - or run or work in a commercial 'high end' studio - what sample rate do most of the sessions work at, in 2015/2016?

Cheers

Ed
I'm rarely asked for anything other than 24/44.1 (music) or 24/48 (picture) (depending on the end use.)
Old 10th October 2015
  #3
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The Beatsmith's Avatar
 

Hi Trev!

Would you rather run at 96 if it were your own project?

Recently did a session at Rockfield and was surprised that the engineer mentioned that most people were still asking for 44.1 -
by far.

I produced and tracked a project for a band at 96 there, and it sounds great (not necessarily because of 96 though) - seems a 'shame' to spend all that cash hiring a hi end place and sticking with 44.1. This project is going to vinyl too, so I thought it'd be nice to keep it 96khz all the way to mastering, but it seems like it's not very common - I only know my own workflows!

Selfishly, I have an album of my own which I've started at 44.1 and will be tracking all drums at rockfield or similar - and wondering if I should up everything to 96, especially for drums (most other things need retracking anyway)

Cheers :-)

Ed

Last edited by The Beatsmith; 11th October 2015 at 03:59 AM..
Old 10th October 2015
  #4
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nevefreak's Avatar
 

If you use lots of plugs 96/24 going in, is the way to go.. then 32bit float internal. If you don't use a lot off plugs 44/24 is fine and 24 bit fixed internal is fine. It also depends on your converters. It's well documented 60khz is optimal. If you do a lot of plugin processing oversampling as well as floating point bit rate is going to sound better.
Old 10th October 2015
  #5
Where's 192k?

I don't really ever see the need to pass 96k for most stuff, but sometimes, if I feel like I can, I'll run at 192.

Why not?
Old 10th October 2015
  #6
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nevefreak's Avatar
 

Quote:
Originally Posted by u47u67u87 View Post
Where's 192k?

I don't really ever see the need to pass 96k for most stuff, but sometimes, if I feel like I can, I'll run at 192.

Why not?

If you have the processing power and disk space maybe it should be 192? Sampling rates are still very controversial. I only recorded at 96 because I thought it sounded better so I stuck with it.

People will drill you and tell you it doesn't sound better because of Nyquist/Shannon blah blah blah..... But if you think 192 sounds better, why not? neither Nyquist or Shannon ever used DAWs or plugins. If you are in fact a Nyquist/Shannon purist, then just record at 32k/16 bit. Most people can't hear above 16k. So you will be fine.
Old 10th October 2015
  #7
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a.beck's Avatar
 

I've never met anyone that can reliably discern any difference between 48k and 96 or 192, and all the properly double blind tests I've read about seem to back that up, so I don't bother anymore with anything higher than 48. I can't remember the last time I even heard about (let alone worked on) a project done at 96 or higher.
Old 10th October 2015
  #8
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The Beatsmith's Avatar
 

By the way guys: I was just wondering more what people are using in the real world, don't wait it to turn into a 'there's no point' debate
Old 11th October 2015
  #9
Estimated
44.1 - 50%
48 - 39%
88.2 -5%
96 - 5%
192 -1%
Old 11th October 2015
  #10
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Woodwindy's Avatar
I mix to a second rig, which can capture at a different rate than the project was tracked at. Once the mix goes through some outboard transformers and tubes, why not print the mix master in 2 tracks of the highest rate you can? Mastering will no doubt take it again into the analog world before printing to the final sample rate anyway.
Great topic for a fun Saturday evening discussion!
Old 11th October 2015
  #11
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The prevalence of 44.1 is rather surprising.
Old 11th October 2015
  #12
Gear Head
 
Morrillo's Avatar
Quote:
Originally Posted by The Beatsmith View Post
Hi,

If you're going to - or run or work in a commercial 'high end' studio - what sample rate do most of the sessions work at, in 2015/2016?

Cheers

Ed
In all my sample rate test's transfering from my studer 2 inch the 192k! won, I know people say is not worth it, etc etc, but honestly I do hear the diference specially when I added the trinity 10M combo to my apogees ad16x's the low end is bigger, tighter

Just My Two Cents amigos!

Last edited by Morrillo; 11th October 2015 at 03:03 AM..
Old 11th October 2015
  #13
Gear Addict
 
TimDolbear's Avatar
 

I work at 96k/24/32FLT

But in mastering, companies are doing more and more 192k, especially for Achieving. I was at Battery/Sony Studios in NYC 2 weeks ago and all achieving is now done at 192k.
Old 11th October 2015
  #14
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DarkSky Media's Avatar
For ease and flexibility a lot of people are still using 44.1kHz for music and 48k for AV. For sonics, 96k is still the sweet spot.
Old 11th October 2015
  #15
Quote:
Originally Posted by The Beatsmith View Post
Hi Trev!

Would you rather run at 96 if it were your own project?

[snip]

Cheers :-)

Ed
I regularly do my own stuff for publishing and I use 24/44.1. I have yet to hear a difference in a track that has been recorded high and converted down and one that has been recorded at target so I just think why bother (as I already go through hard drives like they are going out of fashion!)
Old 11th October 2015
  #16
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Quote:
Originally Posted by Morrillo View Post
In all my sample rate test's transfering from my studer 2 inch the 192k! won, I know people say is not worth it, etc etc, but honestly I do hear the diference specially when I added the trinity 10M combo to my apogees ad16x's the low end is bigger, tighter

Just My Two Cents amigos!
Which converters did you use?
Old 11th October 2015
  #17
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If the computer could handle it, I'd do EVERYTHING at 192k. It it's noticeably smoother to me
Old 11th October 2015
  #18
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Pro Std. is now and has been for many years 24/48 for many very good reasons mostly associated with video. 24/44.1 accomodates "Red Book dither down" to 16/44.1 better than 48K. But with the very high likelyhood of optical disk storage and sales becomming obsolete down the road: 44.1 will loose it's relevance.
Old 11th October 2015
  #19
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Fidelis's Avatar
 

Everything I track is 24/88. But as I mostly mix this days, what I get in is:
70% 24/88 or 96
30% 24/44 or 48 - and for those projects a mix to a second rig, after the SSL, to 24/88.
Sounds better to me.
Old 11th October 2015
  #20
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gainreduction's Avatar
 

I had a 96k phase and am now back at 44.1. Last album I did at 96 got a thorough analysis in mastering and it contained pretty much no information at all above 22 khz.

With quality plugins I don't hear the (supposed??) aliasing problems at 44,1 either so I'm comfortable at 44,1 again.

For those interested there is a thread in the mastering forum about intermodulation distortion nasty-ness that can occur at 96k...

Pick your poison, I guess
Old 11th October 2015
  #21
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Quote:
Originally Posted by hughshouse View Post
24/44.1 accomodates "Red Book dither down" to 16/44.1 better than 48K.
Would you mind clarify what you mean?
Old 11th October 2015
  #22
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Squawk's Avatar
(Not running a high end commercial studio, but freelance/location recording/music production & post, and working in my own space). I do most things at 96k these days. I have no problem working at 48k though, esp. if it's video/post work then it's always 24/48k.

For classical/orchestral recording, I've been working at 192k lately, which creates a few more considerations for us, but has been fine so far. I wouldn't personally work at 192 on anything that would be using a lot of plugins etc. though. Too resource heavy and no real benefit to the end result IMHO.

Most studios in town and producers I work with still do music projects at 24/48 or 24/44.1, but it's also going to depend on the project and if the artist/producer specifically requests 96k.

Last edited by Squawk; 11th October 2015 at 07:39 PM..
Old 12th October 2015
  #23
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skybluerental's Avatar
 

Quote:
Originally Posted by johnnyc View Post
The prevalence of 44.1 is rather surprising.
Not to people who have actually heard how small the differences are between 44.1 and 96 khz.

I once read a great quote by Tchad Blake.
He said, "If I have switch back and forth more than 3 or 4 times to hear a difference, I become uninterested in the difference."

Last edited by skybluerental; 12th October 2015 at 01:34 PM..
Old 12th October 2015
  #24
I like to work at 24/96 for everything, especially when tracking, my computer can easily cope with the load, hard disk space is not an issue anymore. It amazes me that so many people still use 44.1 and 48k in this day and age.
Old 12th October 2015
  #25
Quote:
Originally Posted by u47u67u87 View Post
Where's 192k?

I don't really ever see the need to pass 96k for most stuff, but sometimes, if I feel like I can, I'll run at 192.

Why not?
where's DSD 1-bit?
Old 12th October 2015
  #26
Quote:
Originally Posted by pencilextremist View Post
where's DSD 1-bit?
Where's 768khz/32? Where's DXD 352.8/24?
Old 12th October 2015
  #27
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Squawk's Avatar
Quote:
Originally Posted by pencilextremist View Post
It amazes me that so many people still use 44.1 and 48k in this day and age.
Many studios and facilities still have older systems where cpu can sometimes be an issue with higher track counts and plugins, especially if LFAC based. also depends on who might be editing it, and what they are running at home, etc.

For post work, music for film, tv, etc. 24/48k is still the deliverable standard, so it very often stays there start to finish, especially if working directly with video in PT, Nuendo, DP etc.

I prefer 24/96k too, but any differences are often subtle compared to other things that are much more of a factor (room, mics, placement, source, preamp etc.).
Old 12th October 2015
  #28
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chet.d's Avatar
 

Quote:
Originally Posted by skybluerental View Post

I once read a great quote by Tchad Blake.
He said, "If I have switch back and forth more than 3 or 4 times to hear a difference, I become uninterested in the difference."
yep.
Old 12th October 2015
  #29
Quote:
Originally Posted by johnnyc View Post
The prevalence of 44.1 is rather surprising.
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.
Old 12th October 2015
  #30
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DarkSky Media's Avatar
Quote:
Originally Posted by pencilextremist View Post
where's DSD 1-bit?
+1
Topic:
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