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88.2/24 -> outboard bus comp -> 44.1/16 ?
Old 2nd January 2011
  #1
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88.2/24 -> outboard bus comp -> 44.1/16 ?

Simple question. Newbie. Instead of bothering with dither, sample rate conversion, and the like, if I'm going to use outboard gear to master with anyway (SSL Stereo G Compressor), better just to capture the outboard-processed signal at 44.1/16 ?

That way you suffer from slight distortion from an extra round of DA and AD...

But benefit from the lack of having to manipulate sample rate or wordlength and dealing with that kind of (slight) distortion.

If this what you would do? Direct to 44.1/16 rather than capturing the outboard-processed signal at 88.2/24 and then bouncing down to 44.1/16 ?
Old 2nd January 2011
  #2
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Uh huh.

No need to "suffer" from extra round of da ad, though. Just use good gear.
Old 2nd January 2011
  #3
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bgrotto's Avatar
Problem is, what if you wanna do a higher rez release down the road? No telling what the future holds for audio delivery; 24 bit may become standard. Or maybe 88.2k will. So by recapturing the master at 88.2/24, you're sorta future-proofing yourself a little bit.

Also, to my ears (and as per the instruction of a mastering guru for whom I have much respect), mp3s sound better when sourced from a 24 bit file.
Old 2nd January 2011
  #4
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I really have no idea what you are doing.

All I know is your speakers probably are producing way more distortion than an extra round of AD/DA.

I think you might just be making things complicated for yourself.
Old 2nd January 2011
  #5
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So capture it once at 44.1/16 and then again at 176.4/24 and then again at 192/24

?

If a film production or TV needs a 48 khz version you let them work with something sources from the 192, if its for a source that needs a sub-multiple of 44.1, you have the 176.4?

Or if running Lavry converters, 88.2 and 96 rather than the higher multiples.

But I see what you're saying.

To cover myself for the future with higher resolution copies but make at least one copy direct to the target sample rate/bit depth is a good idea still, right?
Old 2nd January 2011
  #6
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Quote:
Originally Posted by bgrotto View Post
Problem is, what if you wanna do a higher rez release down the road? No telling what the future holds for audio delivery; 24 bit may become standard. Or maybe 88.2k will. So by recapturing the master at 88.2/24, you're sorta future-proofing yourself a little bit.

Also, to my ears (and as per the instruction of a mastering guru for whom I have much respect), mp3s sound better when sourced from a 24 bit file.

Mmm Hmm.

The drill is doing a recapture at all sample rates and bit depths, if you want to cover all bases.

Don't forget to do a few to tape [all conceivable formats] and also one direct to disk.
Old 2nd January 2011
  #7
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Quote:
Originally Posted by andonwego View Post
So capture it once at 44.1/16 and then again at 176.4/24 and then again at 192/24

?

If a film production or TV needs a 48 khz version you let them work with something sources from the 192, if its for a source that needs a sub-multiple of 44.1, you have the 176.4?

Or if running Lavry converters, 88.2 and 96 rather than the higher multiples.

But I see what you're saying.

To cover myself for the future with higher resolution copies but make at least one copy direct to the target sample rate/bit depth is a good idea still, right?

Right.
Old 2nd January 2011
  #8
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bgrotto's Avatar
Well, I'd be more concerned with bit depth than sample rate; to my ears, at least, the differences between 16 and 24 bit are much more audible than the differences between SRs. So I suppose capture at whatever sample rate you want/need-for-a-particular-master, but keep it 24 bit wherever possible.

Or don't...I dunno. Re-reading your first post, I'm a little bit confused myself. I think you might be over-complicating the issue a bit. Try it both ways: do one at a 44.1 capture, and one at an 88.2 capture that you then SRC to 44.1. See which sounds better. Hell, post the two files here so we can check em out ourselves!!
Old 2nd January 2011
  #9
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bgrotto's Avatar
Quote:
Originally Posted by editronmaximon View Post
Mmm Hmm.

The drill is doing a recapture at all sample rates and bit depths, if you want to cover all bases.

Don't forget to do a few to tape [all conceivable formats] and also one direct to disk.
Heh. Fair enough.

I guess I'm a little unclear as to what the OP's idea is. The bit about an extra DA/AD round threw me; I'm not sure where that occurs.

Anyway, if he's gonna be throwing any additional processing at the thing (a limiter comes to mind, for example), then I'd definitely capture it at a higher resolution. Other than that, i've talked myself into a deeply-confused stupor and so I think it's time I bow out before embarrassing myself any further.heh
Old 2nd January 2011
  #10
Gear Addict
 

bgrotto, all I meant was that some people master with UAD pugins for example and never use outboard gear, which means they never have to go through an extra d-a stage and another a-d stage to recapture the signal after it passes through the outboard gear.

i may be missing something but i think it's more or less a choice between those two methods: in the box mastering or out of the box mastering.
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