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What sample rate do you record at?
Old 17th June 2005
  #31
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superburtm's Avatar
 

that is a burning good question!
Old 17th June 2005
  #32
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u b k's Avatar
 

burt,

yeah, you're looking good on the front end. my personal bias these days is the back end; before you plunk down for a new digital console, you ought to at least try something sweet to mix into. if you can't swing $2500 or more for a badass summing box, the folcrom into your 1272 is worth a try, and if you do a lot of rock or pop you can get a studer 2-track for well under a grand these days. my guess is that a sweet summing buss into tape will do LOADS more for your tone than mid-level 96k conversion.

the other thing that strikes me is that, in your room, i'd like to see a more versatile comp/limiter for tracking... 1176 or trakker come to mind.

then again, maybe you're into the cleaner thing and better conversion is a good next step for you. only you can know for sure, and the only way to know is to actually explore your options hands-on, with the toys. which, just in case you'd forgotten, is supposed to be fun, so get off this thread and go make some calls ; )


gregoire
del ubik
Old 18th June 2005
  #33
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gregoire
Thanks for the tips! Sounds good..On the compressor note I should prolly grab an 1176. Are the new 1176's a good way to go sonically? Or do they not stack up to the vintage ones?

Peace out!
Old 18th June 2005
  #34
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ISedlacek's Avatar
24/ 44,1 Sounds much better (warmer, more natural) to my ears than slightly hyped 96 kHz (using Lavry Blue)
Old 18th June 2005
  #35
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Dragonfly's Avatar
 

88.2/24bit whenever possible

Dante
Old 18th June 2005
  #36
44.1 kHz sample rate, 24 bit depth.

Since I generally work completely ITB these days, I don't want to put my track through a distortion-and-alias-error inducing 'ragged sample rate reduction' -- ie, 192, 96, or 48 down to 44.1 kHz.

People who obsess on the quality of their software summing busses but then put their music through a bruising sample rate remapping crack me up.
Old 18th June 2005
  #37
Quote:
Originally Posted by seb37000
used to record at 24 / 96 , now its 24 / 44.1 , its better not to convert again.
That's what I'm talking about -- when you're keeping everything in the digital domain, that is. If you're mixing out through an analog board and coming back into nice converters running at 44.1 kHz, it's a different story, of course.

But, if you give a critical look at the process of downsampling from an uneven multiple of your target sample rate -- and you can understand the issues -- it should make you question any process that forces such a downsample. (88.2 or 176.4 down to 44.1 does not force a remapping of all sample values -- as 48, 96, 192 down to 44.1 does.)

Now, it's possible that one might 'gain' so much in the tracking/production stages working at a high sample rate that it compensates for a ragged downsample later -- but that's an uphill fight.

If you know you're going to be putting your product out at 44.1 and you're working and mixing completely in the digital domain (whether ITB or out through a digital mixer), it simply makes much more sense to work at an even multiple of 44.1.

It's not rocket science.
Old 18th June 2005
  #38
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u b k's Avatar
 

Quote:
Originally Posted by theblue1
If you know you're going to be putting your product out at 44.1 and you're working and mixing completely in the digital domain (whether ITB or out through a digital mixer), it simply makes much more sense to work at an even multiple of 44.1.

It's not rocket science.

unless, of course, you're going to be taking your stuff to a mastering guy, who will most likely want the highest sample rate format you can bring and it'll go back out thru more analog kit before *he* samples it back at 44.1. i wish more people did that, lots of folks seem to have no idea how much of an improvement good mastering can make.

but if you're doing everything top to bottom, in-house, ITB, i agree with you.


gregoire
del ubik
Old 19th June 2005
  #39
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Quote:
Originally Posted by u b i k
unless, of course, you're going to be taking your stuff to a mastering guy, who will most likely want the highest sample rate format you can bring and it'll go back out thru more analog kit before *he* samples it back at 44.1. i wish more people did that, lots of folks seem to have no idea how much of an improvement good mastering can make.

but if you're doing everything top to bottom, in-house, ITB, i agree with you.


gregoire
del ubik
I have a Radar II and have always recorded at 48k. One day I did a test and thought the 44.1 sounded more natural not hyped when the finished product is on my Masterlink. So I am now using 44.1 so I dont have to SRC.
Old 19th June 2005
  #40
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Yeah It never made alot of sense to keep chasing the ploy of recording at a high sample rates only to knock it back down to 44.1...however I started to question myself as everyone else is recording at higer rates. But in the end until the mass consumer product is higher tha 44.1 what is the point spending a bunch of money on digital doo dads every 2 years to chase the next high sampling rate box? The consumer pruduct medium is still the same as it has been fo 20 yrs. 44.1. And let's be real.... right now the world is actually stepping back audio wise, they are all listening to MP3's!
Old 19th June 2005
  #41
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Quote:
Originally Posted by superburtm
But in the end until the mass consumer product is higher tha 44.1 what is the point spending a bunch of money on digital doo dads every 2 years to chase the next high sampling rate box? The consumer pruduct medium is still the same as it has been fo 20 yrs. 44.1. And let's be real.... right now the world is actually stepping back audio wise, they are all listening to MP3's!
IMHO that's like someone saying (in the 70s or 80s): 'most people listen to cassettes, so what's the use of mixing to 1/4" or 1/2"?'
Old 19th June 2005
  #42
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To each his own..But I'm not chasing the 192 sample rate crap until my studio which is booked pretty nicely right now is no longer being booked because I don't record at 192. When that time comes I will submit, but I have a feeling the same time that happens we will have a new consumer medium which calls for it. And I'm not talking SACD's which I only know one guy who has them and he's a mastering guy. Go figure.

And the diff between now and the (70's and 80's) is you didn't have to rebuy your 1/4 or 1/2 inch mix deck over and over again every 2 years because it didn't have the latest greatest resolution or what not. The whole thing is a sham IMO fronted by the companies who get us all rebuying the same crap (new and improved). In the end the gear that worked 5, 10, 20 years ago to make hit records or should I say CD's was good enough then. What has changed since then? Not the the medium to which people listen, Oh wait there is MP3's.

I'm not trying to be a stubborn idiot. I know I sound like one. **** maybe I am one. Just playing the other side of the fence. I mean I've been making a living for 12yrs doing Audio and I love my stuff to sound great. But c'mon
Old 19th June 2005
  #43
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Quote:
Originally Posted by superburtm
And the diff between now and the (70's and 80's) is you didn't have to rebuy your 1/4 or 1/2 inch mix deck over and over again every 2 years because it didn't have the latest greatest resolution or what not. The whole thing is a sham IMO fronted by the companies who get us all rebuying the same crap (new and improved).
of course no one likes dishing $ out every few years 'chasing higher sample rates' like you put it, but 192 has been around for awhile (i work at 96) - have digi 192s but thinking of upgrading to apogees. same sample rate, but hopefully better sound... always looking for better sound - so long as i can tell the difference and can afford it, i guess i'll be shelling out the clams...

Quote:
I'm not trying to be a stubborn idiot. I know I sound like one. **** maybe I am one. Just playing the other side of the fence. I mean I've been making a living for 12yrs doing Audio and I love my stuff to sound great. But c'mon
you don't sound like a stubborn idiot - i can see your point - but dude, ain't this what being a gearslut's all about?
Old 19th June 2005
  #44
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Word.
Old 19th June 2006
  #45
24/96 but I had to buy a four bay raid system to run Logic on my mac dual 2.0 G5. Are any of you running 96k in the native world? If so, what type of se up do you have to record that high of a sample rate?
Old 19th June 2006
  #46
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24/44.1 for me

But if I bring digital mixes with me to the mastering engineer, I'll likely go 96khz thru some Lavry Gold A/D (can rent 1 for a week) at 96khz since the 2 track mixes will be coming off a Trident console.

The other poster is dead on about good mastering, ESPECIALLY for the heavy stuff and rock. From my experience its the analog chain at a top notch mastering house (like Precision in LA) that really makes your stuff sound like the BOMB! He'll take the 96khz mix and run it thru some super FAT and LOUD sounding analog stuff; so the greater resolution will likely be more pronounced once it gets smashed, which can be truly awesome for certain styles of music.
Old 19th June 2006
  #47
44/24 here for two main reasons:

1- I know 96 sounds better but I know Im not gonna mix better with less power, because 96k implies more CPU, more HD space and I don't hear a significant improve at 96.

2 For some reason I love the sound of my Apogees AD8000 and AD-DA16 at 44/24, the music Im making right now (Mostly pop) don't require an Audiophile quality.

Best regards.

Armando Avila
www.cosmosproducciones.com
Old 19th June 2006
  #48
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I like 96K but lately I've been doing some stuff at 44.1K for storage and compatibility reasons.
Old 19th June 2006
  #50
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24/88
Old 19th June 2006
  #51
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C.Lambrechts's Avatar
 

Quote:
Originally Posted by raal
24/96 - when is digi gonna support multiple sampling rates in the same session?!

Well, knowing digidesign, I think it's a reliable bet to say that if they decide to do it they will do it properly.


Now what keeps bugging my mind though is : WHY ?

Why do you HAVE to support multiple SR's in one session ?

Because it would avoid the Oh so time consuming import audio ? gimme a break. We're talking split seconds here. Even if I have to import entire blocks and sections of other sessions at different SR's it is a matter of 2 or 3 minutes. And it is not like you have to stop working while you do it ... it is a background process.

Or is it Disk space ... because it creates new files. hmmm ... surely disk space isn't an issue these days. Finally we have reached the point that even at 96k, disk space is affordable enough to dedicate audiofiles to a session rather then linking them across different sessions / libraries etc ... Gawd ... the nightmares checking if everything is in your session when you backup.

Please explain a workflow where it really really really is a dreadfull hassle that you can't have multiple SR's in the same session?
Old 19th June 2006
  #52
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mac black's Avatar
24/96 - 95% suits most styles... 44.1/24 - 5%(it kicks better on some club tracks)
Old 19th June 2006
  #53
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Stormkloud's Avatar
 

24/48 here. I use Radar Nyquist converters , I could go 96k but dont really see the point. I think Radar sounds great at 48k and for the type music I mainly record (Rock) , there is no reason at all to record at any higher resolution imo.
Old 19th June 2006
  #54
11413
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tracking 48k
mixing 44.1

tracking at 48k forces me to use the tape machine for mixing.... because i can't stand SRC.
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