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Tracking & Mixing Sample Rate?
Old 29th June 2017
  #1
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Tracking & Mixing Sample Rate?

Hello Puremix Pros,

Maybe I'm imagining this, but recently I've been tracking and mixing in higher samples rates of 96 kHz and 88.2 kHz opposed to 44.1 kHz. I feel my plugins respond much better with greater detail allowing me to have a more successful mix. Best way I could describe it is that it feel like I have a magnifier glass over my music when I mix now. Do plug-ins respond better to higher sample rates? Is it beneficial to track and/or mix with higher sample rates? Which sample rates do you use for tracking and mixing?

Warmest regards,



Andrew De Leon
Old 10th July 2017
  #2
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Universal Audio's Avatar
 

Quote:
Originally Posted by Druexexpression View Post
Hello Puremix Pros,

Maybe I'm imagining this, but recently I've been tracking and mixing in higher samples rates of 96 kHz and 88.2 kHz opposed to 44.1 kHz. I feel my plugins respond much better with greater detail allowing me to have a more successful mix. Best way I could describe it is that it feel like I have a magnifier glass over my music when I mix now. Do plug-ins respond better to higher sample rates? Is it beneficial to track and/or mix with higher sample rates? Which sample rates do you use for tracking and mixing?

Warmest regards,



Andrew De Leon
Hi Andrew,

The sample rate question is widely debated and there are staunch advocates for many different preferences. There are a lot of factors to consider such as overall system performance, storage, processing power, archive, etc to consider, so I don't think there's a hard and fast rule you can apply to it.

That very issue is why Joel uses a separate system for his Print Rig. He prints all of his deliverables at 96k/24-bit regardless of what he gets because that's what the record companies need.

I'm personally use 48k/24-bit.

Good question!

-GK
Gannon Kashiwa
Old 11th July 2017
  #3
Quote:
Originally Posted by Universal Audio View Post
That very issue is why Joel uses a separate system for his Print Rig. He prints all of his deliverables at 96k/24-bit regardless of what he gets because that's what the record companies need.
Can I just query that? There's obvious advantages to delivering at 24/96 particularly in these days of "Mastered for iTunes", but record companies don't ever demand a particular sample rate do they? at least the majors don't...if you've got the budget, you're mixing with some form of analogue mixbuss or summing at minimum, and you're willing to jump the hoops to keep stems in sync, then it makes sense to capture at 96k...but labels take what they're given most of the time!

I suppose the exception might be audiphile labels who make lossless Hifi downloads their selling point.
Old 11th July 2017
  #4
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Quote:
Originally Posted by psycho_monkey View Post
Can I just query that? There's obvious advantages to delivering at 24/96 particularly in these days of "Mastered for iTunes", but record companies don't ever demand a particular sample rate do they? at least the majors don't...if you've got the budget, you're mixing with some form of analogue mixbuss or summing at minimum, and you're willing to jump the hoops to keep stems in sync, then it makes sense to capture at 96k...but labels take what they're given most of the time!

I suppose the exception might be audiphile labels who make lossless Hifi downloads their selling point.
Hey Psycho_Monkey,

I think it's probably his workflow and preference for archiving stuff, as well as delivering to assets mastering.

Joel said that's how he's done it for quite some time and adopted the process from Michael Brauer. I thought he said it was a label requirement, but it might just be his preference.

Certainly, the hi-res labels go there and he is prepped for it from the start, so it makes good sense to be ready for anything.

Cheers!

-GK
Gannon Kashiwa
Old 12th July 2017
  #5
Quote:
Originally Posted by Universal Audio View Post
Hey Psycho_Monkey,

I think it's probably his workflow and preference for archiving stuff, as well as delivering to assets mastering.

Joel said that's how he's done it for quite some time and adopted the process from Michael Brauer. I thought he said it was a label requirement, but it might just be his preference.

Certainly, the hi-res labels go there and he is prepped for it from the start, so it makes good sense to be ready for anything.

Cheers!

-GK
Gannon Kashiwa
Thanks for clarifying.

It does make sense in some respects - capturing the analogue sum at a higher res.

Adding of course extra complications - 2nd rig, archiving considerations, and most importantly sample accurate sync to make sure printing stems is accurate (possibly THE biggest consideration in the current climate!).
Old 14th July 2017
  #6
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Hi there.
I capture at 96 because I wound up really liking the way it sounded. I choose 48k for the multitrack because it sounds good to me and doesn't chew up system resources.
A software person could explain the plug in/sample rate correlation better---
Fot sure I feel the difference when the algorithms are running at the speed of the processor, and the output of that math can be brought back into the stream with 96,000 chances to announce its presence...
Like a full resolution poster of something very attractive being shown to me through a clean window rather than through the screen door....
anyway,
96k on the capture sounds quite good to me and has been working for the people I work with and the mastering places as well.
Old 14th July 2017
  #7
Quote:
Originally Posted by JoelHamilton_ View Post
Hi there.
I capture at 96 because I wound up really liking the way it sounded. I choose 48k for the multitrack because it sounds good to me and doesn't chew up system resources.
A software person could explain the plug in/sample rate correlation better---
Fot sure I feel the difference when the algorithms are running at the speed of the processor, and the output of that math can be brought back into the stream with 96,000 chances to announce its presence...
Like a full resolution poster of something very attractive being shown to me through a clean window rather than through the screen door....
anyway,
96k on the capture sounds quite good to me and has been working for the people I work with and the mastering places as well.
Thanks for clarifying that Joel (I also work at 48k, though don't capture externally).

Can I ask - how do you approach stems printing, with respect to keeping everything in sync...or do you not?
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