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Old 23rd December 2019
  #85
Lives for gear
 

Quote:
Originally Posted by mattiasnyc View Post
Good grief man!

You're so far off how it works it's unbelievable you have the balls to speak with such authority. Tell me you're joking, please....
Read what I said more. I said this part I do not know, and care less about, BUT to me this is how I see it. Please elaborate if not.. Know what I mean ?

Of course I could be wrong, I even stated that ! lol Please tell me you're kidding.

Why didn't you quote this and tell me I'm wrong ? Good grief and all that, lol -

Quote:
Originally Posted by Infa View Post
What I was really saying that is unarguable is a smoother delivery at editing/nudging audio around after the fact. This is important to me. As I don't quantize, but I have a magical knack at nudging audio of live recordings around if they got too far off, but I keep them natural sounding. This my friend, if you don't know, when working in Pro Tools (which makes it superior to other DAWS that don't) you can edit/nudge down to a sample level. So the higher sample rate the session, the more nudging points I get. THIS creates the power I like. And I really can tell. (lets not forget for the same reason, reverb tails (if reverb was created from a plugin) sound way better at 96k as well.)

So summary is, I can set up a smoother timing at 96k that someone can at 44.1 if I got every hat chopped down to a tiny clip only as long as its actual sound - due to I have twice as many places to nudge the audio clips. And this works for any audio clips.
Thats the part I said in the beginning was what I was talking about.