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Mmm, Mabey 48K does sound better
Old 21st May 2006
  #1
Gear Nut
 

Mmm, Mabey 48K does sound better

Today I was mixing the last song of an EP for a local band. We have been doing it in little bursts for the last few months. Any way I notice how one of the songs sounded much nicer than the rest. It was recorded at 48K instead of 44.1. I did is a test when we recorded it but I didn't hear any differences so didn'y bother with the rest. Now I come to mix it with a much better desk than we had then and this track sound much nicer, warmer and the highs sound smoother. Is it just me or does 48K sound better?

Cheers
Old 21st May 2006
  #2
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synthoid's Avatar
 

It sounds better to me! I don't buy for a minute the argument that you should choose sample rate based exclusively on final delivery format. Your converters may sound better at a certain frequency, and your plugs and effects may certainly sound different at different sample rates. You gotta listen and see which actually sounds better. In the cas of my equipment, 48K is noticeably better than 44.1.

-synthoid
Old 21st May 2006
  #3
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Adebar's Avatar
Quote:
Originally Posted by synthoid
It sounds better to me! I don't buy for a minute the argument that you should choose sample rate based exclusively on final delivery format. Your converters may sound better at a certain frequency, and your plugs and effects may certainly sound different at different sample rates. You gotta listen and see which actually sounds better. In the cas of my equipment, 48K is noticeably better than 44.1.

-synthoid
same in my studio.
Old 21st May 2006
  #4
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Quote:
Originally Posted by Adebar
same in my studio.

3rd here.

A little while back I was beginning to think that 24/48 recording was just born out of habit by engineers using Digi Mix systems where 48khz was the highest SR they could go and, thus, meant best quality sound. After experimenting with my own equipment, I'm sticking with 24/48.
Old 21st May 2006
  #5
Deleted c40a31f
Guest
While I don't have any conclusive opinions yet on this yet, I've done most of my recordings at 24/48. That said, to you guys who are saying you think the 48 stuff sounds better than the 44.1 "while mixing", you may want to wait until you do the sample rate convertion down to 44.1 before comparing.
Old 21st May 2006
  #6
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Kestral's Avatar
 

For sure. I even noticed the difference between 96k and 192k. Recording acoustic instruments in 192k, they take on a whole new level of realness compared to lower sample rates. It's too bad the kind of horsepower to record all in 192k is very expensive at the moment (not to mention you'll have to spread your sessions across multiple drives). Even recording at 96k is still a stretch (which is where I am at the moment).
Old 21st May 2006
  #7
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vtone's Avatar
 

I agree-- since I've been recording at 24/48 (with good wordclock) my mixes have more depth. more than I noticed on my monitoring system-- I recently had a project mastered by roger seibel at SAE mastering and ooh la la! I could hear into the mixes much more than at my humble home studio.

I concur that it's a mixture of 24/48 resolution and a professional mastering engineer-- all my other recordings have been at 24/44.1
Old 21st May 2006
  #8
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synthoid's Avatar
 

Quote:
Originally Posted by ImJohn
... you may want to wait until you do the sample rate convertion down to 44.1 before comparing.
Of course. But converting from 48/24 to 44.1/16 is a big subject in itself.

It's a drop in dynamic range as well as sample rate, and the former has at least as much impact on the degradation of sound as the latter. It's possible to do this conversion in software or hardware, and it's possible to be sophisticated or naive about it. At one extreme, it might be done as the tail end of a good analog mastering step. At the other extreme, it might be done by a crude software algorithm that is built into a DAW. In between are solutions using good sound editors or a trip through DAC and ADC.

Finally, if you are delivering songs in MP3 or another compression format in addition to CD, you don't have to convert out of 48/24 to produce an MP3 (or another such format); it's worth experimenting with.

Which reminds me, I wonder why there isn't more talk about "mastering" for compressed formats like MP3. I know they are terrible formats, but it's interesting to ponder what you might do upstream to make them less bad....

-synthoid
Old 22nd May 2006
  #9
Gear Nut
 

The smaple rate converson issue does not affect me cause I mix through an analogue desk. I record back in at 44.1

Cheers
Old 22nd May 2006
  #10
Gear Maniac
 
guid0's Avatar
 

Quote:
Originally Posted by parloursound
The smaple rate converson issue does not affect me cause I mix through an analogue desk. I record back in at 44.1

Cheers
Same thing here. I record at 24/48 then mix to 1/4" or 1/2" tape then master at 16/44.1
Old 22nd May 2006
  #11
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thermos's Avatar
What converters do you all use? I just notice it makes more of a difference with some converters more than others. I like 48 better too though (firefaces).
Old 24th May 2006
  #12
Gear Maniac
 
DaveH's Avatar
48K/24 is what is used here most of the time.
(May be switching to 96k over next 3-4 months).

As mentioned previously sometime move stuff to 96k,
process, then back to 48k.

I have limited experience with 192k and agree that if EVERTHING else
is up to the task there is a “realness” added to acoustic instruments.
(Too often room, or some other item that is hard to figure out does not allow
this improvement to manifest itself). But for foreseeable future the penalties
of 192 remain too high. (Loss of channels, wiring inconsistencies, etc.).
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