Hey Guys...what do you guys like to record at 24 by 44; 24 by 48; 32bit float ??
Why at that ????????????
Why at that ????????????
Audio Sample Size & Rates
- Thread starter thefish666
- Start date
JeffTD
Senhor Testiculo
General consensus is 44.1 + 24, since you don't have to worry about any artifacts popping up from dithering down from 48 to 44.1.
Loren Littlejohn
Lover of all boobage.
botus99
Microphone Assassin
I also use 24/44.1. I used to use 96khz, and it was nice, but I couldn't use much real-time processing without maxing out my computer
Torniojaws
They call me Juha
HeadCrusher
Member
96/24... no good reason, just OCD. Patterns of multiples, all that sort of thing. Really haven't needed it, in all honesty, but I can pull it off, so...
Jeff
Jeff
Ermz
¯\(°_o)/¯
Depends what I'm mixing for. If it's for a DVD or higher quality release, it's at 48kHz. For anything that's getting put on CD, it's 24-bit 44kHz. You'd be hard pressed to find many circumstances where tracking any higher than that is practical for most projects.
Dithering is random noise that you add going from 24bit to 16bit. Sample rate conversion is something different.
there is no "winner"
use whatever sounds better to you and/or what your mixes can handle
different converters will not perform the same at a given sample rate and not all converters will perform better at higher sample rates
the quality of the final SRC will also have an impact on the finished product
use whatever sounds better to you and/or what your mixes can handle
different converters will not perform the same at a given sample rate and not all converters will perform better at higher sample rates
the quality of the final SRC will also have an impact on the finished product
I don't mean that 24/44.1 is the one, what i was referring to was that everyone that replied their choice that had the most was 24/44.1, sorry wrong choice of words..
Honestly, I'd say to try them all yourself. Your gear might handle them all differently, so see if one has any sort of 'magic' to it - probably won't happen, but it's worth a shot. I'd personally err on the side of gathering too much information, but at the same time I have the resources to handle it (my current box was designed to do my physics homework, so it's a little on the speedy side) so I'd spend a bit more time with it.
Jeff
Jeff
winner, perhaps no... industry-wide general consensus, yes. perhaps think about using rates that will make you and your projects the most compatible with pros working in the industry at the levels you want to attain (and yes, those are generally 44.1/24 for music projects)... one simple reason for this: once/if you enter the game for real, and one of your projects gets signed by a label... especially one of the larger ones... you may well not, despite your own personal wishes, be the one who ends up mixing it. trust me, things will be happier for you if you have not strayed too far from the norm.... if for no other reason than to not have to hear that one of your idols has complained to the label about what you turned in. it happens.... oh you can damned well trust me, it happens.
fatalforce
Member
I've just experienced the horrors of converting from 48k to 44.1. From now on I will definitely track in 44.1. I know at studio fredman, they require your sessions to be in 44.1. 24 bit is of the up most importance. Just remember to add dither or else you will truncate your audio.
yes, Fredrik has published on his site that he prefers to receive tracks for mixing at 44.1/24.
Dither however has nothing to do really with downsampling from 48 to 44.1. Dither is used when coverting bit rates from 24 to 16... which should never be done really until the final stage of mastering.
This is true, and for rock music I always use 24/44.1. In a dense rock mix with layers of distortion, I can't hear a difference when using higher sample rates, anyway.
The only time I use 48 is when doing DVD work because it stays in 48. 88.2/96 are reserved for acoustic songs, and sparse mixes. Even then it definitely isn't necessary, although I appreciate the difference in the high frequencies.
fatalforce
Member
Yeah, this is true. I was letting him know if he was in 24 bit and wanted to bounce his mix to a CD.
This whole week I've been pondering,"why have your sample rate higher than 44.1?". Since analog audio is continuous, transmitting to digital at a higher sample rate would make sense. But when you need to bounce or send your mix to the mastering house, converting something that is not as accurate as the analog audio would be worse than having the original sample rate at 44.1. Can anyone shed some light on this?
