brett.. i wouldn't do anything else after dithering... so if you insist on recording in 48khz, SR convert prior to dithering.
Vocals and downsampling
- Thread starter Brett - K A L I S I A
- Start date
Nitronium Blood
UM BOARDS' JESTER
Nitronium Blood said:
Of course ! As far as I'm concerned I can choose between 32, 44.1, 48, 88.2 and 96.
MR NINE
Member
SPLASTiK said:
Thats one of the best news from the last months!!!
Ahhh!
try to record your digital tracks into an 2" tape recorder and then you'll understand what "fat sound" means!?!
Tape up, up, up!!!
:Spin:
Nitronium Blood
UM BOARDS' JESTER
Rats!Brett - K A L I S I A said:
Damn my cheap ass soundcard that will only let me do 48/24 ASIO or 96/24 ASIO!
MR NINE
Member
It's a different point of view and a matter of taste.
And I like most of the records that Andy did by the way.
And I think you got it wrong!
Besides If I could choose between a Studer 24 track 2" tape recorder and a box of AD/DA converters I definitely will choose the Studer!!!
Oh! And the best sounding records that I know were done with analogue!!!
So...
I preffer analogue!!!!!!
And I like most of the records that Andy did by the way.
And I think you got it wrong!
Besides If I could choose between a Studer 24 track 2" tape recorder and a box of AD/DA converters I definitely will choose the Studer!!!
Oh! And the best sounding records that I know were done with analogue!!!
So...
I preffer analogue!!!!!!
A few years back in an interview with Zakk Wylde, his engineer stated that the reason "The Blessed Hellride" was recorded to tape was because Zakk wanted the old Black Sabbath sound on his recordings. When I first listened to that CD, I thought, "...it does have that "sound" to it." Matter of fact I thought the guitars sounded incredible! So then I threw on a couple of Andy's productions and those guitars still sounded fabulous, recorded into Pro Tools.
By comparing "The Blessed Hellride" with Andy's work, I personally prefer Andy's productions. Although the guitars sound great on Zakks record, to me, Andy's sounded "clearer/punchier". One is not better than the other, just different. I think you can get some great sounds with todays modern technology.
By comparing "The Blessed Hellride" with Andy's work, I personally prefer Andy's productions. Although the guitars sound great on Zakks record, to me, Andy's sounded "clearer/punchier". One is not better than the other, just different. I think you can get some great sounds with todays modern technology.
Hammer Bart
Member
The quality of Andy's work and the ease and efficiency of digital recording are more than enough reasons for me to stick with 44.1.
44100 samples per second should be enough to trick the average ear I guess. Compare it to the +/- 25 samples per second used to trick the eye
I'm not saying people with a trained ear couldn't tell the difference with 96, but I can't be bothered with it. I'm better off trying to improve my mixing skills, I figure that will have much more of a positive effect on my recordings.
44100 samples per second should be enough to trick the average ear I guess. Compare it to the +/- 25 samples per second used to trick the eye
I'm not saying people with a trained ear couldn't tell the difference with 96, but I can't be bothered with it. I'm better off trying to improve my mixing skills, I figure that will have much more of a positive effect on my recordings.
Nitronium Blood
UM BOARDS' JESTER
What is the consensus on recording audio for a 'DVD Audio' situation?
Does it make sense to record above 44.1 then?
:Spin:
Does it make sense to record above 44.1 then?
:Spin:
Ermz
¯\(°_o)/¯
Heheh, can't argue with a dude who has a VU meter as his avatar 
. From what I've heard, I have to say I really like the sound of analogue tape. The Portishead record 'Dummy' was apparently recorded on analogue tape and it sounds goddamned amazing. It was tracked back in '94 but blows most of today's recordings straight out of the water.
I just wish that same sort of conviction and love went into metal recordings. This whole idea of compromise because 'we're only recording metal' kind of shits me.
. From what I've heard, I have to say I really like the sound of analogue tape. The Portishead record 'Dummy' was apparently recorded on analogue tape and it sounds goddamned amazing. It was tracked back in '94 but blows most of today's recordings straight out of the water.I just wish that same sort of conviction and love went into metal recordings. This whole idea of compromise because 'we're only recording metal' kind of shits me.
Nitronium Blood said:
If you're recording for DVD Audio by all means record at high sample rates. The format supports the high sample rates so there's no need to convert anything that would taint the audio.
Me too. I love the sound! Even taking your digital stereo mixes and sending them to tape then going from tape to digital makes your mixes sound really nice.MR NINE said:
I've A/B'd a bunch of material blind folded of varous stuff tracked on a Studer 2" and an iZ RADAR 24/44.1. I thought the Studer sounded best each time.
ATR hopes to start selling tape on June 1st.
Ermz
¯\(°_o)/¯
i never said anything about compromising... and i most certainly never said "we're only recording metal".. so where you got that is beyond me. what i said was that you're not going to hear the difference between the same piece of music recorded at 48 and at 44.1 in the same studio.. at least not with metal... or pop for that matter.. or hip hop. not after it's converted and burned to cd you won't. i'm up for some A/B tests. my new studio is in Orlando, FL: SSL, Otari MTR-90 2" 24track, Pro Tools HD3 Accel... and yes, i still use DP... i'm up for A/B tests any day after the PT rig arrives and is installed that i'm not booked... let's do it... \m/. C'mon, Vacation time, hit the sunshine state!Moonlapse said:
MR NINE
Member
[/QUOTE]
Hi there!
It's always nice to hear/read from someone who loves THEE analogue sound! :hotjump:
Where did you get that info about ATR?!
egan.
daylightdies.com
you guys read too many issues of mix and/or tape op. get in your studios, or out on the road, and record... which is exactly what i'm doing in Sweden right now.. in the studio with Opeth here in Lillån, where the 2" inch machine sits up against a side wall... used as a table to stack papers and boxes. same story at Andy LaRoque's Los Angered where i worked last week.
i've recorded (played on) 6 albums on analog 2 inch.. world wide releases, done in great studios with well regarded engineers.. all on one either one of the large independants or on a major label... but many of you will note, as some already have, that the best sounding one was recorded and mixed on 16 bit adats at 44.1 with a soundcraft Ghost..a $2500 desk... and speaking of Andy, spent 2 weeks at his studio as the awesome sounding, new Nevermore CD wrapped up tracking and not a reel of tape in sight... gee, turns out it's in the ears after all... go figure.
i've recorded (played on) 6 albums on analog 2 inch.. world wide releases, done in great studios with well regarded engineers.. all on one either one of the large independants or on a major label... but many of you will note, as some already have, that the best sounding one was recorded and mixed on 16 bit adats at 44.1 with a soundcraft Ghost..a $2500 desk... and speaking of Andy, spent 2 weeks at his studio as the awesome sounding, new Nevermore CD wrapped up tracking and not a reel of tape in sight... gee, turns out it's in the ears after all... go figure.
Ermz
¯\(°_o)/¯
Ah James, the Opeth thing piqued my interest. What aspect of their new album are you getting involved in? Mind sharing how far the guys are into their session? There's a whole slew of fans down on their forum who are dying of curiosity.
(sorry to go off on a tangent here)
(sorry to go off on a tangent here)
