96khz ???

J

Jerry W

New member
I noticed nobody had much comment on the MOTU 24 i/o but, there is an ancillary issue and that is the question of 96khz.

Nowadays the choices are 44.1 and/or 48 khz, 96 khz or 192 khz. both MOTU and Digidesign offer boxes that will record 96 khz or 192 khz.

The question is track count vs. resolution or high definition.

What are your thoughts on 96 khz as well as the other available resolutions?
 
I record at 44.1, only because I mix to digital and I want to keep it as simple as possible, although I record and mix at 24 bit. Dithering to 16 bit is done during the mastering process.

If I had a good analogue 2 track to mix to, I'd do 96k or higher. Storage space to me is irreleveant considering the price of hard drives (and their large sizes) and processing power these days.

I understand budgets are important though, so take me with a grain of salt and a twist of lime.
 
Its also an issue of DSP processing power. Ever try running a 96K track through a good reverb?

c-ch-chh-chh-chho-chhoo-hhoo-ook-ook-okke-oke-kk-kke-ke-e!

The biggest problem I've had with higher sampling rates is the fact that it craps out my DSP very fast. And I can't hear much of a difference- especially with the home-level recording techniques, preamps, and microphones.

If I had a facilities, equipment and skill to warrant the higher bandwidth then I'd keep up with the Jones and get a faster computer that could handle the processing load. For now, though, it ain't broke and I'm not going to fix it. I still record everything at 24/44.1.

Take care,
Chris
 
I think that for most home recording use, you will not be able to have songs that are significantly better just because you go from 44.1 to 96. Face it: Most stuff you do will not use the full potential of 44.1/16 anyway. :)

Stop worrying, and start recording. If you end up in a situation where you feel that it's the 44.1/16 resolution that is limiting you, then upgrade to 96/24. Until then, go with 44.1/16.
 
Regebro, really? 44.1/16?

That surprises me. I'm no great recording engineer, but even I notice a big difference when I jump up to 24 bits.

I would have said start with 44.1/16 (internal soundcard) and upgrade to 44.1/24 (prosumer soundcard) when you feel like you need to. Then save the 96/24 for when you are getting paid for you work.

Come to think of it, though, I didn't really push myself to get the best sound I could out of 16 bits before I got a 24 bit interface.

Take care,
Chris
 
Chris Shaeffer said:
Regebro, really? 44.1/16?

That surprises me. I'm no great recording engineer, but even I notice a big difference when I jump up to 24 bits.

I would have said start with 44.1/16 (internal soundcard) and upgrade to 44.1/24 (prosumer soundcard) when you feel like you need to. Then save the 96/24 for when you are getting paid for you work.

Come to think of it, though, I didn't really push myself to get the best sound I could out of 16 bits before I got a 24 bit interface.

Take care,
Chris
Click to expand...

I used to record and mix in 44.1/16, but that was only due to the fact that I was running a 533MHz Celeron at the time. That all ended when a client brought me 48/24 tracks to mix. Try pumping 24 tracks of 48/24 through a Celeron! I had to buy a new system, but it was well worth it because the difference in dynamic clarity and separation was fantastic when using 48/24.
 
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