So, there's a gear store that a friend and I frequent every so often. They have a new Mackie live console, the TT24, that's entirely digital, and clocks at 96khz. Lots of pretty colours, serial number of "4", etc etc.
One day, not that long ago, he walks in and starts poking and prodding. He'd also happened to take in one of my equipment lists for a quote for some gear I'm looking to pick up. He comes back and reports...
"Hey, they said that rather than spending so much on something like that M-Audio Tampa, or the TwinQ you've been looking at, they said they've heard really impressive things out of the Behringer ADA-8000, and recommended that over them."
Now, I'd been looking at the Behrry since November. I'll admit freely, I haven't heard it in use. I do, however, know very well what it is, how it works, that people generally aren't thrilled with it above and beyond a basic drum preamp setup (and when I record, I'm recording acoustic violins, guitars, and vocals), and that it doesn't go about 48khz, and I'm clocking 96khz. I mention to him essentially that these are the reasons why I haven't bought one yet.
'Oh, well then you'd want to get the TT24 sometime.' he says (after staring at it in the store and enjoying all the pretty pictures on the screen). I explain that I find the TT24 to be very innovative, a great piece of gear, but if I'm spending $10k or what have you on studio gear, like I would on that console, I want my interface to be modular and easily replacable (like my 828mkII), so that when the day comes that 768khz is available and I feel drawn to purchasing something that handles it, I don't need to replace everything.
"I asked them about that. They said 'Why would you ever want to go above 96khz in the studio?'"
...My jaw dropped.
"CDs are only 44.1..." (you know the rest of the argument from here - it went on for about twenty minutes).
Now. I, personally, have heard a significant improvement in my acoustic tracking after upping from 44.1 to 96k. I know many people don't, and thats alright. I'm not here to start that debate. My FIRST question is to those who are clocking ABOVE 96k. Do you hear a difference going from 96k to 192k? Just because your equipment *can* do it, does that mean you *do*?
Second -
A gear store pushing the behrry 8000 over much higher quality gear in the studio environment? Is this something you'd trust?! Or am I alone in thinking 'Something's not quite right here...'
One day, not that long ago, he walks in and starts poking and prodding. He'd also happened to take in one of my equipment lists for a quote for some gear I'm looking to pick up. He comes back and reports...
"Hey, they said that rather than spending so much on something like that M-Audio Tampa, or the TwinQ you've been looking at, they said they've heard really impressive things out of the Behringer ADA-8000, and recommended that over them."
Now, I'd been looking at the Behrry since November. I'll admit freely, I haven't heard it in use. I do, however, know very well what it is, how it works, that people generally aren't thrilled with it above and beyond a basic drum preamp setup (and when I record, I'm recording acoustic violins, guitars, and vocals), and that it doesn't go about 48khz, and I'm clocking 96khz. I mention to him essentially that these are the reasons why I haven't bought one yet.
'Oh, well then you'd want to get the TT24 sometime.' he says (after staring at it in the store and enjoying all the pretty pictures on the screen). I explain that I find the TT24 to be very innovative, a great piece of gear, but if I'm spending $10k or what have you on studio gear, like I would on that console, I want my interface to be modular and easily replacable (like my 828mkII), so that when the day comes that 768khz is available and I feel drawn to purchasing something that handles it, I don't need to replace everything.
"I asked them about that. They said 'Why would you ever want to go above 96khz in the studio?'"
...My jaw dropped.
"CDs are only 44.1..." (you know the rest of the argument from here - it went on for about twenty minutes).
Now. I, personally, have heard a significant improvement in my acoustic tracking after upping from 44.1 to 96k. I know many people don't, and thats alright. I'm not here to start that debate. My FIRST question is to those who are clocking ABOVE 96k. Do you hear a difference going from 96k to 192k? Just because your equipment *can* do it, does that mean you *do*?
Second -
A gear store pushing the behrry 8000 over much higher quality gear in the studio environment? Is this something you'd trust?! Or am I alone in thinking 'Something's not quite right here...'
