Sample Rates

[horacejesse]

Those are pretty firm answers, which I duly appreciate.I have another question. I have been burning at 48 recently. I think it was by accident, as I suspect and half remember the machine used to be set at 44.1. I believe I accidentally changed it, but I just left it there because I was not sure. Once you use a particular setting the machine always defaults to that setting when you create a new song unless you manually choose another setting. Recently CD's that I make have not been playing altogether correctly on some commercial players. They will play but will not skip forwards or backwards. Could this be related to the above? Or is it more likely something to do with my burner. Some people have told mer this often happens and that no piece of equipment is at fault, which I find hard to swallow, since I believe you are supposed to be able to skip forwards and backwards on a CD at will.

[aubreyz]

Quote:Aub,Where do the differences between 48 and 96 show up? I assume you are taking sound coloration as much as anything else? And if they are there even when down converted, is there a reason (disk space?) that you work at lower rates?The differences are most apparent in the "air" in vocals, and overall transient detail. It just sounds smoother, more like analog to me, yet better clarity. It's a subtle difference - 4 out of 5 dentists surveyed wouldn't notice. Some of that detail is retained even when down converting.The reason I work at other rates has more to do with other system resources than disk space (I have more than a terabyte of recording space). With Protools, using instrument plugins can be really taxing on the processors. I have a dual 2.0 G5 with HD3 Acell, and often have a dozen or so virtual instrument plugs going. At 96k, that can be quite a bit for my current system, so I have to bounce tracks to keep some overhead. A lot of the in house projects I do are pretty tight deadlines and I just don't need the hassle of workflow time killers. Also, the TDM and audio track voices are limited at 96k. It's not uncommon to have 60+ tracks in a session - that's tough at 96k.If my system would take it without having to jump through hoops, I would always record at 96, or 88.2 (depending on the final delivery medium). And anything that is major, I do record there. But for everyday work that will be the bed for a commercial or corporate video, for time sake it's generally 48k - and the difference is not dramatic enough to worry much about it.btw- I should mention that the difference between 48k and 96k were hardly noticeable until I upgraded my AD converters to the Digidesign 192.Aub

[ernstinen]

Quote:btw- I should mention that the difference between 48k and 96k were hardly noticeable until I upgraded my AD converters to the Digidesign 192.Yup, converters do make a difference.To me, the difference between 16/44.1 and 24/96 is like looking through a dirty window vs. a clean window, or a comparison between regular TV and HDTV (although that may be exaggerating a bit! ). But it IS true that most dentists can't hear the difference.Ern

[edteja]

Hmm. How many records do dentists buy? That might the determining factor.