TAXI.com

Hello,

I am new to Taxi and working in Logic. I have been a video and audio editor for a long time and am familiar with what is needed for video and CD's as far as setting at 48 KHz for video and 44 KHz for CD's. I also have always put my work at 16 Bit. I just started writing instrumentals on Logic Pro 10.8 and would like to know if anyone can advise me if I should do my mastering with 48 KHz or 44 KHz and 16 or 24 Bit since these songs will not be used on any music platforms such as Youtube, Apple, Spotify, etc. They are primarily being sent to the Music Licensing companies for listings for film and TV. I called Taxi and the representative I spoke to suggested I post the question here because he is not an engineer and did not know the answer.

Your input will be appreciated!!!

Thanks!

It can vary depending on the publisher but the most common format is 24bit 48k

Telefunkin wrote: ↑

Tue May 21, 2024 2:18 am

[....and please don't open the flood gates by asking whether any of us can hear the difference ]

Advice from a professional SSL console recording studio engineer that I've worked with (uses 44k 24bit), says, what is more important is how accurate and stable the WORD Clock in your D/A interface system is, especially if you are synchronizing other equipment to a master WORD clock. If you recorded at 44K 24bit, and bumped it up to 48k 24bit for film and video, I'm sure that no one would be able to hear the difference if your production is of high standard to begin with (not Garage Band), other wise it wouldn't matter what sample rate you use, it would still sound like a cheap demo. There is so much more that goes into a good production, 44k vs 48k is the least to be concerned with. cheers.

JohnAtonic wrote: ↑

Tue May 21, 2024 11:16 am

Advice from a professional SSL console recording studio engineer that I've worked with (uses 44k 24bit), says, what is more important is how accurate and stable the WORD Clock in your D/A interface system is

As most of us are producing in the box, the files we deliver are not passing through our own DAC when we bounce them ( only when we listen to them ) so it's a non-issue

It seems like a no brainer to start with the highest resolution ever asked for (48K 24b) and then bounce down lower resolutions as needed. Or convert outside DAW. I use outside studios and they record at 48K/24. So they send me the final wav files in that format. Then, as needed, I convert to 48K/16, 44.1K/16, etc.

You can always go downward. But if you convert the other direction, you can't make up for what's not there. And like Graham, no debates about whether or not you can hear the difference.

Casey

I record at 24/96 ...... why you ask?? It is because I just love to use the extra hard drive space and CPU on my computer, and it makes me feel cool! It also tricks me into thinking that 96 is more (twice as much sample rate) than 48!
Would you rather "Go to Eleven?" or just make "Ten Louder?"

Honestly?? I don't know why I do it at all (24/96) But just feels wasteful and downright "naughty"

BradleyHagen wrote: ↑

Wed May 22, 2024 7:59 pm

Honestly?? I don't know why I do it at all (24/96) But just feels wasteful and downright "naughty"

Most of the time you can barely hear the music as it's so far in the background

BradleyHagen wrote: ↑

Wed May 22, 2024 7:59 pm

Honestly?? I don't know why I do it at all (24/96) But just feels wasteful and downright "naughty"

I hear 96K/98b is all the rage now. And it's easy to remember with both numbers being the same.