Closed 44.1k recording

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Hooligan

Inspired
Pretty pretty pretty pretty pretty pretty pretty pretty pretty pretty pretty pretty pretty pretty pretty pretty pretty pretty pretty pretty pretty pretty pretty pretty please.
 
fractalz said:
Just go out analog to your interface. Then you can record at any sample rate.
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I know this. But I love being able to do everything over USB. This is why there are so many “prettys” in my “please.” I know the workarounds. I’m also fairly certain this will never happen.

Thank you for being helpful.
 
shatteredsquare said:
what fer????
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My other collaborators have older computers and they feel that 48k is too taxing on their hardware. For my part, recording at home with the Axe 3 over USB is preferable because Of the access to Axe Edit and convenient re-amping abilities. This means that I have to export anything I want to show the guys at rehearsal (or send them a copy to work on) to 44.1k. It makes it too convoluted to pass files back and forth, and basically means that I can’t use the Axe 3 the way I like to because my band mates have POS computers. Kind of weird that my bad-ass black box that can do anything, can’t use a sample rate that every other interface I own does.
 
I have a good reason. All my past recordings are in 44.1 and I can't usb reamp them without converting them to 48k.
 
Hooligan said:
I do... why do you ask?
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Cause as far as interfaces go, while it was given the standard FAS military-grade appointments, it remains an accessory to a guitar preamp.

If a particular clock rate is integral to your DAW setup, it would probably be easier to use a different interface, and feed the AFX analog. if you're talking about re-amping guitars, the amount of additional noise incurred running analog cables would be running through amps and cabs anyways.

Is the digital re-amping necessity strictly because of convenience?
 
I hadn't looked before, this one probably sounds like butt, but it looks like they do have stuff like this. They make stuff for everything. (Inline sample rate converter)

https://www.bhphotovideo.com/c/product/264903-REG

Behringer_SRC2496_ULTRAMATCH_PRO_Sample_1484147335000_264903.jpg
 
Yeah, well for me it's 96k or anything in-between. All my audio engineer buddys look at me and go, "Wha? It only does 48k? You said this is a pro piece of gear and not consumer?"

Yeah. There are reasons. I just go analog because I almost NEVER record at 48. And I almost NEVER have other people projects at 48. It's just too weird. But it is what it is.
 
If anything, using the FAS AD/DA converters would probably do you more benefit anyways for the sound, compared to whatever else would be doing the conversion after it came out of the FAS processors if it went in and came out as digital.
 
shatteredsquare said:
If anything, using the FAS AD/DA converters would probably do you more benefit anyways for the sound, compared to whatever else would be doing the conversion after it came out of the FAS processors if it went in and came out as digital.
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Yes, this is yet another reason that adding 44.1k support would improve the situation for me. Alas, I have already shifted my efforts to incorporating other interfaces. It’s a shame, because it eliminates one of my absolute favorite features about the Axe Fx due to the omission of a pretty basic setting, but oh well.

Thank you for your helpful suggestions, in any case.
 
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