to go into DAW digitally, or not?

Sample Rate cannot be directly compared to the upper limit of Hearing Range.

Theoretically sample rate of 48kHz can be used to record sound up to 24kHz without aliasing effects. Sample rate of 44.1kHz up to 22.05kHz. etc.

Example: If we'd use sample rate of 20kHz and we would record sounds that contains frequencies up to 20kHz, everything above 10kHz would alias/"mirror" on top of 0-10kHz. 11kHz would alias to 9kHz, 15kHz to 5kHz and 20kHz to 0Hz.

Also, check the benefits of Oversampling. It could make you consider higher sample rates than 44.1kHz.
 
knoll said:
Sample Rate cannot be directly compared to the upper limit of Hearing Range.

Theoretically sample rate of 48kHz can be used to record sound up to 24kHz without aliasing effects. Sample rate of 44.1kHz up to 22.05kHz. etc.

Example: If we'd use sample rate of 20kHz and we would record sounds that contains frequencies up to 20kHz, everything above 10kHz would alias/"mirror" on top of 0-10kHz. 11kHz would alias to 9kHz, 15kHz to 5kHz and 20kHz to 0Hz.

Also, check the benefits of Oversampling. It could make you consider higher sample rates than 44.1kHz.
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Info like this makes me want to just throw a mic in front of a 4x12 cab.
 
Since most of my tracks come from the Axe-Fx, I always go digital with 48kHz. And if you use 96 or 48 - well, for me I have come to the conclusion that 99,8% of my music could be improved by just better playing/singing/mixing, and my plugins work better than my ears already at 48. It might not be the most professional answer, but a practical one...
 
VegaBaby said:
One of the few but imho biggest drawbacks of the Axe is the 48 digital out. All sessions I do come in 44.1 or 96, never ever one of them in 48. My own stuff is in 44.1 as well so there's no way I can ever use the digital outs. In a way that really reminds me of those old Soundblaster cards people used to have problems with like there's no tomorrow...they were 48 only as well :lol:
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You know, that must be a European thing, everything I get are 48/24 files from ProTools guys...
 
Ed DeGenaro said:
VegaBaby said:
One of the few but imho biggest drawbacks of the Axe is the 48 digital out. All sessions I do come in 44.1 or 96, never ever one of them in 48. My own stuff is in 44.1 as well so there's no way I can ever use the digital outs. In a way that really reminds me of those old Soundblaster cards people used to have problems with like there's no tomorrow...they were 48 only as well :lol:
Click to expand...
You know, that must be a European thing, everything I get are 48/24 files from ProTools guys...
Click to expand...
Maybe :lol: ...

I'm working on an album with a Canadian singer and all I get from there is 44.1 as well :shock: ... But then again, isn't Canada the slightly more European version of the U.S. :lol: ?

What I always found slightly more important than sample rate is bit rate though. Personally I prefer 32bits as long as I don't have to work for Logic '24bits only' guys :lol:
 
CudBucket said:
Info like this makes me want to just throw a mic in front of a 4x12 cab.
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That makes no difference unless your signal path is analog all the way from guitar to tape. Sampling occurs always when going from analog domain to digital. That's how it works and there's no way around it. Fortunately we are able to use high sample rates to avoid aliasing.

btw I was first going to start my previous post with "Warning, science content below:" :geek: But for some reason I thought it would be good info for everybody and left it out.
 
hey guys one wuick question!
I usually record my Axe Fx through Spdif to Mbox2 to Pro Tools 8
My every session is in 44.1khz, as long i have Axe connected and powered on the Mbox does the conversion and in PT8 every thing sounds fine, but when i want to bounce the track everything goes to hell, the track sounds awful bounced! I tryed bouncing in 44.1 and in 48 khz and always the same thing! Do you have any suggestions?
 
I go analog into a Di on a good preamp. Either that or I just mike my cab like I would any other guitar amp. I would use digital but I've always used 44.1 not 48 so I don't bother. I actually like the analog because i can color it a bit if needed using different di's and pre's. I've always thought that 44.1 was the norm for audio and 48 was for video at least that's what I've read somewhere.
 
> Fortunately we are able to use high sample rates to avoid aliasing.

You seem to be forgetting the use and purpose of anti-aliasing filters which cut out all content above the aliasing frequency (half the sample rate) or usually 20 kHz.

- John
 
These ideas (sample rate and sound quality issues) have been discussed in the cubase forum and others extensively.
In short: The plug-ins that have filters (like eqs) work better work better with a higher sample rate.
There is a number of plug-ins (eqs but also synths) that upsample internally and downsample afterwards to get their job done perfectly.
This is one of the reasons why a highend analog eq is still preferable to software. But these days software could close the gap nearly. It took though a couple of years to get at least into the same ballpark quality wise.
 
It depends for me. Typically, I'll go analog out-Vintech X73's-Anamod-a/d with a Distressor in there if needed. The Anamod just adds...I will use the word "beef" to guitar tracks so if a guit track is going to be in the forefront of a mix and not just a little supporting track, it gets some Anamod. If it's just a little supporting/comlementary part that doesn't need to really jump out at you, then digital is just fine.
To be totally honest, in a mix, I may not be able to pick out digital out versus Anamod out unless there were multiple guitar tracks stacked through the Anamod. Then there'd be too much "beef" to not notice. ...whatever works... :D
 
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