Using Axe-II in projects with 44.1kHz instrument samples

Stringtheorist

Fractal Fanatic
I understand that the Axe-II sample rate is locked at 48kHz. Does this mean I cannot use it in project files with virtual instruments using a 44.1kHz sample rate?
 
I'm afraid you can't use it in any project locked to 44,1khz, but you should be able to convert the project to 48khz and then use it. What I don't really understand is what you mean by virtual instruments using 44,1khz, usually this instruments will use the selected sample rate in the sequencer and will accommodate to the new setting, what sequencer are you using?
 
What I don't really understand is what you mean by virtual instruments using 44,1khz, usually this instruments will use the selected sample rate in the sequencer and will accommodate to the new setting, what sequencer are you using?
Virtual Instruments use samples which have been recorded with a certain sampling rate. That's why he asked.

@Stringtheorist:
As tade said, you must change your project's sampling rate to 48 kHz. Upsampling might be necessary, though, which is usually done automatically.
 
OK, so if I'm creating a 48kHz project from scratch I don't need to worry about the sample rate of imported libraries?
 
Ok, libraries, I knew I was missing something. Still some software will allow for upsampling as Stillbruch says or even will switch automatically to the new frecuency without any hassle. If you could give us some more details about the software you´re using maybe there´s a way you can use your older projects.
 
I have no older projects. I want to start fresh and invest in some libraries to use in Reaper but they all seem to be sampled at 44.1kHz. Examples: BDF2, Trilian, EastWest QL series...
 
BFD2 will definitely work in 48khz straight away. I have some pre-Axe projects in which BFD2 was used in 44.1khz that have been now converted auromatically to 48khz to accommodate Axe´s clock and there´s no problem with that. Haven´t used any of the others you mention, but I would be surprised if there was any limitation on that.
 
I've just been advised on another forum that I should set my project's sample rate to that required for the final delivery medium (eg. 44.1kHz for CD). Won't that cause issues with the Axe?
 
Once you have mixed down on 48 khz you´ll have to bring the final file down to 44,1 khz if you want to release it on cd, that´s for sure. But that can be done by you, by the mastering engineer or whoever is in charge of providing the final master for duplication. BUT you can work on whatever sample rate you want, otherwise every sample rate except 44,1 would just make no sense.
It´s just like the bit rate. You can benefit from working with a higher one, as dynamics are improved and more room is available for better resolution in mixing levels, but a CD is limited to 16 bit.
Anyway, there´s no way of working with other sample rate except 48khz when working with the AXE if you want to use it in the digital domain, as it won´t lock to anything else. Wel, actually I recall seeing hardware sample rate converters, but I don´t think you want to get involved with that.
You can go analog and use another device as audio interface, but then you are loosing a few of the advantages of the Axe, like reamping, avoiding conversions and such things.
 
I've just been advised on another forum that I should set my project's sample rate to that required for the final delivery medium (eg. 44.1kHz for CD). Won't that cause issues with the Axe?
How I do it: I record everything in 48 kHz, so the Axe-FX II won't complain. Most VSTi-Libraries don't care, since they should upsample without problems. For the final mixdown, e.g. for making a CD-compliant WAVE or an MP3, I select 44.1 kHz in the export settings.
 
If it is at all possible I cannot recommend highly enough to you the idea of just using the analog outputs of the AxeFXII into your audio interface. I know that there are many, MANY reasons why 'staying in digital' is a great idea, but I can give you about 10X as many scenarios where its not worth the hassle and this is one of them.

I mean you can sit there and go through sample rate conversions for whatever part of whatever it is that you are using or just set your system up to use whatever sample rate you want and not have to worry about syncing clocks or jitter or monitoring or anything like that.

Re-amping is the only thing that has an advantage via digital.
 
I would just use analog out of the AxeFx II for projects that are not at 48k.

I have a master clock in my studio and since the AxeFx II cannot be a slave, I use analog even when the DAW project is 48k.

I have done some *blind* A/B tests in my mixing room and I can't hear enough of a difference to matter. Analog works for me.

(edit: post above beat me to it:) use analog... it's really high quality)

Richard
 
Well, I no longer have a separate audio interface. I sold it after I got the Axe-II because I was led to believe I no longer needed one. Now I discover the USB connection is worthless unless I'm running projects in 48kHz?
 
How I do it: I record everything in 48 kHz, so the Axe-FX II won't complain. Most VSTi-Libraries don't care, since they should upsample without problems. For the final mixdown, e.g. for making a CD-compliant WAVE or an MP3, I select 44.1 kHz in the export settings.

Great. That's what I'll do then.
 
Well, I no longer have a separate audio interface. I sold it after I got the Axe-II because I was led to believe I no longer needed one. Now I discover the USB connection is worthless unless I'm running projects in 48kHz?

I would do all my DAW sessions at 48k if I were you then.

Mix to 48k too.

The quality of a sample rate conversion (SRC) to 44.1k only matters If and when your mix needs to be converted to 44.1k.

I'm guessing the advice you got from another forum was about doing multiple SRC's and / or using low quality SRC on your mixes. Both should be avoided if you are doing professional work.

But a pro mastering house can handle your 24bit/48k mixes no problemo.

Richard
 
OK, cheers Richard. I'm getting conflicting advice from the other forum but what you're saying makes sense.

I hear ya' on conflicting advice for sure :)

For me, I concentrate on what the mix is going to be used for. If I'm bouncing to mp3 for instance, I don't sweat it.

If I need to convert to 44.1 or 16bits and its not super critical, I use a Waves plugin on the Master fader in ProTools to do the downsampling / SRC.

If it is critical, I print 24/48k and let the mastering house handle any conversions.

Richard
 
If I need to convert to 44.1 or 16bits and its not super critical, I use a Waves plugin on the Master fader in ProTools to do the downsampling / SRC.

If it is critical, I print 24/48k and let the mastering house handle any conversions.
I completely agree with that approach. Every (decent) mastering studio can handle 48 kHz/24 bits.
 
Forgive the noobie question but what does a mastering house do exactly that one can't do with a home studio?
Audio mastering - Wikipedia, the free encyclopedia
A lot of explanations can also be found with Google. Serious mastering actually requires a lot of knowledge, sophisticated equipment and a good hearing. Mastering is not only about increasing loudness, it is also about making your final mixdown sound "good" on all sound systems (from iPod-In ears & kitchen-radios to expensive HiFi-speakers). That was just a very abbreviated explanation.
 
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