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[Romy The Cat]

I wonder what the “big boys” do when they record. I record and play at 88/24 and have a certain level of quality that satisfies me. Still if I need to pile the recording to a CD then I need 44/16. I fond (to my surprises) a good way to record to CD media but here is the quandary: as soon I downsample to 44/16 then quality of sound go to toilet. It is regardless if I do downsampling in Wavelab 5, on in Linx16 card – sound always hurts. Ironically I detected that when I record at 44/16 then the result is not as good as at 88/24 but still way better then the downsampled sound. So, what does it mean that if I need to have 44/16 copy then I need to run during recording two A/D converters: one outputting 88/24 and another 44/16? Since the 44/16 is still a default format for the final media (SACD my ass!!!) then is it what the “big boys” do? I am sure that they records and process at very high rate but if I do not need to do ANY PROCESSING AT ALL then are any other solution besides running two AD converters to get reasonable 16/44?

Rgs,
Romy the Cat

[PookyNMR]

Why not let the ME do the SRC??

[Schallfeldnebel]

The big boys use SRC's from dCS or Weiss Engineering.

I am sure what Mr. Lavry makes belongs to the same category. I advise for SRC to use stand alone units like the brands above.

Erik Sikkema

[Romy The Cat]

Schallfeldwebel wrote on Tue, 11 April 2006 00:42

The big boys use SRC's from dCS or Weiss Engineering. I am sure what Mr. Lavry makes belongs to the same category. I advise for SRC to use stand alone units like the brands above.

Erik,

I am well familiar with dCS and I never consider them worth any attentions. In fact I fell that they quite inferiors processors and partially when they do their funny upsampling. The Weiss are fine units. I never had thier A/D but I am quite familiar with their D/A. I have issues with Weiss HF as I find them too syntactic at higher frequencies. However, my concern was not about the selection of one brand over another. As I understand what I was asking would be the very much the same if I use any processor, would it be?

Rgs,
Romy

[Jon Hodgson]

Do you hear this difference with a single unprocessed stereo recording, or just when you've mixed and/or processed the recording before the downsampling?

In most cases (including I believe the AD122) the difference in running your A/D converter at 44kHz or 88kHz is simply one stage of DIGITAL downsampling.

The analogue sampling is done at the same rate in both cases.

[zetterstroem]

as i  said before......

src is whatis killing your sound.....

stay 44.1 for cd.... and get double the amount of power as a nice sideeffect!!

[Jon Hodgson]

zetterstroem wrote on Sat, 15 April 2006 10:55

as i  said before...... src is whatis killing your sound..... stay 44.1 for cd.... and get double the amount of power as a nice sideeffect!!

All you're doing is exchanging SRC in your DAW for SRC in your converter. Same process, different place.

And in most cases SRC in your DAW should be better, because it is less resource constrained. Synchronous SRC is not a complicated process, the only differential is the quality of the filter, generally speaking better filters take more memory and more calculations, both of which are in limited supply in an ADC chip (increasing either means lower yields and higher costs). Very high end converters will often use seperate DSP chips to perform the downsampling.

However if you prefer the sound of your converters at 44.1 kHz for whatever reason, you're quite right that it makes sense to benefit from the lower disk and cpu usage at that rate.

[boogalaboogala]

Hey Romy --

Try an experiment for me.  

1.  Bounce your 88/24 file to disk at 44/24.  
2.  Then, import the bounced file into a new 44/24 session on your DAW.
3.  Add a stereo master fader track with a dither plug-in.
4.  Set the dither to 16-bit bounce to disk at 44/16.

Compare this to a file you just bounced straight from 88/24 to 44/16 and see if there's a difference in sound quality.

Boog.