Mastering: SRC - 96/44 or 88.2/44 - and other quandries?

Discussion in 'Mastering' started by woods, Jul 20, 2003.

  1. woods

    woods Guest

    Somebody stated this somewhere:

    1. Why would 88.2/44.1 SRC be any less complicated than 96/44.1 SRC?

    2. What if we're starting with 24 tracks at 48/24 mixing through analog console then through HEDD and into masterlink. Does that make all the above discussion about 96k irrelevant? What I mean is - perhaps it would be better to stay at 48/24 on Masterlink hard drive. Or is there a sound advantage to convert up to 96 on way in to Masterlink - even when original tracks were at 48/24?

    If the former - do we have to start from scratch to consider the original SRC question and burning a redbook cd in Masterlink?

    3. Finally, Lets say you had two Masterlinks. You come out of the first one into HEDD192 for D/A then into EQ and Comp then back into Hedd for (A/D) and record to 2nd Masterlink HD at 44.1/16. Then burn redbook. How do you think that might compare to a hi quality DAW scenario?

    WP

    PS: Then again if the HEDD does not do SRC - is this possible?
     
  2. Michael Fossenkemper

    Michael Fossenkemper Distinguished past mastering moderator Well-Known Member

    • <font size="2" face="Verdana, Helvetica, sans-serif">1. Why would 88.2/44.1 SRC be any less complicated than 96/44.1 SRC?
    <font size="2" face="Verdana, Helvetica, sans-serif">
    as you can see, the 88.2/44.1 conversion is a nice 1/2.

    • <font size="2" face="Verdana, Helvetica, sans-serif">2. What if we're starting with 24 tracks at 48/24 mixing through analog console then through HEDD and into masterlink. Does that make all the above discussion about 96k irrelevant? What I mean is - perhaps it would be better to stay at 48/24 on Masterlink hard drive. Or is there a sound advantage to convert up to 96 on way in to Masterlink - even when original tracks were at 48/24?
    <font size="2" face="Verdana, Helvetica, sans-serif">
    If you are using an analog console and outboard gear etc... then it's going to create harmonics above the 48k sampling rate. If you then capture this at a higher sampling rate and then master at a higher sampling rate, I find that it's going to sound better than staying at a lower rate. The filters on your digital gear are working at a higher freq so the high end processing that you do do will sound smoother.

    • <font size="2" face="Verdana, Helvetica, sans-serif">3. Finally, Lets say you had two Masterlinks. You come out of the first one into HEDD192 for D/A then into EQ and Comp then back into Hedd for (A/D) and record to 2nd Masterlink HD at 44.1/16. Then burn redbook. How do you think that might compare to a hi quality DAW scenario?
    <font size="2" face="Verdana, Helvetica, sans-serif">
    Depends on the DAW and how your using it. In general, if you can do your processing at a higher rate and find a good way (sounds good) to get it to 16/44.1, then great. do it both ways and compare them. Try combinations of the two, listen to how each part of your chain sounds and reacts to different rates.
     

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