I wanted to see if there may be a better way to configure my gear to promote better quality. Here is what I have: External gear: - Ensoniq ASR-10, MR rack, ESQ1 and DP/4+ - E-MU E5000 Ultra - Korg MonoPoly - MTP AV USB - Soundcraft Spirit E 12 - Apogee MiniME - M Audio Delta 66 - M Audio CO2 Software: - Reason 3 - Digital Performer 5.11 Computers: - iMac 17" 2.0GHz Core2 Duo (running DP and Reason) - G4 1.2GHz 7455 (running DP and Reason) The iMac is my primary workstation. The G4 is used for a dedicated Reason machine and down-sampling bounces. I have the optical in and out of the iMac running to the CO2 to convert to coax SPDIF. The digi out of the iMac goes to the Delta card (SPDIF in) which is in the G4. The card is set to hardware route the SPDIF in to a pair of balanced 1/4" outs. This is my D/A for the iMac. The input of the iMac is both the digital out of the MiniME and the USB out of the MiniME. Using the digi out lets me get 96/24 whereas the USB only sports 48/24 (though I mostly record at 44.1/24). This is my A/D for the iMac. The A/D D/A of the G4 is the Delta card. This is where I want to get things double checked. I use the MiniME and G4 to down-sample by setting the MiniME to 44.1/16. This applies the UV22HR process to the incoming signal which is leaving the iMac at 44.1/24 via the digital out. I'm recording in at 44.1/16 for the final stereo mix. I do this to down-sample bit and sample rates as I suspect the math that is applied by Performer to sample and bit rate convert is not desirable if it can be avoided. Is bouncing like this to down-sample bit and sample rates better that applying DP's math to accomplish the same thing? There is another converter hit to go D/A then A/D but I suspect the UV22HR process may be worth it. I used DP's math to down-sample my last album recorded at 48/24 and it was OK but it lost some clarity, separation.