I've got PTLe as well. Most of the time I record at 44.1. You have the tools, how much difference can you hear between the various sample rates? I don't hear enough difference in the final product to justify the cost in file size and cpu load.

Now, if you want to talk about 36bits, I might be interested (though I've never really been taxed at 24 bits). Headroom is always a luxury for a hack like me.

1. There is a difference between 192 and 44.1. This is highly debated among the big time mixers, but the difference may not be related to the sample rate itself. You should read Lavry Engineerings papers on the subject. I would say that you should buy the highest quality converters on the planet and keep what you have, because math is math, and if DAWs are working properly, not adding anything on purpose, they should all sound the same. The differences are going to be in how they handle plug-ins, how they dither, etc.

2. Don't confuse the 24 bit sample rate of the converters with the mix engine DSP capabilities. ProTools LE uses floating point math. The mix engine is 32 bit I believe. PT HD is 48 fixed. This is something that you may want to compare to whatever DAW you are considering.

3. There are no 36 bit converters. Nobody is getting a full 24 bits as it is.

Basically I'm wondering if getting logic is better than Pro tools LE considering the audio interface I buy is greaT. tHE MAIN DIFFERENCE i SEE IS THE sample rate and the fact logic is able to record many more tracks.

I want to know peoples thoughts

Sheet's right on all accounts.

Yes, there's a difference between sample rates, but most people (myself included) stay at 44.1 or 88.2 (or their video equivelants). Unless you're planning on releasing SACD or DVD-A, you probably will not notice a difference between 96 and 192 kHz.

Also, what converters are you using?

Personally, I feel a good converter operating at 44.1 sounds a thousand times better than a mediocre converter working at 192kHz. Chances are, if the converter is built into an interface...it's not that great. (I don't know any exceptions to that rule except MAYBE the metric halo).

Other than that, I would prefer Logic as it's not limited as to what hardware can be interfaced with it.

J.

Cucco, have you heard the converters on the Mini-Me? And if so, what do you think of them?

The MiniMe is one of the greatest buys in the industry. It's like getting free preamps (pretty nice ones at that) with the purchase of a set of converters (which is a bargain at the price).

Sample rates - IMO (and Dan Lavry's, and Dave Hills, and Nika Aldrich's, and about a gazilion more people I can think of) the quality of the converter *far* outweighs the sample rate. A nice set of converters at 44.1 will kick the crap out of most of the "budget friendly" boxes out there at 88.2, 176.4, 192 or whatever.

Personally, I'm completely comfortable tracking at 44.1kHz. Even for orchestral recordings (which I do quite frequently). Actually I use the MiniMe for just that purpose a couple dozen time a year at least. 44.1/24 straight to the MacBook and Bob's 'yer uncle.

And although I agree with the "physicists" about upsampling for certain digital processes (although many of the UAD plugs do that themselves), until I start recording dog whistle compilations (and using an entire chain front to back that can actually record the dog whistles) I'll probably stick with 44.1k.