Bouncing to disk or not?

Discussion in 'Microphones (live or studio)' started by jeronimo, Nov 29, 2001.

  • AT5047

    The New AT5047 Premier Studio Microphone Purity Transformed

  1. jeronimo

    jeronimo Guest

    I have a 16 bit 48K session and instead of bouncing it to disk, I want to try to record it directly to a CD, via S/PDIF out into a Phillips CD burner. Is there a way to do this? Like a "dithering" for sampling rate? What do you guys recommend quality wise?
  2. anonymous

    anonymous Guests

    Feb 10, 2001
    I don't know what software you are using, but as far as I know, unless you use analog outputs, there is no way to burn a 48k session directly to a CD. If you intend to do this, the simple solution is do your original session all at 44.1. Then problem is solved. It is arguable whether there is any real (i.e. perceivable) difference between 48k and 44.1 anyway. Especially after the conversion process introduces rounding errors to get down to 44.1 for CD burning. At any rate, the difference is far less than going from 16 bit to 20 or 24 bit.
    Meanwhile your 48k sessions will somehow have to be converted to 44.1. In a lot of software, this can be done when making a stereo file of your session. A fast computer is definitely helpful here!
    Of course, I could be wrong :)
  3. OneMan

    OneMan Member

    May 8, 2001
    I agree with Little Dog, just make your transfer via the analog connectios and since it is a first generation copy, you should be good to go. But in the future, you may want to consider recording at 44.1.

  4. Jon Atack

    Jon Atack Distinguished Member

    May 29, 2001

    It's been awhile since I had to do SRC (sample rate conversion)...and it is a good thing to avoid doing.

    In your dilemma, if the converters and clock are of excellent quality, I'd go out analog. If not, use the best software SRC algorithm you have at hand.

    Bounce to disk IMO is pretty much a non-issue compared to your real problem of SRC.

    If I am mixing and mastering all in the digital realm, I work at 44.1kHz/24bits all the way to mastering, then dither down to 44.1/16bits as the last step in the chain.

    If I am sure I will be mixing from digital out to an analog desk, which is the usual case, then I sometimes track at 48kHz/24bits, although 44.1 is fine too.

    The 2-track mixdown format, if it is not an analog one, will depend on the mastering chain. If we're talking about all-digital mastering, like a cheap-n-quick home mastering job, then mix to 44.1/24. If the mastering chain will involve an analog path, which is the usual case for the projects I see, then mix down to 24 bits at the highest available sampling rate that the mastering facility can deal with properly.


Share This Page

  1. This site uses cookies to help personalise content, tailor your experience and to keep you logged in if you register.
    By continuing to use this site, you are consenting to our use of cookies.
    Dismiss Notice