Professional recomended bit rates:Which one would u choose?

[Guest Geeture]

I would like to ask the biggist question in the world! )

 

I guess all the psy trance composers uses diffferent softwares , hardwares and bitrates.

I am plannning to work with 48khz yea iguess its bit better than 42khz, i feel that not a big diff between them, but i wouldnt go up to 96khz....its too...Transfering our message is enough

I need some advices with what bitrate hrz we should get to go on, or what are those standard bitrates for psytrance composers.*miraculix infected or 3d vision teams ...any

 

Cheers

[Guest Spindrift]

The values you are mentioning refers to sampling frequency rather than bitrate. The bitrate has to do with data transfer as opposed to storage.

If you are relying on your puter as a synth, fx unit and multitrack recorder you probably want to stay away from 96k, if your not using a dual xeon machine. Any increase in samplerate will intensify processing demand by the same factor. So use 96k and you will more than half your dsp power compared to 44.1k.

 

For a plain hard-disk recording machine, or a protools or scope powered machine it could be a option to consider. It's anyway very few fx processing in 96k using host based dsp (dx and vst).

Both when it comes to sampling frequency and bitdepth(i.e. 16bit or 24bit), avoid mixing formats if you can.

 

Use 24bit communication with your soundcard (or 32 if you use cubase and those yamaha mixer cards :-/ ), and try to keep all your audio files 24bit. Wheater you use dithering or not, quality will degrade for every bitdepth conversion.

Same goes for the sampling frequency, so the benefits of using 48k instead of 44.1 is debateable. Especially if you use samples from CD's wich will be 44.1, then need to be reconverted to 48 to play back in pitch and time with your track, then mixed down to 44.1 again.

 

I don't belive there is many goa artist that use more than 44.1k recordings, and of course in the end it's only figures.

There is people doing good music with stuff like orion, cubase and reason, because a good pair of ears on the producer will mask any difference in a few kilohertz or bad sounding mixing algorithms.

[Guest etherdesign]

Another vote for 24-bit / 44.1khz.. don't waste your time on 48khz, the marginal if any sound quality difference will be lost dithering down to 44.1khz for cd or mp3.

[Guest DeeperNETWERK]

Count me in 24/44.1.

 

96k is great for guitars and drums, traditional instruments. And it's also great if your recording from an analogue mixing desk cause because it'll capture the 0 THRU 1 data better. If your doing digital... the 0 OR 1 is perfectly fine. It all has to do with how many snapshots it takes of the soundwave while recording in.

 

Spindrift... Are you the real spindrift? If so, your tracks are wicked. Nice to see you on the boards!

[Guest coriolis]

96khz is very impractical unless you've got dedicated hardware to deal with the additional computational load. 48khz isn't worth the extra effort it takes to deal with it (upsampling your samples, downsampling your mixes). So, stick with 44.1...

 

but 24 bit is DEFINATELY a good idea, and is well worth the difference from 16bit. the main reason i advocate it is because it allows you more "headroom" in your tracks and mixing, meaning you can add more signals together without overdriving, and you can run your signals at a lower level without the reduction in quality you'd get by doing the same at 16bit. perhaps think of it like the difference between using one of those small, cube-like refrigerators (16bit) and a normal kitchen-size refrigerator (24bit).

[Guest Spindrift]

DeeperNETWERK:

Thanks. I only released a couple of tracks as spindrift, and don't think that much of them myself, so I'm both surprised and glad to hear that someone appreciates my music.

Othewise i mostly do stuff with dj jonas under the name of steptime, we just finished an album and sent it to the press, so it should hit the shops soon.

[Negrosex]

Yes 44.1/88.2 is probably the way to go. 48/96 can be pitch shifted a little more without it being audible but i dont think its worth it. Make sure that when your editing sounds that you are using a high bitrate (Higher Than 16)! This is important for the soundquality.

 

When sampling from CDs: Some CDs from the early 80:s are using the 44.056 (NTSC-video) sample rate. this will give you a 0.1% difference in pitch, i don´t know if this information is of any use but it´s worth mentioning.

[Guest monno]

all this advice is obviously based on pure software productions, but if you record outboard gear (synths etc.) the advantage of higher resolution is obvious. the quality of the recording also heavily relies on the converters and their high cut filters which aren´t always that musical.

anyway even if high resolution cd´s aren´t commercially available i think it´s a good idea nevertheless to use the highest resolution possible

(considering your cpu ofcourse) 24/96 is becoming an industry standard

and almost any soundcard company are boasting these features, so why shouldn´t we follow. pc´s are already powerfull enough for this task

(and relatively cheap) why not, why not, why not?

[Negrosex]

I agree with "monno", you should use as high resolution as possible when recording outboard gear and editing recordings. But my advice is that you should try to use 88.2 rather than 96. In that way you will not need to convert it from 96 to 44.1. Most professional gear seems to be using 48 and 96 rather than 88.2 and 44.1 though.

[Guest Spindrift]

monno:

I hardly know of any plug-ins except the waves stuff on the pc that will process in 96k, so running the sequencer in 96k and all you audio files will simply not be worth the effort.

Like I said, if you use additional DSP hardware like pro-tools which has fx that process in 96k, or simply use your computer as a taperecorder´, then i would go for 96k.

Industry standard means britney spears and alike....not even the biggest trance act's find it hard to make enough money for that kind of standard...

[Guest AgalactiA]

24/44.1 as allways for me

[Guest Wggz]

what if you have a proc speed of 2.4ghz p4, would it still not be worth much using 96khz? is it for people making using 1.2ghz thati t's not worth it?

[Guest nuk hallington]

I use to set conversion at 44.1 16 bit when producing for

music(cd) or multimedia

48 16 bit for location recordings on dat (cinema)

and the superb 24 96 in the studio for mastering applications.

[Guest monno]

as for a 2,4 p4 there is absolutely no probs in running 24/48 with a lot of tracks and instruments in logic. i haven´t tried out 24/96 on my own pc yet

but that mostly has something to do with the way i work(i like everything to be realtime for as long as possible when producing=more cpu load)

but if you use effects sparingly and bounce your stuff down now and then there should be minimal problems using 24/96.

on a side note if you use shit dithering algorithms or just don´t know how to mix properly the added soundquality will ofcourse mean much less, but probably still be audible (provided that all hard/software is up to spec.)

but as spindrift said if you wanna be sure that the computer can handle it you gotta invest in some sort of dsp solution. personally i am planning to get myself a tc-powercore for reverbs and other cpu intensive tasks.