| 96kHz-OK folks, here's the plan [message #56187] |
Sat, 23 July 2005 21:28  |
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Deej [1]
Messages: 2149
Registered: January 2006
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Senior Member |
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He also has a modded model
> > with a Cinemag output tranny, and is working on some
> > ribbons mods. I spoke with him on the phones and he
> > seems really cool, too.
> >
> > Anyway, better packaging and a better price :)
>
>I'm a fan of 96 and I consider it the last remaining “Paris Gap”.
I hear subtle improvements at 96 for small ensemble acoustic recordings.
This is only apparent under “high end” recording situations like a good stereo
mic pair on a string quartet or a small folk group. By the time you convert
back to 44.1, any real improvement is modest, but the original 96 masters
are definitely superior.
Where I here a dramatic improvement with 96 (or other high sample rates)
is when I use plugins. HydraTone is way better at 96 and starts to sound
like high-end analog equipment. Others like the Sony Oxford plugs, or the
TC VSS3 reverb running on Powercore also benefit dramatically. This is frequently
not subtle at all. Another place where the change is dramatic is with some
soft synths like FM7, which sounds far better at 96 (this is not true of
all synths).
I have been playing around with hybridized Paris setups that include some
96 with mixed results.
Gene
"DJ" <animix_spam-this-ahole_@animas.net> wrote:
>I'll bet some of you have probably done this already, but I'm been curious
>for years about the *real deal* with native DAWs at 96kHz vs Paris at
>44.1kHz. I've heard 96kHz recordings done in both Nuendo and ProTools HD
but
>I've just never been able to get them into some sort of A/B situation in
my
>own studio. I
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