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Posted on Wed, Nov 13 2019 01:05
by robinlb1900
Joined on Sat, Jun 22 2019, Posts 17
As I said, providing libraries with different rates for different purposes choosing from users is the most sensible solution.
This is not a purely technical issue, but one that involves market factors.
There are always different needs in the market, so three version in differentiated pricing might be more popular.
1, light version: 44.1kHz/16bit, intended for performance oriented or resource-constrained users.
2, std version: 44.1kHz/24bit at present, for normal usage and majority user.
3, premium version: 96kHz/24bit, for high end users of piano solo playback.

Of course, maybe ultra version 192/32 for master level...haha
Therefore, we can both be happy.
Posted on Thu, Nov 14 2019 15:39
by Crystal
Joined on Thu, Feb 27 2003, Frogs eater country., Posts 149

Originally Posted by: littlewierdo Go to Quoted Post


My concern is, resources are still an issue for me. I write and compose using a single PC, an Intel core i7 8700k with 64 GB of ram. A full orchestral piece consisting of about 60 tracks in which I use every instrument that is loaded, will eat every bit of that ram up in a heartbeat. I cannot upgrade my RAM any more than that, 64 is my motherboard limit, so my next option would be to start freezing tracks or converting tracks to audio, which would severely hamper my creativity (waiting minutes to unfreeze and reload a track is a creativity killer).

I’m also a single PC user, and I plan to use a laptop to work everywhere, so I feel concern too. And I totally agree about freezing as a ‘creativity killer’, I can’t say it better. Maybe a solution would be to work in 44,1kHz projects and do the final mix and the mastering in a higher sample-rate, but it’s not a time saver, and libraries have to give us the choice.

Originally Posted by: littlewierdo Go to Quoted Post

Personally, no offense meant, but I find it highly suspicious that anyone can tell the difference between 48 and 96 sample rates.

About mic sources I can’t tell. I can just refer to engineers testimonials over the Web here and there.
About synth softwares, to me it is a certitude : using Native Instruments tools like Absynt (my favorite) and others, 96kHz projects really make an audible difference. It’s very hard to tell, but it’s quite the same feeling when you switch from bad monitors to good monitors : a clearer sound, more ‘define’. I’m not sure this is only a pure ‘high frequencies’ point. The ‘texture’ of the sound seems different. To use a photographic metaphor, it’s more about ‘definition’ than a pure frequency dimension, even if it sounds more ‘shiny’ in general. (But I have to confess that it was 44,1kHz vs 96kHz and not 48kHz vs 96kHz, I have to reconsider that, and make more tests...)

However, I’d rely like to share my experience in that field (idealy, I’d like to open a web page with random blind tests, but can’t do this now, I have to record and publish my work with the Steinway D first). I did my first test ten years ago when I used a Pulsar II sound card (Creamware at time, Sonic Core today). It was (and still is I guess) a very good DSPs sound card with lot of synth softwares resources embedded. With it, you just have to click one button to switch the sample-rate. My God… exploring all synth presets in 44,1, when I switched by curiosity to 96kHz, I was really stunishing… It sounded totally different… so much different that I felt the necessity to listen again all presets... I don’t know how much the DSP technology is involved here (or not). I don’t use it any more, I use an Octacapture today, but still fell a real difference with VSTIs synth softwares (Samplitude / Native Instruments / Octacapture and THX Makie monitors, not ‘ultimate’, but good...).

And my concern is also FX. If a synth source makes such a difference, what about FX ? (I didn’t test this to be honest, not enough time…)

 

Regards

Gabriel Plalame

The French dyslexic who speaks badly English.
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