For discussion about setting up your studio and advice on the gear and equipment within it.
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By HanHuman Wed Jun 09, 2021 10:56 pm
Hi,

I track most of my sound from an MPC 1000 to a DAW trough a Clarett 8Pre and my question is, how do set your audio interface between 44.1 and 48kHz in that type of configuration?

Logic tells me 44.1 is the way to go as it is what the MPC does but I'd be interested to know if there's anything more to it.

Thanks
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By v00d00ppl Thu Jun 10, 2021 2:07 am
Are you going to bounce your files from Mpc 1000 to your daw or record live?

I would recommend recording into the 8pre but keep your sessions at 48. Then at mastering bring it 44.1.
This would give you flexibility of a higher audio rate while still being able to scale down. I track my 8pre sessions at 96k then go 44.à when it’s time to master the track.
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By HanHuman Thu Jun 10, 2021 2:44 am
Hey, thanks.
Tracking out with the 4 mono + 1 stereo outputs through the 8pre to the DAW yea.
Isn't there any dithering issues from 48 to 44.1? Read some time ago that divinding by two (ex: 96 to 48) was ok but the 48 -> 44.1 could mess things up.
So I though staying in 44.1 was the safer option since.
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By v00d00ppl Thu Jun 10, 2021 6:01 am
HanHuman wrote:Hey, thanks.
Tracking out with the 4 mono + 1 stereo outputs through the 8pre to the DAW yea.
Isn't there any dithering issues from 48 to 44.1? Read some time ago that divinding by two (ex: 96 to 48) was ok but the 48 -> 44.1 could mess things up.
So I though staying in 44.1 was the safer option since.


You should be fine with most modern DAWs. Once you select any dithering option the bounce should sound fine. I mastered a track with outboard compressors and I had to keep the session at 96k. When I was satisfied with the sound I told Ableton to bounce it to 48k and 44.1K. Both versions sounded fine without any audible losses.
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By HanHuman Sat Jun 12, 2021 3:45 am
Alright, thanks!
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By 83dude Tue Jun 22, 2021 7:08 am
HanHuman wrote:Hey, thanks.
Tracking out with the 4 mono + 1 stereo outputs through the 8pre to the DAW yea.
Isn't there any dithering issues from 48 to 44.1? Read some time ago that divinding by two (ex: 96 to 48) was ok but the 48 -> 44.1 could mess things up.
So I though staying in 44.1 was the safer option since.


Dithering is only required for bouncing to lower BIT DEPTHS. The resulting noise due to quantisation errors is pretty ugly and can be „covered up“ by dithering, which adds a smooth noise slightly louder than that quantization noise.

Distortion from SRC (sample rate conversion) usually results in a slight and highly subtle phase distortion but is usually negligible, depending on the quality of your AD/DA converters. While you should avoid converting a lot (e.g. 44k sample in 48k MPC project, mixed at 96k, mastered at 48k, bounced to 44k), it usually depends on what you do with the final product:

- Music only release: 44 kHz are usually sufficient.
- Film or game music and sounds: 48 kHz could suffice, but source material with 48k could create unwanted artifacts due to heavy editing/sound design. 96 kHz (or more) source quality highly recommended.
- Analog releases (tape, vinyl): An audiophile‘s choice. Higher sample rates possible, but „cumbersome“.

Remember: Doubling the sample rate doubles the file size (and ergo RAM usage in modern day MPCs) as well. Also, sampling in mono halves your filesize too (for unweighted PCM containers that is).
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By Monotremata Tue Jun 22, 2021 3:45 pm
Yeah I use to track everything at 24/48, but a few years ago (namely when I started using the MPC and collecting tons of samples), I just went to 24/44.1. Im mostly sample based nowadays and almost every sample pack nowadays comes in 24/44.1 and there is absolutely no point in upsampling those other than taking up space. If I was recording an orchestra or something sure, Id want the extra headroom and frequency range, but unless Im using one of my synths, all my material starts from a 24 bit 44.1khz sample so it doesnt matter.