ADAT ins at 44.1, Scope project at 96k?

[sodiumcycle]

Is there any way to have Scope ADAT ins run at 44.1 while having the project at 96khz for ASIO? The issue is with external equipment that must run at this sample rate.

Also, does anyone notice a sound quality difference with Scope effects and synth plugins at 96k? At least with VST synths, it sounds much better to my ears.

[garyb]

no, i don't think you can do that.

there's no doubt that 96k sounds a tiny bit to a lot better, depending on the device. what's not clear, however, is whether you will really get a better final product, especially if the end product is for cd or mp3. my opinion is that the extra resources and storage space required for high samplerates are not worth the final results, even if the initial results seem better.

[Shroomz~>]

no, i don't think you can do that.

No you definitely can't. Scope won't work as either WC master or slave @ 96kHz if connected to something else @ 44.1. Never tried it, but common sense dictates that it can't possibly work.

[astroman]

I'd even extend Gary's point to the question what is good 'sound' actually ?
people seem to associate it (usually?) with high frequency details, transparency and all that stuff, often paired with high figure specs (supposed?) to add some objectivity...

but in the end it's about a listening experience and mind you: not one single human being on this planet(Z) was provided with linear response ears by nature...
Imho the majority of 'modern' productions is simply boring because it's predictable up to the 22nd bit.
Same sources, same processors, same math to squeeze the maximum of loudness out of the sh*t.
And it really sounds like sh*t in my ears - no matter if it REALLY IS technically superior.

First time I noticed this with the soundtrack (by Curtis Mayfield) of the 'Superfly' movie - it was crisp, transparent, full of bells n'whistles - but they had remastered the funk away from of the tracks (which are among the most funky stuff ever written to tape...imho)
I'd rather listen to a stoned Amy WH squealing into a RE20 with just her guitarist comping than to a production like 'Back to Black'.
Ok, eventually it's a matter of taste...

but we really should think (and be inspired) in musical instead of technical terms again.
They already did 40 years ago in Motown, and I bet you'll have a hard time with ANY digital system of your personal choice to beat those mixes.

some stuff sounds great in 96k, some rules in 10bit, accept some analog noise, add non-linearity...
use diversity and mix it all together with only the final sound in mind
then tracks will be exiting again...

[Shroomz~>]

[dawman]

I wonder what my Black Sabbath & Grand Funk Railroad 8 Track Tapes are played back at.
I still go out into the garage and listen to 'em occassionally wondering when the deck will cease to function. They are very old, but then so am I.
It's embarrassingly a long scroll down to find my year of birth on a porn site these days..

Solaris is a 96k synth and it sounds like nothing I ever played before.
I wonder if I can dither it down to 44.1k, maybe I'll get more poly?
Hey there's a good question to piss off JBowen with.....

[voidar]

You would need an (often expensive) hardware SRC. Also, above 54KHz or so would have ADAT work in S-MUX which will halve your IO.

I am having this sort of "problem" myself now asI usually work in 48K. I've got this Boss VF-1 processor which latelt has given me some inspiration. It has to be set to master and can't run SPDIF higher than 44K1. But I guess it sounds fine. If you have to do everything in real time (like a send/return effect) then you are looking at an expensive solution. 'Else you could go about with r8brain Pro.

[greenbluegold]

This may be just tangential, but the other night I was converting some 24bit 96kHz wave files to 16 bit 48 kHz in wavelab and sending the audio to Scope. After a while I forgot to switch the sample rate scope back from 96 to 48 when playing back the new files -- and unless my mind was confused by all the weirdo sounds I'd been listening to, something automatically adjusted, I suspect in Scope or the drivers so that playback of 48kHz files at 96kHz in scope was fine.

I should really double check this.

I'm just using my imagination but, maybe it'd be possible to send in 48kHz adat to a 96Khz project, being a nice even 1/2 sample rate. 44.1 would require some more extensive conversion. Of course, syncing may a problem.

[garyb]

nope, it doesn't work like that. even rates that are exactly doubled, require interpolation when downsampling.

[voidar]

Your sound-player was probably doing some crude SRC.

[greenbluegold]

I do wonder where the interpolation is being done, I guess Wavelab is the most likely culprit. I did some testing last night and with scope set to 96kHz I can open and play lower sample rate files in Wavelab, but if I set Scope to 48kHz then Wavelab won't open 96kHz files without a warning.