![]() if these rates are so important and make such a difference, why do the the boxes we use not have 88khz or 96khz converters? Surely an analog machine like the A4 would need these higher quality converters to allow us to appreciate the analog engine in all its quality? The audio cards I have had for my laptop have offered different sample rates, and I have often reduced the performance of my machine to have the highest possible sample rate I wonder now if it was worth it.Īnd. Now I do more stuff outside the box, these things are far more set in stone. However, it does make me wonder just how much time and energy I wasted on these concerns before. To be honest, these days, I concern myself with this much less than I did in the past. If it was important, would they not both be 48 or even higher? The fact that the DN and OT have different quality converters (48 vs 44) again makes me wonder the importance of this stuff. playing alongside the OT and the Digitone, where is the difference? The juxtaposition of these loops doesn’t seem to create an obvious sound quality difference. If I have a set playing with Live Flattened Loops recorded at 88khz etc. However, if I sample it into the OT, which I often do, the quality changes to 24bit 44khz (I think) so was there any point in having things running at 88Khz in the first place? ![]() If I play it back then that quality remains. When I use VSTs like Diva in Live and then freeze the track and flatten it, it is at 88khz. ![]() I’ve been thinking about this stuff a bit and the inconsistencies that exist in my setup and what the overall effect is.Īllen and Heath DB4 USB to my Macbook running at 88khz Sample Rate.ĭigitone and Octatrack running into my DB4.Īlso, for context, I don’t make complete tracks or have things mastered I put together sets of my stuff with the intention of performing them live.
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