Not to stray from the original question too far, but why perform all of that upsampling and downsampling? According to your description, it should be sufficient to low-pass nonlinear effect inputs, and then low-pass their outputs before passing further along the signal chain. It should be just fine to run the entire processing chain at 2x or 4x with judicious application of filtering ... without any SRC.
Of course, this would require coordination of all effects designers so that one sample rate could be selected for the entire recording + mixing + mastering chain (especially since everything can be done in one pass these days). Brian Willoughby On Jul 4, 2023, at 2:04 PM, N G (NG) <[email protected]> wrote: > Sorry for double-posting but just to be clear my prior message only counts > for applying non-linear processes to the signal. Like mixing with > compression, saturation, analog modeled plugins. For just playback of audio > it doesn't matter except you'll have frequencies in your signal that go above > the human hearing range. And probably above the frequency response of > whatever speakers/headphones you're listening through. > > On Jul 4, 2023, at 16:58, N G (NG) <[email protected]> wrote: >> There's this video by Dan Worrall / Fabfilter about higher sample rates. >> 44.1k/48k is too small of a difference to really be noticeable, it's more >> about things like 44.1k vs 88.2k. >> https://urldefense.proofpoint.com/v2/url?u=https-3A__youtu.be_-2DjCwIsT0X8M&d=DwIFAg&c=009klHSCxuh5AI1vNQzSO0KGjl4nbi2Q0M1QLJX9BeE&r=TRvFbpof3kTa2q5hdjI2hccynPix7hNL2n0I6DmlDy0&m=zDM0oTd8nJ5kOSCIug10aOXbraJoVHQ1Ri3yMbiAmmA-xepTlnXrbK4xCTTG7XmC&s=TlEIUmDN7rtQCZIcsGrB4UC2STKWJvTAvPPfN-j0zDc&e= >> <maxresdefault.jpg> >> Samplerates: the higher the better, right? >> youtu.be >> >> >> Basically a higher sample rate will push most aliasing to happen outside the >> audible range, which makes it easier to filter those artifacts. But doing >> your entire mix at a higher sample rate can lead to a wider signal bandwidth >> for intermodulation distortion to occur in, which will cause artifacts in >> the audible range. So the most effective way to mix, if you're specifically >> worried about avoid aliasing and IMD, is per-plugin over sampling. Upsample >> by 2x or 4x, do your nonlinear processing, filter everything above 22k, >> downsample back to the session's native sample rate. >> >> Or basically, you want your audio bandwidth to be as much as you need and >> not more. >> >> -Neil >> >> On Jul 4, 2023, at 12:50 PM, Kevin Dixon <[email protected]> wrote: >>> I don't know what you're referring to in the subject, but 44.1khz is just a >>> left over standard, picked for convenience with existing mediums. 48k is >>> more convenient for film use, since it aligns evenly with 24fps. But that's >>> also an irrelevant medium at this point! >>> >>> The Red Book was the initial standard for compact disc digital audio >>> >>> https://urldefense.proofpoint.com/v2/url?u=https-3A__en.wikipedia.org_wiki_44-2C100-5FHz&d=DwIFAg&c=009klHSCxuh5AI1vNQzSO0KGjl4nbi2Q0M1QLJX9BeE&r=TRvFbpof3kTa2q5hdjI2hccynPix7hNL2n0I6DmlDy0&m=zDM0oTd8nJ5kOSCIug10aOXbraJoVHQ1Ri3yMbiAmmA-xepTlnXrbK4xCTTG7XmC&s=KCD_gKgHgM4BTwXnyuR_68Dc-t0iUyJSvq0AYNN8Sbg&e= >>> >>> https://urldefense.proofpoint.com/v2/url?u=https-3A__en.wikipedia.org_wiki_Rainbow-5FBooks-23Red-5FBook-5F-281980-29&d=DwIFAg&c=009klHSCxuh5AI1vNQzSO0KGjl4nbi2Q0M1QLJX9BeE&r=TRvFbpof3kTa2q5hdjI2hccynPix7hNL2n0I6DmlDy0&m=zDM0oTd8nJ5kOSCIug10aOXbraJoVHQ1Ri3yMbiAmmA-xepTlnXrbK4xCTTG7XmC&s=as5SwIPavlYwnJpkZuS3ak7PYSDw59GXPGn0qsWbct4&e= >>>
