Dante Vs Soundgrid4/16/2021
Its cost effective and simple to use (no computer setup required) but doesnt offer any recording option.
![]() Since Ive been running my x32 using dante on the windows platforms Ive never given this much of a thought before, but this will affect the studiolive users who wants to run dante as well. I usually run 48k for video projects and 44.1k for the rest. Since it was quite some time I did some audio for video Ive pretty much used 44.1k for quite some time. However, it seems that the dante implementation for the virtual soundcard for some reason is limited to only 48k on the mac platform. Looking at some release notes it wasnt too long ago that 44.1k became supported on the windows plattform. So with this in mind - Would there be any drawback for me standarizing on 48k and never look back at 44.1k when recording and mixing and then rely on downsampling for the final master whenever 48k--44.1k is needed. Latest StudioOne Pro of course, but mostly Cubase these days (unfortunately). But I was able to hear more clarity of the highs or something like that so Ive stuck to 48k ever since. I would usually only want 44.1 when I would send someone an mp3 or something, never had any problem exporting or converting for 44.1 I used to export and dither down to 16 bits during the export then convert the sample rate down in another program (sound forge) but S1 does fine exporting all at once. It does get messy if youre trying to listen to 44.1k then 48k and back and forth depending on your interface and setup. Access your MY.PRESONUS account. Dante Vs Soundgrid How To Get YourOVERVIEW of how to get your issue fixed or the steps to create a SUPPORT TICKET. ![]() Studio OnePro5.1 64bit Melodyne Studio Studio Computer - Nectar Impact LX25 Win10 i7 7700k 16gb ram 1TB SSD AsusH270M-PLUS interface:StudioKonnekt 48 Kitchen Computer Win10 Ryzen 5 3600 - Radeon RX 590 - 16GB DDR4 3000MHz - 512GB SSD interface: Motu M2. If I am producing a CD for a client I know is going to end up at 44.1K then I tend to start and end there. I use a higher bit depth though through out the production process eg 24 bit. Working at 48K in the thought that it is a little better than 44.1 is silly and you wont be hearing any differences there. For those who they think they can, a serious blindfold AB test would change your mind in no time (when someone else is doing the switching and it is all perfectly seamless) There are situations however where working at 96K has definite advantages. Especially ones that feature a lot of top end harmonic material such as Native Prism. Rendering out those parts at 96K and even downsampling that render back to 44.1K still sounds very much better that rendering directly at 44.1K. Read my posts in this thread: viewtopic.phpf111t2306 It is enough for me to want to build a future system at 96K end to end. I like using an external digital mixer so that means it too has to be able to handle 96K sample rates. When engineers of the quality of people such as Bob Clearmountain for example are tracking a famous album they dont do it 44.1K either. They tend to work at the industry standard for higher res which is 96K and 24 bit. Granted some converters can sound better at 44.1K than others do at 96K. But once you are in the league of people like Bob Clearmountain then they have the options of working with the finest sounding 96K converters on the planet and as he mentions in one interview recently with Dave Pensado that Apogee are the sheer leaders in 96K race right now. That is what is in use in those serious Bob Clearmountain sessions.
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