Mix Bus assignable to LR Bus

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This topic contains 49 replies, has 18 voices, and was last updated by Profile photo of ThisIsAnAudioAccount ThisIsAnAudioAccount 9 months, 2 weeks ago.

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    Profile photo of volounteer


    If you understand it so well then you should realize that some other folks want and need the higher rates so your OP is equivalent to saying that you should do it my way no matter what others want.

    Your reply uses logical fallacies. Just because some people or their use case does not need 96 does not mean we should all be stuck with 48. Why not 44.1 ? That would be better for studio users as 48 is more for broadcast and makes it impossible to get the best CDs.

    You also do not understand it nearly as well as you claim if you cannot see how the extra bits improves the final result.
    It has nothing to do with how a console sounds, it has to do with processing the data to get to the final end result.
    Live it makes no difference at all, but if you produce CDs it can make a big difference depending on your work flow and final product goal.

    96 has nothing to do with noise. Bit depth controls noise not sample rate.
    Sample rate has to do with the final mix when you end up down rezzing to 44.1.
    And if you start with 48 many people will uprez to 96,192,384 first so the downrez to 44.1 is better.
    The problem is with the ratios being incompatible with 48 to 44.1 to do a simple correct change in the rez.

    Yes you can produce good results with lower rates. Some people want better results.
    So when you want to achieve the best then you use higher rates, and better equipment, within your budget constraints.

    And we have not even discussed the effect of bit jitter and error bounds in the sampling originally.
    Which is improved with higher sample rates.

    Overall AH has to make a device that serves the market not one particular user.
    And they have made good overall choices even if you don’t like one of them.

    The market place is competitive and there is a WIDE range of choices.
    If you dont like the SQ and its features you are free to try to find something else you like better.
    But when you look, you will find other things that the alternatives do not do that you would want done differently.
    Else why didnt you buy the other device initially?

    Profile photo of Dilettant

    Just because some people or their use case does not need 96 does not mean we should all be stuck with 48.

    And where did i write to do so? Right: nohwere.

    I just wrote there is no reason to stop comparing 96 and 48 kHz consoles. There are many reasons to do so. Not for everyone may be, but for many users. And so we won’t stop that.

    Profile photo of volounteer


    whatever dood.
    you implied it very forcefully even if you did not say it explicitly.

    I merely pointed out why 96 is better for many people and how AH has done a good job of matching the features and specs on their various devices. If AH doesnt float your boat go look at midas or some other manufacturer.

    compare all you want.
    perfection is not possible, certainly not for everybody with one device.

    Profile photo of Erik


    Just created an account for this exact problem. (and sorry for replying to an old thread)

    You are totally right. I use a Behringer x32 for my church, and having the ability to route post-fader aux busses back into the main LR (to then be sent to a matrix for mains/fills/subs) is AMAZING. It is like using a subgroup, but better. This has been especially useful for double dipping in FX returns. I can use the same reverb effect but have a different return value for the room / livestream. I wish I could do the same thing on the SQ-5.

    However, I have gotten similar results by routing all the channel faders to a post-fader aux bus- then the buses to a matrix (skipping the main LR entirely). I then used a DCA to control all 3 matrices like a master volume. I hope this helps! 🙂

    – Erik



    The name of the game with higher sample rates is being able to add nice harmonics, saturation, and processing to a signal without adding aliasing withing the audible human hearing range. See this video for awesome visual detail.

    “In this video tutorial, Dan Worrall explains when and why you should use higher samplerates for your recordings and mixing sessions, and more importantly… when you should NOT. Also, Dan goes in depth about oversampling vs. higher sample rates.”

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