I have a question regarding 192K recordings you do:

Do you file 3 versions of them? 192K, 96K and 48K, each with their respective down-pitched versions?

Or do you file the recordings only at 192K and somehow label them so you know in soundminer what to do (i.e. add them to your 48K session via import audio instead of sample rate converting them so you get the down-pitch effect?)

What's the usual protocol on this sort of thing?


I have the sample rate column visible in SM. I let SM do the downsampling into sessions, and use varispeed to taste straight out. I don't keep downsampled versions in my library. Waste of drivespace/headspace IMO.

  • Yeah! Exactly what I think. Thanks for the answer. Do you ever let adding a file into a session do the varispeed effect for you? My understanding is that sounds better instead of converting it and then varispeeding? – Utopia Mar 8 '11 at 18:49
  • typically I don't. Varispeed doesn't tend to produce artifacts since its very simple math, so I trust SM to do it well. also, I'm constantly at some weird number like 45% or 16%, so pure intervals dont come into my thought process so much. – Rene Mar 8 '11 at 19:17
  • Cool. That makes me wonder what would sound better (if it would be noticeable at all) which is: A) Taking a 192K recording and converting it into a 48K session and then varispeeding it lower pitch or B) Taking a 192K file and adding it into a 48K session and then varispeeding it higher to the same spot as you did in A. – Utopia Mar 8 '11 at 19:50
  • i think in either situation you'd lose the reason for recording at a high sample rate - pitching ultrasonic frequencies down into the human range. Use soundminer and varispeed it at NATIVE rez, then spot into a 48k session, upper frequencies intact. – Rene Mar 8 '11 at 20:17
  • Oh I get it now... Yeah I suppose that would be the best. – Utopia Mar 8 '11 at 22:46

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