Are Higher Sample Rates REALLY Better??

The eternal question: do higher sample rates really improve things? Or are they actually detrimental to the audio you're recording? How does latency play into it?
Let's take a deep dive and explore that very question...
✅BECOME A MEMBER OF THIS CHANNEL FOR MORE GREAT CONTENT AND PERKS!
✅kzbin.infojoin
Make sure to subscribe, like this video and check out the rest of the channel
‼️ROCK SNARE SAMPLE PACK‼️ - shop.nastudios.co.uk/product/rock-snare-pack-1
💪Multi velocity, powerful, natural snare samples for hard hitting drums💪
‼️BIG FAT KICK SAMPLES‼️ shop.nastudios.co.uk/product/big-fat-kick
🥁FREE SNARE SAMPLE PACK🥁 - shop.nastudios.co.uk/product/one-shot-snare-pack
Get 7% off your first year of DistroKid here: distrokid.com/vip/samloose
💻 www.nastudios.co.uk​
☕️ buymeacoffee.com/samloose
📱Instagram: samlooseaudio
📱Facebook: NAStudiosUK​
▶ALL THE GEAR I USE:
🎛️Audient iD44 - amzn.to/3VZP4Gd
🎛️Focusrite Octopre Dynamic - amzn.to/3vVTLq3
🎛️Scarlett 18i20 - amzn.to/3UktpYh
🎧Behringer Powerplay Pro-8 - amzn.to/4bdaog3
🎧AKG K240 mkII - amzn.to/3xuRLp2
🎤Shure SM7B- amzn.to/4aR3kW3
🎤Shure SM57 - amzn.to/3TX8wRh
🎤Shure SM58 - amzn.to/3Q1vAx8
🎤Audix D2 - amzn.to/3U1W4Qi
🎤Audix D4 - amzn.to/3VUN5TL
🎤Audix D6 - amzn.to/3vIeI7X
🎤Audix i5 - amzn.to/3JDYLD7
🎤Audix DP5 - amzn.to/3vUxCsa
🎤sE Electronics Arena Pack - amzn.to/3vTxMju
🎤sE Dynacaster - amzn.to/3vVU18v
🐜Radial SB-1 - amzn.to/3Q4v0yO
🐜Radial SB-2 - amzn.to/3Q0vEgw
📷Sony A6400 - amzn.to/3vGXpnK
📷Sony 35mm f1.8 - amzn.to/3vIeUEd
🖥️Samsung U32J59x 4K Monitor - amzn.to/49Cx0oE
🖲️Kensington Expert Mouse - amzn.to/49KFdri

[@musar03580]

I've committed to 48 kHz / 24 bit audio.

[@runningwolf877]

48kHz for audio over video otherwise 44kHz. 32 bit float for recovery of audio purposes otherwise 24bit.

[@Audiomuscle]

Really enjoy these myth-busting videos. Thank you, Sam, and please keep them coming.

[@SpiritualFrequencies-zg5kj]

Unfortunately you do not own a true high grade converter ? Or is it ?

[@waynebo248]

Even if your computer can handle it, the real issue is this: if 1000 people listen to your track mixed at 192k or 96k, maybe 15 audiophiles would have speakers that could capture the difference. 2 or 3 of them MIGHT hear a slight difference. And the truth is NOBODY would really care. NOBODY would say their enjoyment of the music was impacted at all. So why would I spend money on something that really has no benefits? 24-bit/44.1k is enough for me. And let's remember, 90% of people will be listening in their car or on earbuds - less than pristine listening environments... 🤷🏾‍♂️

[@Pintosonic]

I have several Motu networked AVB interfaces in my studio that can work up to 192kHz and even if technically, AVB and Thunderbolt have enough bandwidth for all my channels at that sample rate, it doesn’t take long for the computer to choke as soon as I start adding plugins. So for my typical projects, I just can’t be at 192kHz, I would have to constantly bounce tracks to manage the CPU usage and honestly I don’t hear any improvements at 192kHz. At 96kHz I hear a tiny improvement over 48kHz with plugins that create harmonic distortion like tape saturation but only with plugins that do not have internal over sampling. So most of the time, I use 96kHz because my computer can take it and I don’t have to bounce tracks to manage the CPU usage. But I also used 48kHz on some projects and honestly good luck hearing the difference with 96kHz. Personally I don’t know anyone mixing at 192kHz even when they have 192kHz capables audio interfaces.

[@blasegangbeats1865]

Mixing in 192k is insane

[@DeanPuckering]

Sam I'm not sure if this is intentional but the video is unlisted. The higher sample rate slowed down definitely sounded better to me, it sounded like it had more air.

[@_DrumsArt]

Crisper higher end in the cymbal for sure. Sounded more natural.

[@DerekPower]

Before: in most situations, tracking and mixing at 44.1/48kHz is fine. 88.2/96 can work if you know it’s going to go into HD audio territory (though Atmos mixes require the audio to be at 48kHz). The reason why you would want to go higher in that stage is if you are doing sound design and you know there will be further processing down the road. But otherwise, it could potentially be very taxing on your system. As far as oversampling or not when it comes to processing/mixing … it only really becomes an issue when you are dealing with non-linearities and you want to avoid audible aliasing artefacts (there’s an alliteration 😉). But either a plugin will have that feature built-in or use something like Metaplugin to add it … or it may not matter because it might not be audible. (Or just use something else). After: either ones were serviceable (88.2 was a bit smoother) … liked the additional details brought up. Your humming is pretty good too 😂

[@pawel9450]

THANK YOU VERY MUCH FOR YOUR VIDEOS 😎🤘 pre watch: 48 kHz and 24bit . if I´m not gonna play around with streching

[@pawel9450]

😂 and you strted with streching- example 😂

[@DeanPuckering]

The song you’re humming is “Regulate” if I’m not mistaken…

[@ronallen2458]

Pre-watch comment: 48 is my go-to, but if files are provided in 44.1, i work there. I’m not a bat and I don’t do much manipulation apart from tuning in melodyne.

[@ronallen2458]

Post-watch: Did not know the tune you were humming. :( I’m working with an Antelope interface and an ADAT connected 8-mic pre. It is bulletproof at 48K using Antelope’s clocking, so no change in opinion here. Great video and series so far!

[@bonzology322]

almost every plugin made is optimized at 96k when they are developed, you better look into that, it matters

[@SamLoose]

I don’t think I said they weren’t? I said 192kHz may not be as stable.

[@3eye-trick]

I think we can call it case closed this is one busted myth, sample rate does matter but only sometimes. I use 44.1kHz 24bit by default through asio4all v2, above 48kHz gives cpu warning, complex bits and pieces sound better reproduced using 96kHz, 88.2 forget and 192 maybe someday for some reason. So yes I did notice a difference and also think I justified buying myself some new gear😍🤩 Thanks and Cheers!

[@MEMFISAKA]

*Audio is NOT (HELL NO!) a Video! Framerate is not sample rate. Sound waves (all we hear is combinations of different tones of SINE waves) is not str8 point to point line - it's a sphere! Sound waves spread as a sphere. The lower the frequency - the wider the sphere! 44.1 is enough to record, way enough. If you dosen't shit in the mix with all those BS saturators that doesen't sound like real one anyway, if you dosen't use extremely unnatural time effects such as supa fast attack elease compression - you are fine with 44/24 records. I told all this as a man you works with sound around 20 years, make blind tests and work a long period with 192K and evne 384K. Hight sample rates - it's a waste of time, CPU, electricity (yes!) and drive space. Spit in the face to anybody who advice you to work in high sample rates. They are good ONLY for time stretching. And never will sound "more analog".*

[@nullnullschnaider8072]

And nobody has the a/b comparison of the finished mix. So nobody will hear a difference and say: oh, this was only recorded at 44.1 kHz, what a terrible song.

[@SpiritualFrequencies-zg5kj]

YES high sample rates above 48Khz they are much better ...everyone just is pissed that the Ultra M4's not here yet ; ) .And exactly here ,you thank God for the APOGEE Symphony Products : ) . Because THEY actually make You feel the difference . Symphony has a very dimensional Low end reproduction ; Unreal almost . The secret is ; people tend to focus on high frequencies ; and totally mask the feel of the low end while claiming ; their 10 000 $(!!!!) converters are the best : ). APOGEE Symphony smokes them all for breakfast indeed as they say

[@Rhuggins]

Sample rates can be absolutely detrimental to a recording. They can make an otherwise great song very amateur sounding. Said no one ever

[@stupidusername38]

Not all oversampling simply extends the plugin sample rate, some manufacturers simply employ a filter at the Nyquist rate to roll off those frequencies so that they can't fold back into the audible frequency range