If you are really pushing FM and non-linearities to the point of turning smooth shapes into square waves then you may need up to 2816 (44*64) / 3072 (48*64) khz to contain the harmonics / sidebands created. This will cover some pretty hard clipping and/or FM.
#Cytomic scream presets Offline
Synths should have oversampling settings so that you can set a realtime preview and offline render amount for the synth so you don’t have to change your project sample rate to get decent quality. Today I watched a video of one of the audio banks designed by a user, and buried in the comments section he wrote "don't forget to run this plugin at 96000 for the best experience". Remember to double your audio card buffer sizes when doubling your sample rate.Ģpauluzz2 wrote:One of the few third party plugins that I decided to keep alongside Live's stock plugins is the OPX-PRO II. This way all plugins get the benefit of a some oversampling to push nyquist warmping and a bit of aliasing out of the audio range, but without introducing latency and extra cpu load because each plugin has to oversample.
If you have a blank slate and are targetting video and/or encoded audio files like mp3 then use 96 khz.
If most of your previous recordings are done at 44.1khz then use 88.2khz, as playback of unpitched signals will hide the aliasing even for average resampling fitlers. Working at either 88/96 khz is the best bang for buck in terms of quality. With my current computer I can't really be working at 192000 constantly and switching sample rates everytime I want to bounce an instance of OPX down seems rather silly Could this just be a design decision for this particular plugin? First take is Ableton's sample rate setting at 48000hz, then 96000hz, then 192000hz.įor the tech–savvy among us: is this common for third party plugins? I'm under the impression it doesn't matter much for Live's own instruments. You're hearing internal recordings (resampling the audio coming from the plugin to an audio track inside Ableton Live). Since he clearly has some experience with the plugin I thought I'd try it out. One of the few third party plugins that I decided to keep alongside Live's stock plugins is the OPX-PRO II. Numerous audiophile debates online would make you want to believe otherwise, but many notable audio engineers and artists who I admire say it doesn't matter much, and since I never noticed a big difference I just stuck with working on 48000 for all my projects.
For years now I've been under the impression that Live's sample rate does not make a major difference to overall sound quality of a piece of music made in Live.
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