Well, I guess its not made to work at 196khz.
Id does work but all values are shifted an octave, meaning the around 3khz high boost is a 6khz at 196khz sample rate, same with bass, and the low cut that was about 20-25hz and non audible now is at 50khz and audible so I guess its not usable. I wonder if the attack and release times of the compressor are half the length too.
I was mixing at 48khz and the aliasing was unbearable. Then I started mixing at 96khz and that kind of made things better. Now Reaper lets you oversample any individual instance or even whole chains, and I was going to oversample MixDown at 192 and filter everything above 20khz before it but its not happening.
Oh, you just encountered what I discovered. Same here, it appears many Waves plugins aren’t designed to go over 96khz. I don’t know which ones do or don’t, but I did run into the same issue you did.
I’m not entirely sold that it’s that big of a deal.
I know you can run a single instrument and hear the aliasing… But I feel like by the time you’ve done a mix at 96khz, I don’t know if you’d be able to hear the difference in an equal volume A/B comparison.
I understand the desire in principle, though. And I agree, I’d rather be able to export with maximum quality.
In fact, Reaper should have an “oversample during mixdown” as an option. So we have good performance during composition, but a higher quality export.
Here is the list of the supported sampling rates per plugin.
If you have alot of stuff going on and you are pushing your plugins hard then you might experience the sound being a bit of harsh on the high frequencies mostly. This may not be audible when you listen to each element one at a time but the artifacts do add up.
I mix in Reaper and latest version allows you to oversample a single plugin OR a chain , which can be very usefull.
Oh that’s helpful, I didn’t know about that chart. I use a ton of Waves plugins and there’s no way I can keep track so I’ll probably just stick to a 96khz maximum.
I have an aversion to bright mixes in digital. I tend to roll off the highest highs and trend toward warmer, more midrange mixes. (Nothing terribly out of the ordinary, a lot of Tchad Blake’s mixes are kinda like that.)
But I wonder if my aversion to high frequencies is for the reason you describe. Maybe I heard a problem without being able to identify what it was.
I need to do a 96khz test and see if my system chokes. Otherwise I’ll be using Reaper’s internal oversampling on any distortion / analog emulation plugins.
Also, I was surprised to see the Flow Motion synth maxes out at 48khz. I like that strange synth a lot, that’s seems like an excessive restriction.
Well its worth looking into this.
Check your inbox. Ive sent something you might find usefull.
Rolling off your highs before and after any distortion process can help too
Do you have a recommended standard with this? Or do you just do it by ear? I guess I could calculate at what frequency the harmonics reach nyquist, etc…
I like that solution though because I don’t like overly bright mixes anyway. I’m 47. (Oof, is it 48 now?!) and my hearing rolls off above 14.25khz or so.
I literally have to look at a spectrum analyzer to know what’s going on up there.
Instead of rolling off the highs you can try the emphasis - de-empasis trick. Where you boost a certain frequency range (like the mids) by lets say 6db then run it through your saturator and copy paste the boosting instance after the saturator and attenuate 6db.
This way you still have the same sound as before but if the mids are boosted by 6db then their harmonics (that are two times the fundamental frequency) will be 6db higher but when you attenuate that range by 6db the haramonics are still boosted cos they are out of the range you boost/attenuate.
You can also try this with high shelves / low shelves etc, and also try this with compressors that saturate where you can have a more richer / saturated tone OR if you first attenuate and boost after you will have a more clean tone from that compressor.
Dont worry I also turned 47 a month ago, but still have many miles to run!
That’s an interesting technique! I’ll give it a shot and compare. Thanks for sharing it.
Really it should be base on something you here, not see or calculate.
I just roll off the highs so it sounds more pleasant, I set the distortion to sound more pleasant, or maybe I want it to be edgy, and then I’ll eq it after so it sounds more pleasant still.
If it sounds good it sounds good. Though, thats a mater of correct. Sometimes a bit bright and a bit harsh can be more desirable, especially for a dull sound. Or maybe you’re chasing something more akin to a lofi bit crushed sound. It pays to keep your options open and be adaptive in your approach based on you’re project’s requirements.
You CAN hear it when it builds up from 20 or 30 channels in your mix. The high frequencies get muddy and sound harsh. But when you solo each track you cannot hear it because all that non musical harmonics are close to non audible. So in every solo track you cannot hear. You can just see and calculate. While the whole mix is playing you cannot see or calculate but you can hear. Thats why I mix at 96khz. Not cos of the frequency response. That is silly. I mix at 96khz so that the nyquist frequency goes all the way up to 48khz so when the frequencies bump from 48khz and fall back, they will be way way lower when they come into the audible range of 20khz and below.