PO,
I will make this clear. Maybe this is complex.
Once you get to 24/192k sample rates, any higher sampling rates become less important than othe issues for recording studios. At that point (way above 44.1k. i.e 192k) technical requirements get tricky. PO is this clear to you?
This is why some speak of PCM while others talk of DSD and DXD. The technical requirements of the hardware in studios starts to become difficult. For instance there are very few multitrack DAWs that can handle DXD. Most studio kit is 24/192 compatible and under only. Are we clear on that too PO?
Obviously a 16/44.1 recording will NOT sound as NATURAL as much HIGHER sample rates. At least double and upwards of 44.1 and depending on the RECORDING quality of course there will be a nice gain.
Now i will muddy the water. Your clever joke about staying at 44.1 is interesting. (if you are interested) Many top guys used to stay at a single sample rate because at the time the dithering algorithms were not good. Mastering guys felt dithering caused more problems than staying 44.1 all the way through the process.(44.1 due to CDs) But that was in the 1990s.
I will make this clear. Maybe this is complex.
Once you get to 24/192k sample rates, any higher sampling rates become less important than othe issues for recording studios. At that point (way above 44.1k. i.e 192k) technical requirements get tricky. PO is this clear to you?
This is why some speak of PCM while others talk of DSD and DXD. The technical requirements of the hardware in studios starts to become difficult. For instance there are very few multitrack DAWs that can handle DXD. Most studio kit is 24/192 compatible and under only. Are we clear on that too PO?
Obviously a 16/44.1 recording will NOT sound as NATURAL as much HIGHER sample rates. At least double and upwards of 44.1 and depending on the RECORDING quality of course there will be a nice gain.
Now i will muddy the water. Your clever joke about staying at 44.1 is interesting. (if you are interested) Many top guys used to stay at a single sample rate because at the time the dithering algorithms were not good. Mastering guys felt dithering caused more problems than staying 44.1 all the way through the process.(44.1 due to CDs) But that was in the 1990s.