Dan Worrall of Fabfilter explains Sample Rates and Oversampling for recordings and mixing sessions

This is good video going over the effects of sampling rate and oversampling on distortion and compression

Samplerates: the higher the better, right?

In this video tutorial, Dan Worrall explains when and why you should use higher sample rates for your recordings and mixing sessions, and more importantly… when you should NOT. Also, Dan goes in-depth about oversampling vs. higher sample rates.


That was a very good video indeed. Watched last week. But that covers the recording part, i.e., audio interfaces, DAWs and plugins, etc… In short, analog to digital.

I’d be interested in seeing a similar rich video for the playback part, i.e., Digital to Analog. If there was a single one, that would be great. Spoiler alert. Watched many. I feel I’m still confused though. :dizzy_face:

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Remember the concepts are the same. Also, we have solutions Like Cord M-Scaler that do Oversample prior a Cord DAC ( Aka DAVE, HUGO TT, HUGO 2, and QUTEST), For example, the eq filter is in the analog domain.


Great video. Thanks for posting it.

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Thank you. I hope it helps the community grow in experaince and create a richer common language.


I found this video to be really informative: https://youtu.be/IiZqYnd5g8M


I loved this one in the comments

“The reason vinyl sounds “better” on older recordings is down to the mastering, and incredibly poor transfers of analogue masters onto digital formats back in the day. Vinyl has a log frequency response that drops off sharply as pitch increases, whereas digital is linear right across the frequency range. Original analogue studio recordings were made onto two-inch tape, which was close to linear, but to produce the final master to press vinyl records, the studio tape had to be recorded with artificially boosted treble to compensate for the high-end loss of vinyl, so that the final vinyl playback from the speakers sounded like a flat, linear frequency response. They needed to add the extra treble on the masters to compensate for the high-end loss of the final vinyl playback format. Back in the early days of CD, record companies just stuck those analogue masters directly onto a CD, with the artificial treble boost still in place but now audible due to the linear response of CD, which results in harsh sounding, trebly, tinny, thin-sounding recordings, all the problems audiophiles say is due to digital. It’s not that the format is digital, its that they transferred a log compensated master onto a linear format. They why 60s, 70s vinyl can sound better than bad CD versions. However, any modern stuff recorded digitally, mastered digitally, and then pressed onto vinyl? Literally the exact opposite problem. But the record companies are now making a fortune selling bad vinyl masters to audiophiles at extortionate rates, whereas in the 80’s it was the other way around. They also now run analogue masters through a filter to drop the treble, call it a “remaster” and sell it back, again, to the same audiophiles, in digital. And I say this as someone who owns a stack of vinyl too.”


happen even in analog systems due once againto natural oscillations either in the physical

6:10 / 17:33
This is good one as well

Nyquist-Shannon; The Backbone of Digital Sound


Already had watched that one. Thanks!

Time to watch it again though. Hopefully I’ll get a bigger picture this time.


A fun fact about this…

Some years ago (probably 12 or more) I was in a Hip-Hop fusion band and we had a DJ that would add scratches and other effects into the tracks.

Until then we would use vinyls with “scratchable” samples for this but as we started to become better known (and to be able to afford it) we spent the money on having our own voices and samples pressed on to vinyl.

The idea was to create choruses and other effects using our own vocals, however, the vinyl actually sounded nothing like our real recordings.

We even contacted the company who pressed the vinyl for us (at a pretty large cost) to see why and they just said (and proved) that they had pressed exactly what we had sent them.

Back then I had absolutely no idea about different compensations for recording vinyl against CD and just thought we had thrown money at a bad company, but as time passed and I learned more, I now understand that it was actually to be expected.