Great News!
You have posted in the past that you sometimes prefer sampling at 88K2 - now you know why 
peace y’all
pj
Thank you for your detailed answers. Thanks to you I really starting to get it. Since I moved my recordings to 48 khz I felt I have to use eq less and less. The amount of points explaines why there is less hum and abnormal frequences in higher samplerates.
I’ve never learned sound engineering so I apologize for simplifying thing for me.
So actually samplerate you use depends on what do you want to get. If I want to do a popsong for masses 44,1 will be more than enough because they can’t feel the difference anyway. This was the point my chat mate was talking about actually ( I think).
But there will be a difference if I want to do something for me. And there will be a big difference in mixing, adding effects and so on… The amount of data determines distortion and accuracy of the original signal in the end. So actually- if I’m doing symphony with live instruments recorded one by one lower samplerate can be an enemy.
But… There are allways two sides of a coin. There must be a killer D/A converter in your soundcard or other recording device to do this correctly.
So the question remains untill there are different people with different needs.
Are my conclusions correct?
From my own personal limited experience i think it’s best to use different rates for different genres, rock/pop/dance stuff is bang on at 44.1/24 or 32 but things such as a solo classical guitar recorded in a lovely old church really benefit from higher sample rates as do traditional jazz quartets and classical recordings, mainly i think due to capturing their acoustic settings… you just seem to get a better sense of air and space in the recordings. i recorded my mate’s Taylor acoustic a few weeks back and we were mucking about with different sample rates and we both preferred it at 96 in a solo situation, it just sounded more ‘solid’ and more defined, we did it in a fairly small wooden room and it picked the reflections from the ‘woodiness’ of the room up really nicely.
I have found also that plugins, particularly EQs work VERY differently at different sample rates, the higher the sample rate the less effective they seem to be.
Some things DO seem to sound better at lower sample rates though… pop music just seems to sound ‘right’ at either 48 or 44.1 to my ears and to the rest of the people i am involved with… one or two of which have had some pretty big selling records over the years and are still getting hefty royalty cheques so they know a thing or two
Personally i like to track the AbstrAxion stuff at 48… it just sounds RIGHT, it’s all about personal choice at the end of the day and one man’s meat… as they say.
The hardware is more than capable of capturing it, HD space is insanely cheap these days so may as well use the tools to their full advantage eh
And yeah whatever happened to Dylan? Possibly too busy celebrating getting the ‘all clear’ from his illness?
Shouldn’t 48 and 44.1 be about the same?
from 48 to 96 there is an octave
from 44 to 88 there is an octave
the snake oil range where there is a difference is between 22500hz and 24000hz …
a halftone of harmonics …
the chosen standards are more a matter of technical reasons?
Red Book CD use 44.1 and is it DVD or the movie industry or whatever who happened to chose 48kHz
From a listening perspective it makes more sense to up the standard to at least 60kHz to make a real difference?
Or why not use 96 while waiting for the now standard to dominate the world?
Yup makes sense to me. 
But at the end if the day (it’s midnight) there’s never anything wrong with headroom. If you’ve got the machinary to record at 1024Khz and 256bit then go for it
But 2048/256 sounds better 
Only when you don’t record as close to 0dBFS as possible. 
If I compress the poopies out of the signal on the way in, getting rid of any redundant dynamics, I should be able to record everything into the +/-0dB - -0.1db range, which should make it possible to use 4 bit recording? The thing is I’m a little tight on hard disk space so I wonder what you gurus out in Cubasia say about that? Then I also wouldn’t need any 2bus compression? Is the 1024kHz and 4 bits the wave of the future?
oooolala, there are flowers in my signal path? 
That explains a lot!
With a 16dB dynamic I dont think you could get to .1 of a dB
Edit, I did mean 24dB
Not all samples rates are created equal …
S/S Transition Band Cents dB/Oct Fltr
44k1 22050 / 20000 = 1.1025 168.9 568.27 48
48k 24000 / 20000 = 1.2000 315.6 304.14 26
60K 30000 / 20000 = 1.5000 702.0 136.76 12
64k 32000 / 20000 = 1.6000 813.7 117.98 10
88k2 44100 / 20000 = 2.2050 1368.9 70.13 6
96k 48000 / 20000 = 2.4000 1515.6 63.34 6
Transition Band - region between Nyquist limit (SR/2) and highest frequency in the pass band
Cents - Transition Band width in 100ths of a semitone
dB/Oct - filter requirement for aliasing to be -80dB
Fltr - Number of 12dB stages for -80dB anti-aliasing
I like 96k because it is a standard - but as I have observed sample rates above 60K are pretty good
peace y’all
pj
Oh well, we now have 192Khz to worry about
If I compress the flower out of the signal on the way in, getting rid of any redundant dynamics, I should be able to record everything into the +/-0dB - -0.1db range, which should make it possible to use 4 bit recording? The thing is I’m a little tight on hard disk space so I wonder what you gurus out in Cubasia say about that? Then I also wouldn’t need any 2bus compression? Is the 1024kHz and 4 bits the wave of the future?[/quote]
4 bit recording? Well you could but you’d only have a 24db Signal to Noise ratio. And the quantisation noise would be horrendous. - I think there’s a plug that does bit reduction somewhere. Compress one of your tunes and the bit reduce it to 4. I doubt you’ll like it.
And I was goofing around as hard as I could. I need to goof harder! Reminds me of Poe’s law, for some reason …
These days, Sigma Delta converters are 1-bit and run at frequencies greater than 2MHz 
Yes, really !
It’s a funny darn world we live it - that’s for sure
How does that relate to choosing your sample rate that your DAW and convertor are set to? Is one a matter of INPUT and the other OUTPUT?
It’s not 1bit in the conventional sense. It’s a pulse stream. The number of pulses per given time reflects the level of the input signal
I vaguely understood that part. What I was getting at is, what is the importance/relevance of say choosing the various sample rates on the front of the typical convertor (44.1, 48, 88.2, 96, etc.) and delta-sigma conversion?
Well the D-S conversion is eventually converted to a regular x bit data stream which should follow the sample rate of your DAW.
My old DAT machines use 1bit streaming 16bit @ 44.1 or 48 always thought they sounder rather good.