Korg Kronos. Every Kurzweil keyboard I’ve ever owned. ADATs. Huge amounts of DATs, albeit for a different reason than the others…
You design an embedded system to run at it’s optimal sample rate, which sounds it’s best. You shouldn’t expect to change the sample rate to match some recording device. If you did, none of these devices would even be useful, since you really shouldn’t be recording at 44/48 anymore anyway.
I get a lot of 44.1 projects to mix. Thing that’s similar about each and every one? Not recorded by professional tracking engineer. 88.2 and 96k are industry standards…and have been for about a decade for anything outside of electronica/dance. ANything you’re using a mic for should be at one of those. Which, really doesn’t matter much to my ear…many like 88.2 because it allows full varispeed function in HD TDM systems that 96k doesn’t…Larvy seems to think it’s ideal because of low end loss that he says starts above 60khz…eh…tomato, tamahto to me…interchangeable. Couldn’t tell the difference to save my life.
…same does NOT apply for 44 to 48 or 48 to 88/96.
However…greater SR discussion aside…The two solutions here are simple. Run Cubase at 48k IF your interface analog connections are not up to snuff (and HUGE numbers of inexpensive interfaces are not). If they are, plug it in analog.