Thoughts on Music projects recorded at 44.1khz for new Dolby Atmos versions

Hi all,

I’ve come to Nuendo after over 20 years on Cubase - for Dolby Atmos mostly. I’ve stuck at 44.1khz for music as the conversion between 48khz and 44.1khz is not something I enjoy - the final format being 44.1khz stereo in general.

Now with Dolby Atmos because it was likely Film and TV post production oriented they force 48khz. I’m wondering about a strategy for this in terms of previous and current projects recorded at 44.1khz. A conversation about it… I suppose. I generally have avoided 48khz recording due to the conversion down to 44.1khz later.

48kHz has always been the standard for anything that is Broadcast.
Only music production that needed to end up on CD required, 44.1kHz.
We (in post) have the opposite reaction: “44,1kHz, what the hell are you thinking???”

Just copy your project and set the new project to 48kHz.
Nuendo will ask you if it needs to convert all files & settings to 48kHz.


Thanks Fredo. Yes 48khz has long being a Broadcast rate. Now a Broadcast technology (Atmos) and a music mixing initiave (Immersive / Spatial - but using Dolby Atmos) collide.

I’m wondering too if those who have already migrated from Cubase, who have begun using Dolby Atmos here have any workflow methods or insights too?

I think the easiest thing now is to just do everything in 48 (both music for broadcast AND for album release purposes). For example, when releasing a film soundtrack album, the recordings and mixes will already be in 48 anyway… So when I release a digital-only soundtrack album, even the mastering engineer doesn’t bother to master in anything else than 48. Music publishing services like The Orchard seem to be fine with 24/48 masters. :slight_smile:

I have been producing records now at 24 / 96k for nearly 8 years. If there is a Mastering Engineer involved, I let them do the final conversions on their end.

Otherwise I do the conversion. Many of my peers and mentors always state this:

Record at as high a sample rate as you can afford to do, and worry about the final delivery format, when it is time to worry about it. I.E. at the very end. This enables productions to be “future proofed”, as for example with the new Apple music requirements, which are at 24 bits / 96kHz currently, and their new Atmos will be at 48k.