Quote Originally Posted by variablebitrate View Post
Not to go wildly off topic, but is there a source that talks about Trent working that way? Would like to dig into that more if it exists. I'm interested because stuff like older NIN albums like The Slip, the DE downloads, and The Social Network BluRay are all 96/24, but more recently the TR+AR stuff shifted to 48/24. I assumed it's because the standard for video tends to be 48kHz, but if there's another reason in terms of the math/fidelity/etc., I'm curious. I'm working on my own stuff right now and trying to decide where to land in terms of those specs as they relate to processing power, file size, sound quality, etc. If it's good enough for Trent, I'm sure it's good enough for me.

Unless, of course, the sampling rate of the mp3s is another clue that Ghosts V & VI are tracks from The Woman in the Window or elsewhere from the unused pile. Sorry for getting rant-y about sampling rates, but figured the ETS camp would be more forgiving about it.
I'd like to know, too, but I assume it's because they are generating stuff on tight timelines, and the turnaround for mixing/processing/mastering for the multiple projects they'll have on the go is easier and more flexible at 48kHz. Back when they did a Reddit AMA with everyone from How to Destroy Angels the answer was "currently subscribing to the belief that it actually sounds better than 96k". No elaboration. Perhaps they found that they were getting aliasing/other undesirable effects when upsampling stuff to 96kHz in the chain, when a lot of the jamming/looping stuff is happening 'in the box' so to speak. Dunno.

Interestingly enough, many other pro audio sub-sectors still use 44.1kHz as the standard (mostly in voice-based stuff like audiobooks and podcasts), and almost all streaming services deliver their final product at that rate. *stares in Neil Young*