SAMPLING IN LOGIC PRO 8 MAC

I ask this question with all earnestness and sincerity and hope any responses will be made with those same sentiments. Is working at these higher rates really a practical improvement or is it more like employing a space shuttle to fly from New York to Ohio when a 737 will accomplish the same result.

It seems to me that other than mixing for broadcast, cable, or film, that the listening environment has become more mobile and that even with the emergence of extraordinary home entertainment systems and surround listening environments, there are far more IPods and tiny speakers providing consumers' listening environments for our work. Are 88.2, 96 and beyond that, 192 really beneficial? If so, what are the noticeable, practical improvements? What can you edit or loop seamlessly at 88.2 or 96 that you can't edit or loop seamlessly at 44.1 or 48? That said, is the fidelity noticeably improved, or is recording at 88.2 or 96 versus 44.1 or 48 a qualitative difference that only dogs can hear? There was a time when 44.1 and 48 were considered state-of-the-art and produced great sounding work. The downside appears to be fewer plug-in instances available from DSP cards like the UAD-1e. From what I observe, higher sampling rates translate into finer detail, more accurate editing, perhaps lower latency. I'm very curious about how contemporary producer/engineers determine at which sampling rates they'll work.

SAMPLING IN LOGIC PRO 8 MAC

I'm a producer/engineer accustomed to linear, analog formats, currently reorienting to audio recording/production ITB - configuring a new Mac Pro workstation on a 3.0 Ghz dual-core Intel Xeon machine running Logic Pro 8.

Sampling in logic pro 8