I wasn't trying to get too detailed or specific in my previous e-mail.
I understand that the mastering engineering is usually creating a master for the common man to listen to anywhere, not create a master for the audiophile sound system.
Which explains why we are all "punished" by overcompression, etc when we try to enjoy pop recordings on our audiophile systems.
Question, since professional recording standards are usually 48 k or 96 k would it make more sense for us to prefer 48 k consumer formats?
I know you weren't getting too specific but it seemed like a good opportunity to bring the mastering point up.
44.1kS/s is the standard for CD (as you know) and 48kS/s was/is the standard for DTV and film (Dolby Digital 5.1, DTS, etc.). The music standard is becoming more and more 96kS/s, a lot of the professional processing plugins are designed to operate better at this sampling rate. Also, most DACs upsample (or oversample) to a high degree, and alleviate reconstruction filter difficulties. To be honest, the difference between these sample rates is minute, given the choice, go for 48kS/s but even a mastering engineer would struggle to tell them apart. I'd far rather have a well mastered recording at 44.1k than a not so well mastered recording at 96k (the point of my last post). The only formats to be a little wary of is 192kS/s and higher but even so, the quality of the mastering is by far the most important factor, not the format.