Freeze HD™ or Bounce HD™ although the check box in the dialog should probably say something like Upsample or Oversample and leave the HD stuff to marketing. Make sure to suggest to Noel it should be a slam dunk taking a couple lines of code. Would it need to be limited to 96kHz?

Anderton
I think you may have come up with my favorite kind of idea 

Glad to help! I'll take my coffee mug now, thank you 

SvenArne your suggestion automates what I described as my process. Change sample rate to 96>export audio>change back to 48>import audio into new track.
 
Craig I think a great term for this could be "Upsample Bounce to Track" or "HD Bounce to Track".
 
 

 
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mike_mccue
 
This thread is a mind bender. I have to keep reminding myself that some guys can make beautiful music with a Yamaha DX7.

Yes, and you can also listen to music on any speakers capable of converting electrical energy into air. But at least to my ears, this kind of oversampling is mostly about eliminating something unpleasant as opposed to "improving" the sound. To use a photographic analogy, it's like removing the dust from a photo to make it more colorful instead of bumping up the saturation to make it more colorful. Once you've heard the difference this can make to a project, there's no reason not to do it any more than you'd want to keep the dust on a photograph. 

Anderton
Thinking about it some more...I think you're right with it being more like a super-freeze; I think it might be closer to super-rendering, operationally speaking.
 
Seems the best way to handle this would be that upon invoking "super-render" or whatever it would be called, it would do the 44>96>44 render and then archive what it is you rendered (amp sim track, virtual instrument, or whatever). That way you could return to the track if needed, but it wouldn't be influencing the CPU.
 
Another advantage: You wouldn't need to take a CPU hit while recording from enabling oversampling on your plug-ins. It's like you could always record in "draft" mode to keep the latency down, then when you're ready to mix, do the super-render trick to end up with a higher-fidelity audio file, which wouldn't stress your computer out much anyway,
 
Now I REALLY must talk to the Bakers about this.........!!!

It doesn't have to be just rendering.
 
I seem to remember in past discussions we talked about how it would be great if Sonar had a setting to do oversampling at the FX bin level.

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mike_mccue
Hi drew,
Can you elaborate on how oversampling is helpful with hard limiting?
 
It seems to me that the duration of a full cycle of 10kHz sound is approximately 0.1ms (with variances depending on the speed of sound)
 
I think I have an idea why having high sample rates for something like a 0.1ms attack time on a limiter can reduce distortion at the higher frequencies, but you do a really good job of explaining stuff like this.
 
Can you take a stab at making it seem sensible to a knob twiddler like me?
 
Thanks.

You can think of compression/limiting as existing between the extremes of slowly adjusting the volume of the peaks by hand to just clipping them off.
 
The closer you get to clipping-like behavior, the more distortion you get.
 
 
And the speed of sound has no effect on cycle time. Wavelength yes, but cycle time no. 

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