Mr. Sax T Review by Rick Paul
An excellent review of Mr. Sax T. by Rick Paul can be found here http://www.cakewalknet.com:80/index.php?option=com_content&task=view&id=778&Ite (free download). 
Giorgio, Peter & Stefano
Giorgio, Peter & Stefano
Comments
http://rickpaul.info/rparticles.html
The direct link to this specific review is:
http://rickpaul.info/articles/sample-modeling-mr-sax-t-review.pdf
Rick
I've read and downloaded it for referring to later. I'm a bit confused by the 88.2 kHz recording when everything else might be 44.1 in the DAW song but I can ask in the forum.
You have to set it at the sample rate for your DAW project. However, Sample Modeling recommends using 88.2 kHz as the best sample rate for Mr. Sax T (or at least did at the time of the review -- I don't know if that is still true). Thus, if you want that, you could either do your project at 88.2kHz, or copy the MIDI info from your project to another mini-project at 88.2 kHz with just the sax part and render it there, then import the audio to your main project. I've tried both using it at 88.2 kHz and just using it (and rendering it) at 44.1 kHz, and I can't say I've actually noticed any differences. Then again, I haven't been comparing side by side, but rather only using it differently in different projects for whatever was most convenient to the project.
Rick
Recording a 'Mr T Sax' track separately in a dedicated solo project at 88.2 is ok but if you have to convert its MIDI to Audio to import it into the original 44.1 project, you lose all the benefits of MIDI editing. The sound difference doesn't seem worthwhile in a recording environment. It's not as if 'Mr T Sax' sounds lacking in 44.1. Playing live might be different.
That said, though, the way I'd do it, if I wanted to do it on a specific 44.1 kHz project, would be to do all my MIDI and basic mixing work at 44.1 kHz. However, just before the final mix (i.e. once I've already got all the automation and such set the way I want it), I would export the Mr. Sax T MIDI track only to a separate project, read that back into SONAR at 88.2 kHz, render the audio there, then import the audio file only back to SONAR, keeping the same processing and automation that the softsynth would have had (note this is assuming the automation is only done for the audio side, not MIDI -- MIDI automation would need to be built into the MIDI data for the track, rather than overlaid as automation). Of course, that is going to convert the track to 44.1 kHz since SONAR doesn't allow mixed sample rate projects, so perhaps that may lose some of the benefits of having done the 88.2 kHz rendering. (SONAR doesn't change project lengths due to sample rate differences, so there is no issue like that there.)
I actually did do one project at 88.2 kHz just because of the Mr. Sax T sample rate. However, at least on my system, that had a fair amount of additional performance demands, not to mention doubled the size of all the audio files compared to 44.1 kHz, so I couldn't justify doing that with most projects.
Rick
Bottom line for me though is that I'll typically do some level corrections of individual notes in the recorded MIDI but Automation such as subtle changes in reverb/delay, for example, is much better done as overlay for lots of reasons. If the automation is multi layered and complex, the whole scene can potentially become a nightmare if you start moving stuff around in and out of the project - It's always risky. As any imported sound file will always automatically be converted by Logic (quite rightly in my opinion) to the song project's global sample setting, it's just a waste of time.
Bottom line must surely be to do a whole project either in 44.1 or 88.2 from the start. It's nice to know that 'Mr T Sax' likes 88.1 but the genre of music exposing the instrument's nuances or not, plus the studio's capabilities, are the main factors in the real world.
No-one has been complaining that 'Mr T Sax' sounds rough in 44.1 so I see no need for 88.1 except in special circumstances but in those kinds of circumstances you'd most likely be recording a real saxophonist at the top of his/her game and not a EWI-ist.