Why use 96khz sample rate

The low pass anti-aliasing filter is not a perfect filter, so it creates some of its own distortions. There is a design trade-off between how steep a filter can be vs. We just learned that sample rates above In other words, For this and other reasons, it is recommended that we produce and mix pop music at 48 kHz. First, 48 kHz allows for better sounding anti-aliasing filters than Second, 48 kHz uses only slightly more disk space than Third, videos usually require 48 kHz audio and much of our audio will be embedded in a YouTube or other video as part of distribution.

If you produce music solely for audio CDs, then For audiophile jazz, classical, world music, and some sound design projects, I would recommend the 96 kHz sample rate.

This sample rate all but eliminates audible high frequency aliasing and filter-induced distortions. Furthermore, 96 kHz audio files may provide lower processing latency and allow for excellent sounding downward pitch-shift effects for sound design and game audio. Additionally, a 96 kHz recording can be neatly reduced to 48 kHz when the need arises.

If you feel the need to record at sample rates above 96 kHz, you should spend a considerable amount of time testing analog recording chains, converters and DAWs to find a workflow that suits your purpose. Sample rates above 96 kHz may be more susceptible to jitter problems and will certainly tax your CPU, reduce your track count, and provide fewer plugin choices.

Close search. Just added to your cart. Continue Shopping. Sample Rates and Bit Depth In a nutshell March 29, What is the Sample Rate? The sample rate, in a nutshell, is the number of samples per second in a piece of audio. Actually it's harder to do right than a static Since many people prefer high voice counts instead of good sounding sample playback quality usually suffers.

If you write lots of music that uses sample playback and you change the pitch of samples you should really check into the quality of your sample playback plugins as this could really help the quality of your tracks. Some resampling methods sacrifice phase linearity to reduce latency but it is never removed. Inter-sample wobbles and peaks are always there even though you can't see them most of the time And.. Quote: Originally Posted by Dan Lavry Good conversion requires attention to capturing and reproducing the range we hear while filtering and keeping out energy in the frequency range outside of our hearing.

Although 60 KHz would be closer to the ideal; given the existing standards, At 96 KHz sampling rate the theoretical bandwidth is 48 KHz.

In designing a real world converter operating at 96 KHz, one ends up with a bandwidth of approximately 40 KHz. But if you do hear it and it changes your way of working for the better.. I'm sorry, but while your explaination might seem logical, you don't really understand how the PCM audio works. All the added "resolution" is actually out of the hearing range. If you make a fourier transform of a square wave at 20 kHz or even a bit less, you'll see that it's composed from a sine wave at 20 kHz and higher harmonics that of course have a higher frequency.

This is the detail, you're talking about, but the frequency of the detail is higher than what we can hear, therefore it doesn't matter and is removed by LP filters. Regards Demokid My best resources say that is not the case. Pretty much the same amount of calculation is required. It is not simply dividing by 2! If you can cite sources who have done the math, it would be welcome, but to me it is an old groupie's tale to coin a clunky phrase Working at 96khz uses more resources than Only slightly, but it does.

The same cannot be said for all SRC's however. If your sample libraries are at 44khz they also up sample to even doubles more cleanly. Whether it'll be audible or not depends on circumstances, but why chance it or give it any thought when you can just work at 88?

If your end product is to be Ever stop to wonder why all oversampling implementations keep to even multiples? It's quite odd that anyone would chime in at this point with what they've heard in passing when you've got the clear recommendations and summary of the subject by two of the best authorities around!

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Page 1 of 3. Why are you recording at 96khz or higher sample rate? Shut up and take my money. Audio CD bitrate is always 1, kilobits per second Kbps. High bitrates appeal to audiophiles, but they are not always better. Oversampling is capable of improving resolution and signal-to-noise ratio, and can be helpful in avoiding aliasing and phase distortion by relaxing anti-aliasing filter performance requirements. Random oversampling involves randomly selecting examples from the minority class, with replacement, and adding them to the training dataset.

Random undersampling involves randomly selecting examples from the majority class and deleting them from the training dataset. Begin typing your search term above and press enter to search. Press ESC to cancel. Ben Davis February 1, What kHz should I record at? What sample rate is best for recording? Is higher kHz better?

Does bit sound better? Which is better 48KHz or Is it worth recording at 96kHz? Is 48KHz good enough? Is 16 bit What sample rate should I use in Pro Tools? Does sample rate matter?