--- In Aaron Ximm <>
wrote:
> > >If there are adverse effects of such downsampling, wouldn't that
> > >also mean that when recording for CD, a sampling rate of
> > >16bit/44.1KHz would be the best unless a much higher rate is
> > >possible to achieve on the recording equipment in question?
>
> My $.02, I would always use 24 bit if available but definitely not
bother
> with 48 KHz. 24 bit definitely makes a layperson-discernable
difference
> and IMO a high-quality downsample preserves some of what is
captured!
>
> Also, it's a rule of thumb that you should always downsample at
the last
> possible point -- ie, only to burn to CD. When possible, even just
> processing and mixing at higher quality can make a big difference.
>
it
> makes sense to mix in high-bit rate even when working with 16/44
> recordings.
Thanks. After posting the original question, I looked up a lot on
what I could find online on this particular subject, and it seems
that as long as a recording is for CD, anything more than 44.1KHz is
not necessary, but a higher bitrate has advantages during recording
as well as during sound processing, and should only be reduced in
the final CD conversion process.
And after that I felt even more confident that getting the 24-bit
44.1KHz Edirol R-1 seems like a sound choice for getting high-
quality recordings... And it should hopefully be heading in my
direction on its way from Germany any day now =)
On the same subject, I also noticed a website that stated that human
hearing is actually able to pick up on differences in sound of 1
microsecond, meaning that a bitrate higher than 1000KHz does not add
any discernible quality to recorded sound... But making equipment
for recording, processing and listening to such high bitrates sounds
like it might be a ridiculously expensive venture, and for
differences that I guess most people cannot really hear.
Just today's fun fact there =)
Best regards
Hakon Soreide
www.hakonsoreide.com
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