> Try to explain to me what the use is of 96
Khz
samples ? It's just
> marketing nothing more.. 48 Khz makes it
possible to represent up to
> 24 Khz of sampled frequencies, far about
what
you can hear.
Ok, I'll have a go :-)
If you sample at 48Khz you need to filter out
everything above 24Khz in
order to avoid alias noise. First of all this is
not *really* possibkle,
filters don't block thay damp. Secondly a
filter
steep enough to let
ninimal amounts of energy through above 24Khz
will
be distorting the
upper part of the frequency range.Now if you
sample at 96Khz the story
is the same, but not you have an extra octave to
filter smoothly.
Another part of the story is that although a
48Khz
sample can represent
frequencies upto 24Khz, the representation of the
higher frequencies not
accurately describing the intensity.
Let's put it this way.. Do you think a CD sounds bad
? I think the average
person can't hear much about 18 Khz (could be 20 Khz
though).. So unless you
are a sampler yourself you probably won't notice. I
certainly won't go above
48 Khz since bigger is not always better.. Of course
a lot depends on what
sampler was used to capture the sound. 44 Khz could
be an option but I'll
have to have a look at the softsynths and hardware
Grandest Piano will
eventuelly be aimed at.
Assuming the average person can't hear above 20khz the
following argument, from the sox man page,
demonstrates why it's important to work with the
highest available clock.
The Nyquist frequency is equal to (sample rate / 2).
Logically, this is because the A/D converter needs at
least 2 samples to detect 1 cycle at the Nyquist
frequency. Frequencies higher then the Nyquist will
actually appear as lower frequencies to the A/D
converter and is called aliasing. Normally, A/D
converts run the signal through a highpass filter
first to avoid these problems.
I guess the interesting problem is aliasing. Right?
I'm not saying I know what's going on in digital audio
but it's an interesting set of challanges that I like
to learn about in order to improve my production
strategies. We need a 28 hour day.
Ron
Roel / Utopia Sound Division
http://www.utopiasd.com
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