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Deby Cedars
Talent and/or Voice Producer
Joined: 23 Jan 2006
Posts: 1482
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 Posted: Fri Feb 15, 2008, 05:44 (GMT) Post subject: |
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Todd I hope your enjoying your resluts this Valentines..... |
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Thomas C. Gass
Talent and/or Voice Producer
Joined: 11 May 2006
Posts: 179
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| Posted: Fri Feb 15, 2008, 10:10 (GMT) Post subject: |
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| Quote: | | I guarantee you cannot hear a difference if I give you a blind A/B test. No one can. All those combined harmonics still fall above the threshold of human hearning. Period. Harmonics or fundamentals, nothing above 20kHz or so will move the tiny hair in your ears and pass the information along to your eardrum. End of story. |
I'm totally with Emmett on this one - of course Colin is right saying:
| Quote: | | However, those frequencies when combined created "harmonics" that when mixed would produce audible resluts back down in audible range. |
But again, they influence the frequencies in the audible range, so no need to choose a sampling rate higher than 2 x top frequency of our hearing range.
Although we are only talking about our "hearing range" of frequencies, it's important to know, that frequencies below or above that range can be felt by our other senses and do influence us heavily. Audio reproduction equipment (and I'm talking about equipment for "listening purposes") right now concentrates on the hearing range only, with the exception of some special units dealing with very low sounds. Ever heard of the famous screening story of Shore's soundtrack to "Silence of the lambs"? Experimenting with subsonic sounds in the scene where Lector appears for the first time, most people in the audience felt sick, even had to throw up (they've changed the soundtrack for that scene after the first screening  Above the upper edge of our hearing range, ultrasonic frequencies can be a powerful tool to cut hardest materials (ask your dentist) or to influence muscle cells (ask your md)...
| Quote: | | No one on earth can hear the difference between 44.1 and anything higher. |
Do you know by the way why we're talking here of multiples of 48 kHz (96kHz, 192kHz) and not 44 kHz? In the early days of digital equipment, 44.1 kHz was the common sampling rate, up to the day when DAT equipment came up. BBC ordered special DAT tape recorders from SONY with a sampling rate of 48 kHz - because of copyright issues. They didn't want anybody else being able to play cassettes recorded by BBC. Only about one year later, DAT recorders for the consumer range became available, most of them offering a 44.1/48 kHz switch. Consumers thought, that 48 must be better than 44 and it became a new "standard". Ever seen a DVCAM recorder with 44 kHz? 
Thomas
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Thomas C. Gass
http://www.thomascgass.ch
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Deby Cedars
Talent and/or Voice Producer
Joined: 23 Jan 2006
Posts: 1482
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| Posted: Fri Feb 15, 2008, 21:04 (GMT) Post subject: |
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| You know Thomas that's exactly what Roger said........I personally hate it when I can feel the music.....It makes my heart beat faster....It scares me.......the only thing that freaks me out more is surround sound......I don't want the movie to be that real..... |
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Joseph Sinclair
Voice Seeker
Joined: 20 Jan 2008
Posts: 17
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| Posted: Sat Feb 16, 2008, 07:22 (GMT) Post subject: |
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What I get from what everyone has said is:
1. Recording above 44.1 is unnecessary.
2. Recording at 32 floating is a good idea if one expects to do significant post processing (editing).
3. It might be a good idea to encode at 128 instead of 96.
4. For a podcast, it's probably splitting hairs to worry about all this, and recording at 44.1/16 is adequate.
Thanks for the input. |
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