Sample rates and recordings

April 18, 2022
 by Paul McGowan

2 comments on “Sample rates and recordings”

  1. I start out my recording and remastering projects using Wave Pad.
    At first, my PCM wave files were by default, 44.1KHZ.
    But I took a closer look at the options, I was able to riv it up to about 396KHZ.
    But when I save a file, Wave Pad tells me, perfect digital convertion is in progress.”
    And this is only with 32bit indenture.
    But I also use Audacity to add things like equallisation and reverbriation to make them sound to me, the way they are suppose to.
    But in spite of the fact that Audacity can genirate 64bit floating wave files, that by default was sat to 44.1KHZ too.
    But I made Auldacity match up with the way the recordings were made in Wave Pad with the extra sonic treetments that I do to them.
    And then, I take those PCM files, and convert them to DSD128.
    Long story short, they sound beautiful to me!

  2. My experience has been in making recordings at multiples of 48 kHz. This journey started when we were recording gunshots, not music, to digital audio tape and had the choice of 44.1 or 48 kHz and selected the latter. Later on, we moved up the scale to 96 and 192 kHz.

    Sonically, when we converted a set of recordings to 44.1 kHz to have a Red Book compatible CD, we couldn’t hear a difference on playback through the laboratory speakers. However, when we looked at the waveforms, it was a different story: it was impossible to perform the analyses that we needed on the CD version because often, the very tops of the impulse waves were missing. We couldn’t hear that they were missing, but we could see that they were missing.

    I remember when I first played a CD and an SACD for a friend whose profession was handling the audio portion of the television broadcasts of live sporting events. He was also an audiophile and had a much better system than mine. The CD and SACD were of the same release, but the CD I played was not the CD layer on the SACD disc. He listened first to the CD and then the SACD, not knowing with which I had started. When I played the SACD track, he exclaimed, “My God, it’s like the tops have been restored.” He wasn’t referring to the extended frequency range but the improved temporal dynamics.

    His remark cemented my impressions, and I have made it a point to have either the SACD, the DSD download, or vinyl for any music I purchase.

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