Since these filters have some bandwidth requirement, the actual sampling frequency is a bit higher than the theoretical value.īottom line: at a sampling frequency of 44.1 kHz, the original signal can be reconstructed from the sample points up to 20 kHz with correct amplitude and phase. The DA conversion also includes smoothing low-pass filters. Low-pass filters (resampling, anti-aliasing) are used for this task. Prior to sampling and during sample rate conversions, we have to get rid of components above half the sampling frequency. This means that a sampling frequency of 40 kHz is required to 'sample' the 0-20 kHz range. If the sampling frequency is at least twice the frequency of the highest component of the original signal, then the original signal can be perfectly reconstructed from the sampled values. The highest frequency is half the sampling frequency. The sampling frequency determines the frequency range that can be recorded. The sampling rate shows how many samples are taken per second during digital conversion. Sampling frequency, resolution (bit depth) Audio measurements provide a method that is straightforward and perfect. All we need to do is to look at how and how much the signal changes after passing through a component and compare the change to known thresholds.

In amplifiers and in digital audio problems are quite straightforward and we can’t find subjective elements here. It is also a common trick to present a simple acoustic or electrical phenomenon as if there were no rational explanation for it.

It is a common mistake in hi-fi to shift the boundary between subjective and objective, that is, to claim that an objective phenomenon or characteristics is subjective. However, the real problem is a long-term confirmation and self deception, which can only be avoided if we recognize mistakes in time. The real appeal of false theories and analogies is their simplicity, as they provide simpler explanations than real answers. Each of its starting point is wrong (digital signals are square waves, effect of filters is audible, etc.).įalse analogies are another large group of fallacies (e.g., misleading illustrations of PCM encoding in high-resolution ads). This is true for vinyl hype, DSD, high resolution audio and MQA encoding. There is no error in the logic of reasoning, however the basic assumptions (premises) are false, and if the initial statements are false, the whole theory collapses (these false theories are very similar to the straw man fallacy ➚). Perhaps the biggest problem with digital audio is that it’s easy to create theories that seem true and are extremely convincing, which make their promotion simple, yet they have nothing to do with reality. Since 16bit/44.1kHz provides the same playback fidelity as 24bit/96kHz, studio quality recordings can be distributed in 16/44.1 formats. The marketing term 'CD quality' is also misleading, mainly because it suggests that quality is proportional to file size or bitrate. False representations of pulse-code modulation, the use of old digital stereotypes, fundamental misconceptions for advertising purposes are very common. Often high-resolution music and hi-res players are advertised with misleading descriptions. However, promises remain promises, as bit-depths higher than 16 bits or sampling frequencies higher than 44.1 kHz will not improve the playback fidelity. The hype around high-resolution formats in the media also keeps growing.

More and more digital music store offer recordings in 24bit/96kHz or other ‘hi-res’ formats (MQA, DSD). The CD (Compact Disc) was released forty years ago, but digital audio is still a chaotic subject, mainly dominated by misconceptions. There is a huge amount of misinformation on the net about the optimal sampling frequency and resolution (bit depth) of audio files for distribution. Investigation of the optimal sampling frequency and bit depth of distribution audio formats.

Wav 8 bit vs 16 bit