yeah that is what we all understand, that is why I brought up those opinions that I think are out of the ordinary by some people that truly "made it" in the business. These people worked on multi-million dollar records and film soundtracks, and well known in the industry. We always have to choose between believing the scientist or the artist because neither of them are wrong IMO.

EDIT : this is one of Brian Lucey work, it was mixed by Greg Wells. Surely it is mastered at 44.1kHz. Dynamics ?

 

Last edited: Sep 4, 2021

There are extraordinary people with extraordinary talents in every area. They bring out the best in everything. Su do what is possible.
I would cut it in half, I believe half the artists and the other half I believe the scientists.

There are many errors - it is in the nature of man. So always stay critical. I would say a lot is imagination or wishful thinking. What is important are standards that we have agreed or have agreed on. In the past, people thought the talk of monster waves was nonsense, until one could be filmed and measured. So despite 20 years of computers it is still clear which sample rate we should mix with, according to your reference, I agree with you, but we should be further.

We should also burn our music more on DVD and BluRay because higher rates are possible there. Maybe the CD will soon be obsolete.

BluRays:
- Baraka DTS-MA 5.1 24bit 96kHz
- Celine Dion: A New Day ... Live in Las Vegas TrueHD 5.1 24bit 96kHz
- Chris Botti Live with Orchestra and Special Guests LPCM 5.1 24bit 96kHz
- Chronos DTS-MA 5.1 24bit 96kHz
- Dave Matthews and Tim Reynolds: Live at Radio City TrueHD 5.1 24bit 96kHz
- Grieg - Piano Concerto / Symphonic Dances / In Autumn - Acoustic Reality Experience DTS-MA 7.1 24bit 96kHz
- John Mayer: Where the Light Is - Live in Los Angeles TrueHD 5.1 24bit 96kHz
- Nature's Journey DTS-MA 5.0 24bit 96kHz
- Tchaikovsky - Piano Concertos Nos. 1 & 3 - Acoustic Reality Experience DTS-MA 7.1 24bit 96kHz

www.avsforum.com/threads/unofficial-blu-ray-audio-and-video-specifications-thread.760714/

 

Last edited: Sep 4, 2021

Existing standards of digital reproducing equipment are the reason.
Also, practically all digitizing of analogue tapes and discs was done in 44.1 kHz standard. After all these years, analogue tapes degraded very much, that they became unusable. (On average, tapes degrade 10-20% over 10 to 25 years) So remastering of old digitized recordings must be done in 44.1 (or any multiplication of it).

 

Last edited by a moderator: Sep 4, 2021

Becaus your audio got stretched to the new sample rate instead of proper resampling. So it's the same dataset, but different speed. And speed means pitch.

 

The analog became digital. However, the last time people bought more vinyl records because they sound a little warmer. I still have producers record them on magnetic tape. The sound should be better than digital. But is a discontinued model. I hope that the BluRay disc will catch on, is a little more expensive, but the discs also last longer. Some museums burn your old stuff on BluRay. With films on BluRay, the best possible sound is already possible. Grieg - Piano Concerto /In Autumn - Acoustic Reality Experience DTS-MA 7.1 24bit 96kHz

 

I switched to 48 kHz since I a) don't print CDs and b) work in Sounddesign and mostly produce music and sound design for animated clips which are usually use 48 kHz for audio anyway. Streaming services mostly use 48 kHz as well, so I don't bother with 44.1 kHz no more. And as mentioned earlier, the nyquist frequency is at 24 kHz instead of 22.05 kHz which slightly reduces aliasing in the high freequency range. But imo 44.1 is obsolete unless you produce audio cds (which are absolete as well).

 

DVD-Audio (commonly abbreviated as DVD-A) is a digital format for delivering high-fidelity audio content on a DVD.

 

Lady Gaga - Just Dance and Katy Perry - Firework were mixed at 44.1 and they don't sound bad.
Sources:
https://www.soundonsound.com/techniques/secrets-mix-engineers-robert-orton
https://www.soundonsound.com/people/sandy-vee-recording-katy-perrys-firework

Edited because I forgot to link sources.

 

Last edited: Sep 4, 2021

Well, nobody claimed that 44.1 sounded bad. I have about 800 Audio CDs which still sound better than anything spotify delivers via streaming. I once took some time to A/B a few Albums on CDs verses the streamed vesion at 320 kbit. The problems I have with Spotify is, that it f's up an Artist Discography because either albums are missing from it or whole songs are missing from albums, which is horrible. You won't find G'z up Hoes down by Snoop Dogg on spotify because of an uncleared the Isaac Hayes Sample – and that's the dopest song on Doggystyle. :D

But do you have sources that it was actually mixed in 44.1? Usually,recordings by Major Label artists are done at high sample rates with great gear (the vocals at least) and then mixed in the same high sample rate. The files or an image is then deliverd to the mastering facility which takes care of the rest, which, besides finalizing the sound, includes delivering files in the requested formats, like CD, Vinyl, Tape, Streaming which all have different requirements.

 

Truth is, 48 kHz is sonically a bit better than 44.1 kHz (taken that it was originally recorded at 48 kHz or 96 etc.). The difference is slight but I can hear it (it is somewhat smaller than difference between mp3 @256 and @320 kbps), therefore I guess some other people can hear it too.

So if you are recording and saving the processed material for yourself or for some video format 48 kHz is completely OK. The problem arises with streaming audio or making Redbook CDA where you must have a quality loss due to recalculation.

 

For me, this is babble until he proven recognizes these alleged peculiarities blindly without measuring devices.

 

what daw are you on?

 

I would also add the quality of converters. Some converters sound good at 44.1 while others not so much.

 

I use 48k/24 bit because those were the settings recommended by YouTube when I first started uploading for faster processing, and because Premiere Pro would refuse to accept mp3s that weren't 48k (at least when I first started editing videos). It might be different now, but I already switched over years ago, so no point in going back.

When It's time for my band to upload songs for distribution, I just make a 44.1k/16 bit version for the distributor (because that's what they require), and use the 48k/24 bit version for the music videos and everything else.

I hear no difference whatsoever, and anyone telling you that you "need" to be on one team or the other should have their motives questioned. Some people have this mental disability where they pick a side for no reason, and then get personally offended when anyone else picks the other side.

 

If ever you wanna sell special "HD Master" (or whatever they call it where you upload) version of your own album (generally for a higher price):

- 24 bits/96Khz
- FLAC or Wav (depending of course what is your distribution platfrom)

The standard in big studio I visited: same (24/96) because they wanna provide masters that adapts to whatever the use will be: Cinema, broadcast, video, YT... This standard adapt to everything.

Imagine you record a song, that is then chosen to be included in a film: In this case, it's better to have a master in 24/96 (or higher, in cinema they use 192Khz, but 96 fits perfectly for Pop / EDM / R'n'B / Rock songs. For orchestral / Classical / Epic music, they do actually record in 192khz/24bit to fit 100% with BluRay technical specifications).

This is a thing that amateurs composers and beginning producers never think about: sometimes, some clips and documentaries about an Artist are edited in Bluray. And the Bluray standard is far, far higher than 48 / 41.

Same for broadcast: some TV networks and streaming providers demands higher sound quality than usual.

It's why 24bit/96khz became an industry standard.

 

Last edited: Sep 4, 2021

*Lo-Fi Artist Has Left The Chat*

 

I was going to post exactly the same post to a word. 48kHz/24bit is also just easier to handle on many levels. I wish people would forget about 44.1kHz/16bit completely. Who is buying CDs these days anyway?

Oh yes, and btw lossy formats like MP3 and AAC have no bit depth, so dithering is not needed. Just export it directly from a DAW being careful that True Peaks don't exceed at least -1dB, because lossy formats can easily get decoded above -1dB.

Cheers!

 

Last edited: Sep 5, 2021

the real question is if you sample a 20 KHz tone how many captures you take @ 44 KHz sampling
so 44/20 means you get roufly 2 samples /sec from 20 KHz so high end sucks on digital
the lower the frequencies you record the more sample points you get