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Super Audio CD DVD-Audio. One of the first attempts to market high-resolution audio was High Definition Compatible Digital in 1995, an encoding/decoding technique using standard CD audio. [6] This was followed by two more optical disc formats claiming sonic superiority over CD-DA: SACD in 1999, and DVD-Audio in 2000.
High Definition Compatible Digital (HDCD) is a proprietary audio encode-decode process that claims to provide increased dynamic range over that of standard Compact Disc Digital Audio, while retaining backward compatibility with existing compact disc players. Originally developed by Pacific Microsonics, the first HDCD-enabled CD was released in ...
The 'Music' category is merely a guideline on commercialized uses of a particular format, not a technical assessment of its capabilities. For example, MP3 and AAC dominate the personal audio market in terms of market share, though many other formats are comparably well suited to fill this role from a purely technical standpoint.
Bit depth affects bit rate and file size. Bits are the basic unit of data used in computing and digital communications. Bit rate refers to the amount of data, specifically bits, transmitted or received per second. In MP3 and other lossy compressed audio formats, bit rate
In digital audio, 48,000 Hz (also represented as 48 kHz or DVD Quality) is a common sampling rate. It has become the standard for professional audio and video. 48 kHz is evenly divisible by 24, a common frame rate for media, such as film, unlike 44.1 kHz .
As of July 2008, over 95% of Blu-ray movies/games are published on 50 GB dual layer discs with the remainder on 25 GB discs. [10] 85% of HD DVD movies are published on 30 GB dual layer discs, with the remainder on 15 GB discs. [11] [12] The choice of video compression technology (codec) complicates any comparison of the formats.
The selection of the sample rate was based primarily on the need to reproduce the audible frequency range of 20–20,000 Hz (20 kHz). The Nyquist–Shannon sampling theorem states that a sampling rate of more than twice the maximum frequency of the signal to be recorded is needed, resulting in a required rate of greater than 40 kHz.
In 2011, a public listening test [14] comparing the two best-rated HE-AAC encoders at the time to Opus and Ogg Vorbis indicated that Opus had statistically significant superiority at 64 kbit/s over all other contenders, and second-ranked Apple's implementation of HE-AAC as statistically superior to both Ogg Vorbis and Nero HE-AAC, which were ...