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Ultimately Sony prevailed on both sample rate (44.1 kHz) and bit depth (16 bits per sample, rather than 14 bits per sample). The technical reasoning behind the rate being chosen is associated with characteristics of human hearing and early digital audio recording systems as described below. [1]: sec. 8.5
The number of possible values that an integer bit depth can represent can be calculated by using 2 n, where n is the bit depth. [1] Thus, a 16-bit system has a resolution of 65,536 (2 16) possible values. Integer PCM audio data is typically stored as signed numbers in two's complement format. [2]
The audio bit rate for a Red Book audio CD is 1,411,200 bits per second (1,411 kbit/s) or 176,400 bytes per second; 2 channels × 44,100 samples per second per channel × 16 bits per sample. Audio data coming in from a CD is contained in sectors, each sector being 2,352 bytes, and with 75 sectors containing 1 second of audio.
Bit depth or sample resolution is the number of bits of information recorded for each sample. Bit depth directly corresponds to the resolution of each sample in a set of digital audio data. Common examples of bit depth include CD quality audio, which is recorded at 16 bits, SACD with effective 20-bit resolution, and DVD-Audio, which can support ...
The Signal-to-quantization-noise ratio is a multiple of the bit depth. Audio CDs use a bit depth of 16-bits, while DVD-Video and Blu-ray discs can use 24-bit audio. The maximum dynamic range of a 16-bit system is about 96 dB, [10] while for 24 bit it is about 144 dB.
Other sampling rates include: 44.1 kHz (also known as CD Quality): Originated in the late 1970s with PCM adaptors, and is still a common sampling rate to this day, mostly due to CD's adoption of this sampling rate, defined in the Red Book standard in 1980. [6] A comparison of several sampling rates, depicting their dynamic ranges.
There remains controversy about whether higher sampling rates provide any verifiable benefit to the consumer product. [56] When a Compact Disc (the CD Red Book standard is 44.1 kHz 16 bit) is to be made from a high-res recording, the recording must be down-converted to 44.1 kHz. This is done as part of the mastering process.
Method 2 will work in more general cases, e.g. where the ratio of sample rates is not rational, or two real-time streams must be accommodated, or the sample rates are time-varying. See decimation and upsampling for further information on sample-rate conversion filter design/implementation.