High Resolution Audio (HRA) ist jedes Format, das über den 16-Bit bzw. 44,1 kHz-Standard hinausgeht. Bei HRA-Aufnahmen wird normalerweise 24-Bit-Kodierung eingesetzt, was einen wesentlich höheren Dynamikbereich als bei CD-Aufnahmen ermöglicht. Die Abtastrate geht bis zu 192 kHz, dem aktuellen Standard professioneller HRA-Aufnahmen. Dabei dreht sich alles darum, den Hörer näher an den. As to playback at 96kHz vs. 44.1kHz, I'm not touching that one, no one enjoys hate mail! However, I did note that if rendered audio sounded better at 96kHz, then was sample-rate converted to 44.1kHz and played back at 44.1kHz, the improved quality was still there. This makes sense: If the improvement at 96kHz falls into the audible range, 44.1kHz has no trouble reproducing what's in the. 44.1/16Bit-FLAC bietet aber leider kaum jemand an und 44.1/24Bit oder gar 96KHz/24Bit kostet gleich ne ganze Ecke mehr - da kann ich mir auch die CD kaufen.... :o Das Umwandeln von 96KHz in 44.1 oder von 24Bit in 16Bit ist nicht das Problem, das geht problemlos mit Foobar. Preislich macht das leider keinen Sinn... Like zitieren Violator73 139 Antworten vor 5 Jahren 5 Januar 2015. Ich hab mal. 44.1kHz vs 48kHz vs 96kHz vs 192kHz What should I be recording at? Part II. 2020-01-26 2020-01-26 by Adrian Allen. The Real World. In the last in the last post we discussed the accuracy of sample rates vs frequency. The Nyquist theory, in practice is different. 44.1 KHz CD quality recordings can sound good. But lets be honest, how many of you can actually hear anywhere close to 20KHz these. That said, I think 44.1 sounds just fine most of the time. Also, to clarify, music CDs are recorded at 44.1 KHz. Sound for video, such as found on DVDs and BluRay discs, is recorded at 48 KHz. If you're scoring for video, you should be using 48 KHz, otherwise 44.1 KHz. You'll notice that if you double each of those sample rates, you end up with.
Testing PCM 24-bit 96kHz VS 24-bit 192kHz / Dire Straits (HD1080p) - Duration: 5 Aliasing Demonstration: sine wave, sampling rate of 44.1 kHz - Duration: 0:28. Dan Hosken 4,795 views. 0:28. If you oversample an input signal (to say 96kHz or even 192kHz and by this, I mean up-convert a 44.1/48kHz type signal, not record at 96/192) and then apply a digital filter, that curve will nicely eliminate your problem frequencies with room to spare in the digital domain and when you convert back to an analog signal! High-end rags LOVE this idea for recording at 96kHz (ye old 24/96), but don. I don't think you'll be able to hear much of a difference unless you listen to a lot of stuff that's native to 192 khz . Home Rig: PC -> jkenny modified HiFace -> Eastern Electric MiniMax DAC -> Rethm Gaanam-> Recabled Sony CD3000 or LCD-2; or Stax SRM-1/MK-2 -> Stax Lambda normal bias Full list of gear past and present Please don't send stuff to me signature required without asking first.
Why Audio Formats Above 16-Bit/44.1 kHz Don't Matter. Musical records vary enormously in their recording and mixing quality. Albums like Daft Punk's Random Access Memories, most of Lady Gaga's pop. Viele nehmen Ihre Songs in 96 kHz auf - auch wenn das Zielmedium die CD ist, die bloß 44,1 kHz wiedergeben kann - und erhoffen sich dadurch einen Qualitätsgewinn. Welche Gefahren dabei lauern, ob es überhaupt sinnvoll ist, und wie Sie die Sample-Rate am besten konvertieren, erfahren Sie in diesem Artikel. Bitrate-Conversion Die CD bietet [ Music is better in the form you most appreciate it in. FLAC and other lossless formats will have more of the original data or captured sound than an MP3 or other lossy format, but the quality of the original data can vary dramatically and the dyna.. Ich habe früher alles meist mit 44,1 kHz gemacht. Meine AKAI-Sampler konnten maximal 44,1 kHz, die meisten Samples waren 44,1 kHz usw. Jetzt habe ich Hardware, die mit 48 kHz läuft. Da überlege ich dann schon das dann auch mit 48 kHz aufzunehmen
44.1/48kHz vs 88.2/96kHz? Close • Posted by. u/TheRollingShutters. 57 minutes ago. 44.1/48kHz vs 88.2/96kHz? What sample rate are you guys working in? I've been reading up on the pros and cons, but it seems like there's no definite answer. I'm guessing there's not really much of a difference in the sound of the AD with modern converters, but I've read some opinions that some. I've used 24-bit 44.1 khz for years. With Live 5, I use 32-bit float but still record at 44.1 khz. Takes half the resources to process and half the file size, and I don't hear a big difference between 44.1 and 96. When I render, I do so down to 32 bits. I then master in an audio editor, and then I dither at the very final stages, just before burning to CD. Works well for me. 96 has always felt.
However the choice of 44.1 KHz for consumers and 48 KHz for professionals lowers the bandwidth (and the cost) for acceptable consumer reproduction. There is no noticeable difference when using modern state of the art equipment assuming average ears and average equipment. Last edited by luigi2000; 29th Aug 2010 at 00:00. Reason: To extend an opinion. Quote . 28th Aug 2010 22:03 #8. netmask56. Über 80% neue Produkte zum Festpreis; Das ist das neue eBay. Finde 96 Khz! Riesenauswahl an Markenqualität. Folge Deiner Leidenschaft bei eBay
True to a degree, but note that 96 kHz and even 192 kHz isn't enough oversampling for many kinds of processing. The bottom line is that if it's a high fidelity plug-in or process that needs frequency headroom, it will have its own oversampling built in, and the overall ample rate need not be more than 44.1/48 kHz. wickfut said: 16 bit has a dynamic range of 120db. That means that it can go. Sound sample rate 44.1 kHz vs 24 bit 192 kHz. Than physically vinyl's sound differs from CD and why significant amount of audiophiles consider CD certainly loses. In article I have tried to get to the base of the reasons of distinctions of a digital sound of CD with frequency of digitization 44000 Hz and vinyl, as the analog (Indissoluble) form of a wave (oscillogram) changes by transformation. Most humans can't tell the difference between 16/44.1, 24/96 and 24/192. It usually comes down to the care taken in the mastering process. And many have a problem with HDtracs failure to properly provide source material reference the origin of their product. Some have been reported to be nothing more than up sampled 16/44.1. Many opinions here. Wenn Sie Ton mit 96 kHz in MP3 zu konvertieren, klingt 48 kHz oft besser als 44,1 kHz. Für reine Sprachaufnahmen via Soundrecorder oder mittels anderer Software ist eine Sample-Rate von 8 bis 9 kHz.. I understand why sampling at 44.1 KHz means frequencies approaching 22.05 KHz begin to suffer from sampling artifacts due to the Nyquist theorem. I can't tell the difference, to be honest. Once my signal leaves the digital domain, my analogue gear probably masks a lot of the details in this region and my hearing is definitely not sensitive to 20KHz anymore. For the sake of obtaining slightly.
DIE # 1 BEKANNTESTEN DJ-SOFTWARE FÜR AUDIO- UND VIDEO-MIXING. Produkte VirtualDJ Download Erwerben Features Preise & Lizenzmodelle Screenshots Online Musik Kataloge Inhaltsabonnements DJ Hardware Kontroller & Mixer DVS Timecode Vinyl Andere Produkte Remote für Android & iOS Kleidung & Beute Alte Produkte Alte Versionen Download Erwerben. Download VirtualDJ Download User Manual Manuals für. Klicken Sie auf Einstellungen > Audio > Samplerate in 8 kHz, 44.1 kHz, 48 kHz, 96 kHz umwandeln und dann auf OK > Umwandeln. Video Konverter Studio. Wenn Sie die Online-App nicht möchten oder den VLC Mediaplayer zu kompliziet finden, können Sie auch diesen leistungsstarken Samplerate Umwandler nutzen. Das Video Konverter Studio unterstützt alle Video- oder Tonformate wie etwa. Da Menschen nur Signale bis ca. 20 kHz hören, werden Audiosignale für CDs mit 44,1 kHz abgetastet. Höhere Frequenzen im Audiosignal müssen vorher (analog) gefiltert werden, da sonst Fehler entstehen. Der Alias-Effekt würde die zu hohen Frequenzen auf niedrige Frequenzen herunterspiegeln. DVDs und DAT arbeiten mit 48 kHz, neuere Formate und professionelle Musikproduktionen sogar mit.
.1, the same as my non hi-res files. I have only ever successfully managed to get the 96khz light lit up when playing Audio DVDs connected from my blu ray player to the DAC, by messing with the output settings on the blu ray player. I've been reading up. The only problem is then I have to use a program to do the conversion from 48 to 44.1 to put the track on cd or to play it with a player which doesn't support 48kHz. Also at 48kHz, I see from the meter that there's few latency. I've got even less latency at 96kHz, but I've tried to record with that in the past and got weird phasing in the record tracks, so I've stopped using it. I also always. I see nobody actually coming in defense of poor old 44.1 kHz ! At least not vs. 48k. It surprises me because I thought most music studios record at 44.1k and provide 44.1k masters (when they don't go for 96 or 192k). And that most sample libraries aimed at music producers are either 96 or 44.1 kHz, but rarely 48 (or 64, or what else ever). Am I. PS3 LPCM 5.1 48kHz vs 5.1 96kHz. Jump to Latest Follow Status Not open for further replies. 1 - 19 of 19 Posts. J. J y E 4Ever · Registered. Looking at the quality a sound can be at 44.1 Khz, there doesn't seem to be any reason to use higher Khz, because it's already good enough for me. If I understand correctly, higher Khz will be able to record and play sounds that people can't, but people's dogs or cats can hear
2016 MacBook Pro Touch 15 - I noticed the onboard DAC is capable of 44.1/48/96khz but, when you plug headphones in, it's only 44.1/48khz. 96khz is not available with headphones. That seems odd. Any idea why that's the case? If the DAC can handle 96khz for the onboard speakers, it should be able.. Sample rate conversions are less likely to introduce distortions downconverting then when upconverting (ie 48kHz --> 44.1kHz goes better than 44.1kHz --> 48kHz so if you need output to CD as well as video, recording at 48kHz is still the way to go) and also when the two rates are integer ratios of each other (96kHz --> 48 kHz is better than 88.2kHz --> 48kHz). That integer relationship is why. Altering sample rate cause artefacts due shifting/mirroring of frequency range above [sample rate]/2. To avoid the artefacts resamplers use digital filters. The best resamplers cause artefacts at level about -170 -200 dB (if audio file resolutio..
Wenn du die X-Fi auf 44,1 kHz stellst, schaltest du nicht das Resampling ab. Es werden dann eben nur nicht 44,1kHz Ausgaben resampled, aber dafür 48kHz, 96kHz, xx Ausgaben. Stellst du auf 48kHz wird 44,1, 96kHz, xxx resampled aber 48kHz Ausgaben nicht mehr usw. Das ist eine notwendige Voraussetzung für alle digitalen Soundlösungen. Was dabei natürlich unter geht ist die Qualität des. Sampling rate = 2 x Maximum Audio Frequency = 2 x 22,000 Hz ~ 44.1 KHz. This is where 44.1 KHz came and why it is commonly used as the sampling rate for digital audio applications such as in recording and in digital audio playback. If the sampling rate is 48KHz, reverse calculation reveals that the maximum audio frequency that can be sampled is
Menu. Home; Articles. All Articles; Tutorials; News; Classes. Logic Class; Home; Articles. All Articles; Tutorials; New So, if you get material on 44.1 and convert to 96 you will get better result in mix stage then on 44.1 (personally, i need mach shorter time to accomplish job on 96 - not that much returns for details like on 44). I don't work with live recordings so someone else should answer for that part. You should consider that 96 KHz 32 bit wave is a hell of space, average project is around 5 Gb This point was illustrated by Dr. James Moorer, co-founder of Sonic Solutions, who presented a paper at the Audio Engineering Society Convention in November 1996 explaining mathematically why converting 96kHz to 44.1kHz can introduce audible artifacts (footnote 1). The paper shows the example of a 1kHz sinewave originally sampled at 96kHz after it is converted to 44.1kHz. The conversion.
Mastering at 88.2 or 96kHz Vs 44.1kHz you have suggested that if one wants to record and work at a 'higher' rate but move down to a final product at 44.1 kHz (say for a CD) via SRC -- that it's better to pick a sychronous rate -- that is, one that's an even multiple of the target rate. (In this case, 88.2 kHz as opposed to 96 kHz. I know 88.2 kHz is closer to your suggested 'optimal. soweit ich weiss ist die urspruengliche cd abtastrate von 44,1 khz so gewaehlt da das menschliche gehoer im optimalzustand maximal so um die 22 khz aufloesen kann. ist das signal in der doppelten abtastrate aufgeloest wird sichergestellt dass man keine spruenge wahrnehmen kann da (hoffe ich formulier das jetzt richtig) auf ein samplen des ohrs immer 2 samples des wiedergegebenen signals kommen Bei Audio-CDs wird eine Abtastrate von 44,1 kHz benutzt. Diese ist ausreichend, um Audiosignale mit Frequenzen bis 22 kHz zu erfassen. Bei Digital Audio Tape (DAT) wird im Consumer-Bereich eine Abtastrate von 48 kHz verwendet, wobei viele Geräte auch über einen Longplay-Modus mit 32 kHz verfügen. DAT-Recorder aus dem Profi-Bereich können auch mit 44,1 kHz arbeiten und dienten bis etwa zum. 48 kHz is recommended because it's easily convertible from 8, 16, and 32 kHz, which are used by telephone and VoIP. In practice, it doesn't really matter; no one can tell the difference. I would stick with 48 kHz, since that's the default and everyone's PC is using it. If you use 44.1 kHz, your viewers will resample the audio - not ideal. Also, some USB microphones don't support 44.1 kHz at all
I'm going to downsample some of my 96khz stuff to 48 (or 44.1, whatever) in audacity and see if I can reliably a/b it through my speakers and various headphones. My sound card (Xonar DX) can playback at 44.1, 48 and 96 (and even 192 for that matter), and with kernel streaming I'll have bit-perfect playback so that won't be a factor. I'll post again once I've had a chance to do it. S. spidey07. Ich habe beim meinem UFX+ bei USB3 / 44.1 kHz und - 32 samples ASIO buffersize eine RTL von 3ms und - bei 128 samples ASIO buffersize eine RTL von 7,4 ms Das reicht mir für die meisten Anwendungen im Homerecording Bereich völlig aus. Eine höhere Sample Rate brauche ich nicht, zumindest nicht um die RTL zu verringern. Hinsichtlich Klang ist 44.1 völlig ausreichend, in dem meisten Fällen. I'm not really qualified to interpret these graphs, but I thought some might be interested in a direct comparison of a high resolution download of Steely Dan's Babylon Sisters vs. a standard red book version. Using Foobar ABX I could not reliably tell the difference between the two tracks. Curiou..
Hallo, mal angenommen, mir liegen wav-Files im 24 bit-Format bei 96 kHz Samplerate vor, wie kann ich diese umwandeln in Audio-CD verträgliche 16bit/44.1kHz wavs, damit ich sie anschließend. 48kHz vs 44.1 kHz. Forums › Forums › Qu Forums › Qu general discussions › 48kHz vs 44.1 kHz. This topic contains 12 replies, has 8 voices, and was last updated by [XAP]Bob 4 years, 2 months ago. Viewing 13 posts - 1 through 13 (of 13 total) Author. Posts 2016/05/23 at 6:44 pm #56013. JohnnyHeat. Participant. Is there any way to record in 44.1 kHz format using the Qu 24? 2016/05/23 at 7.
Comments Off on Omar Sosa & Yilian Canizares - Aguas (2018) [FLAC 24bit/44,1-96kHz] Omar Sosa & Yilian Canizares - Aguas (2018) [FLAC 24bit/44,1-96kHz] Posted by mqs / Posted 3 weeks ago June 28, 2020. Omar Sosa & Yilian Canizares - Aguas (2018) FLAC (tracks) 24 bit/44,1-96 kHz | Time - 54:27 minutes | 933 MB | Genre: Jazz Studio Masters, Official Digital Download | Front cover. Mit 44,1 kHz Samplerate lässt sich ein Signal bis 22 kHz verlustfrei digital speichern und wiedergeben. Siehe Shannon-Abtasttheorem. Eine Samplerate von 48 oder 96 kHz ändert an der Auflösung der Frequenzen bis 22 kHz absolut gar nichts gegenüber 44,1 kHz Samplerate It shouldn't be necessary but in practice care is needed at 44.1 whereas 48 has loads of headroom. The myths about temporal resolution etc lack even an elementary understanding of sampling theory. If anyone can reliably A/B 48khz to 96khz, document it! It would be hugely interesting as it's never been done in a transparent, verifiable way
44.1KHz, 48KHz, 88.2KHz, 96KHz can you hear a difference? March 24, 2016 Uncategorized admin. Is there really a difference in sound between lower sampling rates like 44.1 and 48 KHz and hi-res such as 88.2 and 96 KHz? Yes there is but it's not for the reason you might think. It's not likely to be the difference in high frequencies that you'll hear. The range of human hearing is 20 Hz to. Whenever I play my uncompressed FLAC I can only see 44.1 khz. So does 192 khz matter? But apparently it does - considering how equipment manufacturers are offering 192 khz and beyond. And also how reviewers in publications like Whathifi! say 192 khz equipment is a improvement over 96 khz ones - unitiqute, cyrus streamline 2 etc. Or does it only matter if one has very high quality music files. Hello there, I have an audio interface in which I have to set it to 44 or 48khz, otherwise it seems to be doing some conversion on the fly. When I set it to 44khz some albums sound better on Spotify, and others in 48khz, there seems to be a clear audible difference. Am I correct that Spotify i.. 2. switch from 96 kHz to 44,1 kHz 3. I think all vsti do a self-acting switch to 44,1 kHz 4. no mix or render or bounce, nothing 5. hear test befor / after This message was edited 1 time. Last update was at 08/08/2011 23:44:0
60 X 245 X 3 = 44.1 KHz In 50 Hz video, there are 37 lines of blanking, leaving 588 active lines per frame, or 294 per field, so the same sampling rate is given by 50 X 294 X3 = 44.1 Khz. The sampling rate of 44.1 KHz came to be that of the Compact Disc. Even though CD has no video circuitry, the equipment used to make CD masters is video based. Hello, when connecting with USB, Im stuck with 48kHz (see screen copy, sorry for the french, but you can see : no choice but 48000). To use 44.1 I need to disconnect USB and use S/PDIF to my MOTU interface (828 mkII). This used to work fine with my HD 500, by setting the POD as the sync master. I.. Other sample rates: 48 kHz, 88.2 kHz, 96 kHz, etc. While 44.1 kHz is an acceptable sample rate for consumer audio, there are instances in which higher sample rates are used. Some were introduced during the early days of digital audio when powerful anti-aliasing filters were expensive
The first thing that I did was I took the 44.1 kHz mp3 files into Adobe Audition and resampled them to 48000 kHz wav files. I'm not sure how necessary this step turned out to be, because it didn't alter the speed of the vocals in the video at all, but when I accomplished the sync, it was with the files I had made with this. I made sure to line up the audio file with the audio that is in. 44.1 to 48 means you have to invent a lot more stuff as the two are quite close together - you have to do less to get to 192 as they're a bit further apart, giving you a bit more flexibility. However, if you sampled the 192kHz input at 44.1 kHz you'd see the same stuff, just with what looks like massive jitter. Doing the reverse gives you the same result - you can't 'invent' stuff that has. Before going into the issue, let me let you know that I work in 96 khz, or 48 khz (enough) or above (192 khz for fun as I write), but not because 44.1 khz is less precise - the higher sample rate tends to compensate for worst A/D conversion stage, ergo, it's a cheaper way of making good converters, at the expense of more storage and CPU Technically speaking, those files will still be 44.1 kHz but the software will try to create new samples to fill up the empty spots that have to be filled up at a higher sample rate. The analog signal that will be created from your 44.1 kHz files is analog again, so you're sampling an analog signal again at 48 kHz. While it might not sound exactly like it did before, it will definitely sound. Using the 44.1kHz sampling frequency of a CD therefore allows perfect frequency encoding of any waveform consisting only of frequencies < 22.05 kHz. Human hearing peaks out at 20kHz for very lucky schoolgirls - most of us older males will be a fair way below this. As a result, CD can represent any and every frequency you can hear - without exception. A sampling rate of say 599MHz would be.
When changing the song setting from 44.1kHz to 96KHZ, the VSTi sound is not imming correctly; S1 Pro v3 Audio Options, Tho Restrictive in Limiting Me to only 44.1kHz Sampling Rate, is Overridden in Song Mode? Ah yes, 48khz, Sorry. There is no other options except 44.1 on Studio One 4. Is their any way to add it 44.1/48/96 kHz Digital input 44.1/48/96 kHz AD/DA Conversion 44.1/48/96 kHz * ADVANCE SWITCH=OFF: 44.1 kHz only Frequency Response 96.0 kHz 20 Hz to 40 kHz (+0 dB/-2 dB) 48.0 kHz 20 Hz to 22 kHz (+0 dB/-1 dB) 44.1 kHz 20 Hz to 20 kHz (+0 dB/-1 dB) Nominal Input Level Input Jack L, R (XLR type)-60 to -20 dBu Input Jack L, R (1/4 inch TRS phone. In my opinion, absolutely everything before the master engineer should be recorded and mixed down at 24 bit 96 kHz. The human ear can't hear above 20khz. But there is soo much energy above that we perceive that adds so much motion to a track. 44.1 is reaallly on the fence for lossless back in the cd days it was fine. But with the beauty of. I have found the answer for whether I should be saving my samples and projects in 24/32bit (32 of course), but I couldnt find the answer to whether I should save these in 96 or 44.1 kHz. The main purpose of the files should be loops for liveset. Does saving in 96 kHz make any difference in quality and is it worth saving the samples like this and having my soundcard set for 96kHz in the settings
However I was using MAD @ 16 bits and out_ds @ 16 bits, 48 KHz all the time. Today I tested MAD @ 24 and out_ds @ 24 bits, 48 KHz, which wasn't possible with creative drivers a decade ago *g* To my surprise it works flawlesly with the latest kx-drivers. out_ds says that resampling from 24 bits, 44.1 to 24 bits, 48 is done. When using 48 KHz mp3s no resampling is done - as expected. I wonder. Question: Q: Benefits of 96khz vs 44.1khz Sample Rate. Who knows if there are benefits to using a sample rate of 96khz instead of 44.1khz? If so, what are they? If not, why aren't there? More Less. Mac OS X (10.5.8) Posted on Aug 11, 2009 4:42 PM. Reply I have this question too (1) I have this question too Me too (1) Me too. All replies Drop Down menu. first Page 1 of 1 Page 1/1 last Loading. PCM 44.1 kHz / 16 bit vs. High resolution: PCM and DSD . Issues of music a genres. Some kinds of music with a wide range of instrument loudness (like classical, jazz), demands a wider dynamic range of a musical system. The range may be achieved via increasing of resolution. High resolution recordings were invented for music with wide loudness range . Digital recording issues. We havn't full.
I currently am using a Tascam 2400 MK2 for recording (24 bit; 44.1khz) and Audacity 1.3 beta for mastering my songs (Windows 7 home premium operating system). Though it records at 24 bit, the Tascam will only export at 16 bit and 44.1khz. I'm using 32 bit float in Audacity for mastering the stereo tracks, but if I try to change the material to 96khz in Audacity, it shrinks the song to less. Gang, If I have a 96 KHz file and use the Flat to RIAA Virtual Phone Preamp the sound is different than the same operation done on the file converte Therefore 44.1 kHz has a max reproduction limit in the low 20s kHz. Therefore it's not capable of reproducing my hearing range. I wouldn't claim to be able hear the difference between CD quality and higher recordings though. That higher range is barely audible for me and would probably just get drowned out by my sub-17 kHz normal hearing range. Edit: Googling, it seems that the 20Hz to 20kHz. 96kHz versus 44.1kHz; If this is your first visit, be sure to check out the FAQ by clicking the link above. You may have to register before you can post: click the register link above to proceed. To start viewing messages, select the forum that you want to visit from the selection below. Page.
FL Studio one of the world's most popular music production systems. News WHAT'S HAPPENING AT IMAGE-LINE. Lifetime free updates get future versions fre Bei 44,1 kHz wird 44100-mal pro Sekunde, bei 48kHz eben 48000-mal abgetastet - völlig unabh. von der verwendeten Wortbreite. Wenn ich jetzt von einer hohen auf eine kleinere Samplerate runterrechne, muß ich prinzipiell also nur jedes x-te Sample wegwerfen und gut is'. Das Problem ist ggf. die krumme Ratio (bei 48kHz zu 44,1 kHz = 0,91875), wodurch nicht regelmäßig jedes n-te Sample. Sampling Rate Discrimination: 44.1 kHz vs. 88.2 kHz. May 2010; Conference: Proceedings of the 128 th convention of the Audio Engineering Society (ID 172) Project: Digital audio; Authors: Amandine.