![]() ![]() MP3s and WAV files of various rates, it’s best to leave the audio conversion to your dedicated audio While most professional editing applications allow you to mix and match audio formats, including Most of the time, you can just selectĪn NTSC DV template and the audio settings will be automatic. The audio format for your project when you start the program. ![]() ![]() Many editing applications ask you to choose Higher quality and is a natural for DVD distribution. When producing a DV project, it’s best to use the 16-bit, 48kHz standard for audio, since it’s ![]() Of course today, most camcorder owners in the Americas don’t even knowĪbout the option, let alone how to use it. Those producing video on 3/4-inch tape, back inĪncient times, often recorded natural audio on one channel and the voice-over on another channel.ĭuring the design phase of the DV format, it seemed like a good idea to allow two stereo pairs of Thisįeature is a holdover from the analog video days. Great, but what can you do with it? Unless you’re recording voice-overs in the field, not much. The 12-bit system has two independent pairs of stereo audio channels: 4 channels in all. So, why did they go to the trouble of designing a completely different, if inferior, audio system? Not bad, by any means, but it is not as high as it could be (see the Sidebar for an important tip). The secondary audio system is 12-bit with a sampling rate of 32,000 samples per second. It isn’t aĬoincidence that DVD PCM audio is also 16-bit, 48kHz. Recording will only be limited by the audio sources, not the recording medium. When you record audio with these settings, rest assured the quality of the Quality and one of the reasons clever video producers use their camcorders as portable audio The high-quality version usesġ6-bit accuracy and a sampling rate of 48,000 times per second. High-quality two-channel system and a lower-quality 4-channel system. So what digital audio system does Mini DV use? Well, actually, it uses two different systems: a Most of theĭesktop audio recording packages will record 48kHz at 24 bits. 24 bits allow for over 16 million variations in the audio sample. Although our audioĬDs are still 16-bit, 44.1kHz, many cutting edge studios record with sampling rates of 192kHz withĢ4-bit accuracy. Of course, as soon as CD audio hit the streets, there were those in the audio community whoīelieved the quality wasn’t high enough and began to look to future standards. That’s a lot of ones and zeros! If it helps, you might think about the audio bit-ĭepth in terms of the number of potential colors for a particular sample. A littleĬalculation (216) shows there are 65,536 possible combinations in our 16-bit word or sample. Each of our 16 bits can have one of those two values. In the digital world, there are only two possible values for any memory location: zero or one. The number of digital bits we assign to each sample also influences the quality of the recording. Means more detail, in this case, more detail in the higher frequencies. If it helps, you might think of the sample rate in terms of resolution. That’s a theoretically maximum, however, and it would be nice if we had a little more We divide the sampling rate by two, we see that our music CDs can theoretically record audioįrequencies of around 22,000 cycles per second (hertz), which is higher than the average range of The digital audio on a compact disc is sampled atĪ periodic rate of 44,100 times per second (with 16-bit accuracy: we’ll get to that in a moment). Let’s use the universal audio CD as an example. Sample? Frequency? What does that all mean? Nyquist said, we must take a sample of the audio with a period that is at least twice the frequency While the theoretical framework could easilyįill this space on its own, the basic equation is pretty simple. In this month’s Sound Advice, we’ll take a closer look at all those onesīack in the late 1920s, a man named Harry Nyquist developed a theorem that describes how toĪccurately convert an analog signal into a data stream. Unfortunately, with all this ease-of-use comes confusion about the process of recording and Possible and practical to keep multiple copies of our work scattered all over the globe. Archiving with optical discs is the norm and the digital media revolution makes it both Editing is easy and mistakes are just an undoĪway. Performances all day with just the click of a mouse. Video producers have the ability to record near-perfect Not to mention the time and money requiredĪrchiving these delicate recordings for future generations. While there was a great deal of science involved, a generous dose ofīlack magic was required to achieve a quality recording. Their task: to coax audio recordings onto and off of reelsįilled with these ribbons. With a mysterious rust-colored substance. Long ago, in a studio far, far away, audio engineers labored with fragile plastic ribbons covered ![]()
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