The sampling rate, in digital recording, in simple terms,
is the number of times a program or application looks at the source
incoming material to derive how to interpret it.
One can say that the more often the source material is
looked at, the closer the interpretation is going to be. Digital equipment,
reduces all incoming material to "ones and zeros" (01 10 00 11...etc)
this is the way it keeps track of material. For our purposes, sound material.
A neccesary part of digital recording is what is called
an "interpolation curcuit". this is like a calculator that rounds up or
down any number value that falls between the cracks
when the digital curcuitry is not looking fast enough to catch every
nuance of the sound material that comes in. It's a kind
of digital "guessing", randomly rounding some up, and some down.
Now, in engineering manuals this would be shown
with graphs and tables ad nauseam, but for the purpose of our discussion
here, I will move us along with the understanding
that the sample rate of the first digital devices (CD players) was 44.1 khz.
This means that 44.1 thousand times per second the digital
device would look at the material and interpret it.
Then came 48khz sample rates which were higher quality
simply because the digital device was looking more frequently to see
what was coming in. And because it could see a little better,
what was coming in, the "interpolation curcuitry" didn't have to do
so much "guessing".
A quick note, one of the sounds of a lot of "guessing" is
a harsh quality to the high end, (not good).
So as time progressed, science and industry were able to
double the 48khz sampling rate, and voila, the 96Khz sampling rate
is a marked improvement over the 48Khz sound.
Most studios are able to record at a 96Khz
sampling, but few really do, because its DSP (computer processing),
intensive. It uses a lot of valuable computing resouces.
Now, before I get on to the actual real point of why
I've started this discussion, there is a consideration that I must point
out. And that is; the reason why the folks who first
developed the CD sampling rate to be 44.1Khz, did this because of
a factor called the "Niquist limit". Now even
though I'm attempting to explain a fairly complex system of
computation in "any body can understand terms",
this "Nyquist Limit" is worth knowing about because it says that;
"What ever the sampling rate is, you can only use
'half' of that amount". I won't go into the reasons why that is,
but I will tell you that because human hearing only
goes up to 20,000 Khz, the developers made the first CD players
at 44.1khz so that they could use half of that for
playing back sound. (20K is less half of 44.1 K).
Or you can say 44.1K has 20k of usable bandwidth.
I hope you are understanding this.
Now on to the real meat of this subject. While 96K
sounds really good, the film industry, and most studios still only record
at 48k, as we discussed above.
It has been the point of much discussion as to
whether the human can hear the difference between 96k and higher.
Having tested this extensively, the difference is
discernable in the form of "higher order harmonics" that are part of
the sound, that you don't percieve in an obvious way.
The ability to record sound at 192Khz due
to science and technological advancements is a marvelous and
wondrous ability. Yes, it's twice 96K, and
the Nyquist limit is about 100K of usable bandwidth.
The sound is rich, pure, silky and transparent.
It's like the taste of the purest high mountain spring water, but to
your ears. Because the higher order harmonics that
are part of, and complete every sound, are now present, the texture
of the strings, of the voice, of the flute are
overwhelming. And in surround, as you might imagine, is breath taking.
Magic Presence Studios is dedicated to exclusively
recording at 192Khz. Yes it takes an incredible amount of computer
resources to do this, and we can sustain over
a hundred tracks on simultanious processing of plugins in the
most intensive automation mix environment.
But wait,.......there's more!!
Aside from the dilicious sound of 192Khz recording.
There is another spiritual / metaphysical aspect to this format.
For this I must harken you back to the days of
laquer disc redords. It has been greatly noted and commented
upon that there was a "feeling" that a person
would get when listening to 45, 33 or 78 rpm records. And that this
"feeling" was lost when CDs took over the market.
The comment was "the music sounds sterile".
This was attributed to the 20K ceiling of the
usable band width,(hence our discussion of the nyquist limit),
A number of spiritual masters and off planet sources
(whether you believe in the channeling of these beings or not), have
said that there is an invisable light body that
surrounds the physical body, which is the pathway for your feelings
or emotions to enter your being. And the threshold
frequency for energy to enter that emotional body is approx
100khz, (the nyquist limit for 192K).
Hence the sound recorded at 192K, when recorded
with a degree of passion filled emotion, makes it all the way to the
final listeners ear. The masters explain that
the emotion gets imprinted on the untangible music energy and
stays with it.
In all fairness, many technical engineers have
refutted this by saying; "The microphone and the electronics don't have
the ability to interpret information at 100k, so
how can this emotion quality be being recorded"?
To them we must say,"The proof is in the pudding"!!
Every spiritual artist that this studio has recorded, has proclaimed
the same thing, "I can't believe the way
the sound makes me feel". As the masters pointed out, the
emotion attaches itself to the essence
of the sound, and stays with it.
Thank you for following all the way through
this lengthy discussion.
In summation; You must try this recording system to prove it to
yourself. Its an incredible journey.
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