I'm guessing it has to do with the rotational head speed in those tape based systems.
Barbabatch sample rate convertor professional#
In fact, the first digital audio tape system ran at 44.056k because they used NTSC tape based systems.Ĥ8k is mostly from the video world where all digital audio married to video runs at 48k (Think D1, D2, DigitBeta, DV, DVCPRO, etc) This is also why DAT (based on video technology) is 48k, its for professional use. RE: 48k vs 44.1k the myth is that the guy in charge of making CD wanted to fit Beethoven's 9th Symphony on 1 disc as opposed to several LPs making 74 minutes at 44.1k a standard. The best part of that particular disc is the 96/24 MONO version of the album. The Front and Rear are reversed or the Center and Rear.
The Pet Sounds disc has channels mis configured if I recall. To confirm this, you could try to rip the stereo audio tracks as WAVs and run them through foobar2000 HDCD plugin for detection. Unless they have a 16-bit/44.1kHz track somewhere, I don't think your Amp will detect any HDCD. When upgrading to MLP (variable data rate), I seriously hope they unfolded the HDCD data! Of course HDCD was meant to added a few more bits of information on a constant data rate system. When they planned a DVD Audio release in 2003, they probably just re-used that master and kept the marketing hype paragraph around the remastering process. They did a HDCD (Compact Disc) remaster around 2000, and the cover shows similar information on the cover: I'd wager 192/24 PCM would beat an SACD of the same material on the same system. MLP encoded 192/24 sounds pretty good next to any SACD I've ever listened to. None of that was really a selling point for SACD which was marketed to "audiophiles" where as DVD-A was a more consumer/entertainment/home theatre oriented despite it being as good, if not better than, SACD fidelity. Video chews up a lot of space and often there were multiple flavors of audio available (MLP, PCM, DTS, AC-3, etc) or even separate mixes (stage vs. DVD-Audio was more surround and video focused IMO. However, that seems to be more of an SACD thing - high res stereo with a CD layer for legacy. I agree that there should have been more straight up 192/24 or 96/24 Stereo PCM releases. AC-3 was a licensing fee but PCM took up more disc space.and no one liked MPEG-2 Audio. I know that with DVD-V the disc is required to have Dolby Digital or PCM audio, MPEG-2 Audio was optional. Otherwise, there could be licensing requirements. My guess would be that there was additional content like a video zone or a 5.1 mix, or just the run time being long requiring the overall size of the disc to be taken into account. One wonders though why with some DVD-Audio releases, they gave us 24-bit/96khz 2-channel stereo tracks with Meridian Lossless Packing? Why not just go with LPCM and save MLP for the 24-bit/192khz 2-channel or the 24/96khz 5.1 audio? Last edited by sonicboom on, 16:54, edited 1 time in total.
Barbabatch sample rate convertor pro#
*EDIT: Scenarist Pro allowed 24 bit files.* You might have needed to use DVD Creator on a MacOS 9 machine or Panasonic's proprietary Windows-based authoring system (MEI) to do that and even then I doubt it would be under the throughput limit. The spec allowed 24 bit files but Scenarist didn't. So you could bit budget a file that had up to 6 channels at 96/16 as long as it was less than 9.2 or 9.8 Mbps. However, DVD-V could support 96k/16bit (maybe 20bit) files in Sonic (Daiken) Scenarist. It has been quite a while since I've stared at Scenarist or DVD-Audio Creator all day so my math is fuzzy at best. LPCM has always been a capability of DVD-Video (as I have a few music video DVDs that have LPCM sound), but has 24/96 LPCM always been a capability of the format that is rarely utilized?ĭoes anyone else have any 24/96khz DVD-Video discs?
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