{"id":1848,"date":"2021-08-29T11:00:00","date_gmt":"2021-08-29T11:00:00","guid":{"rendered":"https:\/\/mixxed.com\/blog\/?p=1848"},"modified":"2022-09-22T11:40:24","modified_gmt":"2022-09-22T11:40:24","slug":"what-is-an-audio-sample-rate","status":"publish","type":"post","link":"http:\/\/create.routenote.com\/blog\/what-is-an-audio-sample-rate\/","title":{"rendered":"What is an Audio Sample Rate?"},"content":{"rendered":"\n

What is Digital Audio?<\/h2>\n\n\n\n

You’ve been recording <\/strong>your vocals <\/strong>and you’re impressed with your killer voice. You give yourself a nod in the mirror that says “good job”. <\/p>\n\n\n\n

However, you find yourself curious <\/strong>about what’s actually happening <\/strong>inside your gear <\/strong>when you record <\/strong>your audio<\/strong>.<\/p>\n\n\n\n

Characteristics<\/strong> like the frequency <\/strong>and amplitude <\/strong>of your acoustic sound waves <\/strong>have been converted <\/strong>into binary data <\/strong>that your computer can read<\/strong>. This converted sound wave <\/strong>is what we call digital audio<\/strong>, and this now allows you <\/strong>to edit and manipulate <\/strong>your vocals inside <\/strong>your DAW<\/strong>.<\/p>\n\n\n\n

What is an Audio Sample?<\/h2>\n\n\n\n

Before <\/strong>your computer receives binary 1s & 0s<\/strong> that it can read<\/strong>, the soundwave <\/strong>of your vocals <\/strong>has been converted <\/strong>into that data through <\/strong>a series of snapshot measurements <\/strong>called samples<\/strong>.<\/p>\n\n\n\n

To reproduce <\/strong>the beauty of your killer voice<\/strong>, thousands of samples <\/strong>need to be mapped out per second<\/strong>. The amplitudes <\/strong>that your vocal soundwave <\/strong>is reaching is measured<\/strong>, and the samples <\/strong>are measured <\/strong>at particular times too<\/strong>!<\/p>\n\n\n\n

If we measure samples <\/strong>extremely quickly <\/strong>and measure <\/strong>enough amplitude values<\/strong>, we can reconstruct <\/strong>the resolution <\/strong>of your acoustic vocals<\/strong>!<\/p>\n\n\n\n

\"\"<\/figure><\/div>\n\n\n\n

For the best visual representation <\/strong>of this conversion<\/strong>, our hats are off to iZotope<\/a><\/strong>.<\/p>\n\n\n\n

What is Sample Rate in Audio?<\/h2>\n\n\n\n

The short answer <\/strong>is the speed of measurement <\/strong>and the number of sample measurements <\/strong>made, which is measured <\/strong>in kilohertz<\/strong>. <\/p>\n\n\n\n

You can see <\/strong>in the image above <\/strong>that the more measurements <\/strong>that are made give a better representation <\/strong>of the original soundwave<\/strong>. <\/p>\n\n\n\n

Let’s break <\/strong>a soundwave down <\/strong>some more. A soundwave <\/strong>is made up <\/strong>of cycles<\/strong>, and one cycle <\/strong>has one positive <\/strong>and one negative amplitude stage<\/strong>. To discover <\/strong>the wavelength<\/strong>, which would be the length of the individual cycle<\/strong>, we need to measure both <\/strong>the positive and negative amplitudes<\/strong>. Both the positive <\/strong>and negative amplitudes <\/strong>must be sampled <\/strong>at least once<\/strong>, so each cycle <\/strong>is consequently sampled twice<\/strong>. <\/p>\n\n\n\n

Therefore, the sample rate <\/strong>determines the range of frequencies measured <\/strong>in digital audio form<\/strong>. <\/p>\n\n\n\n

By sampling <\/strong>a soundwave <\/strong>at least two times per cycle <\/strong>we work out <\/strong>the frequency <\/strong>of the overall waveform <\/strong>itself.<\/p>\n\n\n\n

This means that we can reconstruct <\/strong>a soundwave <\/strong>in digital form <\/strong>with a sample rate <\/strong>that’s twice <\/strong>the frequency <\/strong>of the original soundwave <\/strong>(because we are sampling every cycle twice<\/strong>)!<\/p>\n\n\n\n

This is known as the Nyquist rate<\/strong>. A system <\/strong>can reconstruct frequencies <\/strong>up to half of the sample rate used<\/strong>, and this halfway line <\/strong>is known as the Nyquist frequency<\/strong>!<\/p>\n\n\n\n

What is the Sample Rate of CD Audio?<\/h3>\n\n\n\n

The standard sample rate <\/strong>for CDs <\/strong>and music streaming services <\/strong>is 44.1kHz<\/strong>, which translates to 44,100 samples measured per second<\/strong>. This is the most common sample rate <\/strong>that you have probably seen. <\/p>\n\n\n\n

What Audio Sample Rate Should I Use? What is Aliasing?<\/h3>\n\n\n\n

We puny humans <\/strong>are limited to only hearing frequencies <\/strong>between 20Hz & 20kHz<\/strong>, so a sample rate <\/strong>of 44.1kHz <\/strong>makes sense, right? If we want to accurately reconstruct audio <\/strong>that’s 20kHz<\/strong>, a sample rate <\/strong>that’s taking measurements twice every cycle <\/strong>will naturally <\/strong>give us a sample rate <\/strong>of 40kHz<\/strong>. <\/p>\n\n\n\n

But what’re the extra 100 samples <\/strong>for?<\/p>\n\n\n\n

If you’re not familiar with aliasing<\/strong>, it’s when soundwaves <\/strong>become unrecognisable <\/strong>from one another<\/strong>. It’s an error <\/strong>that arises <\/strong>in sampling audio <\/strong>– the sampled waves become aliases <\/strong>of one another<\/strong>! Any signals above <\/strong>the Nyquist frequency <\/strong>don’t get sampled properly <\/strong>by audio-to-digital converters <\/strong>and get mirrored <\/strong>back across the Nyquist frequency<\/strong>, which causes aliasing<\/strong>. <\/p>\n\n\n\n

Therefore, we have our Nyquist frequency outside <\/strong>of the threshold of human hearing <\/strong>(at 20.05kHz<\/strong>) so that aliasing <\/strong>is less obvious <\/strong>to our ears<\/strong>. By having our Nyquist frequency <\/strong>outside of our hearing range<\/strong>, we can easily hide aliasing <\/strong>with low pass filters <\/strong>before audio reaches <\/strong>the analog to digital converter<\/strong>!<\/p>\n\n\n\n

\"\"
Difference between analog & digital soundwave, Source: Mobile Beat<\/figcaption><\/figure><\/div>\n\n\n\n

What Audio Sample Rate Should I Use?<\/h3>\n\n\n\n

44.1kHz <\/strong>is the most common <\/strong>and accepted sample rate <\/strong>for consumer audio <\/strong>like CD’s <\/strong>& music streaming<\/strong>.<\/p>\n\n\n\n

However, you’ve probably noticed that your DAW <\/strong>has sample rate options<\/strong>. That’s because there are actually instances <\/strong>where a higher sample <\/strong>rate is used<\/strong>. <\/p>\n\n\n\n

48 kHz <\/strong>is another very common sample rate<\/strong>. This is because this higher sample rate <\/strong>does lead to more per second measurements <\/strong>of the audio, which leads to <\/strong>a closer reproduction <\/strong>of the original audio source<\/strong>. 48 kHz <\/strong>is often used in other professional audio circumstances<\/strong>, rather than music production scenarios<\/strong>, like in audio for film<\/strong>. <\/p>\n\n\n\n

48kHz moves <\/strong>the Nyquist frequency <\/strong>all the way to 24 kHz <\/strong>and allows for further buffer room <\/strong>before any filter filtering <\/strong>is needed.<\/p>\n\n\n\n

Sample rates <\/strong>tend to be in multiples of 44.1kHz<\/strong>. Some engineers choose to work <\/strong>with rates of 88.2kHz<\/strong>, 96 kHz<\/strong>, 176.4 kHz<\/strong>, and 192 kHz<\/strong>. <\/p>\n\n\n\n

These higher sample rates <\/strong>are used because low pass filters <\/strong>have less impact <\/strong>on the sound <\/strong>and offer more samples per second<\/strong>, which obviously brings a more accurate recreation <\/strong>of the original audio<\/strong>.<\/p>\n\n\n\n

Why is 44.1kHz the Standard For Consumer Audio?<\/h3>\n\n\n\n

Of course, it\u2019s great to work <\/strong>with a higher audio sample rate<\/strong>. Maximising <\/strong>the reproduction quality <\/strong>of the original audio <\/strong>is something we can all get behind, surely?<\/p>\n\n\n\n

However, the files will <\/strong>be much larger<\/strong>. In the end, however, the audio will likely <\/strong>be converted <\/strong>to 44.1 kHz <\/strong>for streaming services <\/strong>as this was the standard <\/strong>for CDs<\/strong> too.<\/p>\n\n\n\n

Mathematically<\/strong>, it’s a lot easier <\/strong>to convert 88.2 <\/strong>to 44.1 <\/strong>and 96 <\/strong>to 48 <\/strong>(which is why <\/strong>these are the two most common rates<\/strong>). This is why, for the entire project<\/strong>, it\u2019s better to stay in one format<\/strong>.<\/p>\n\n\n\n

If your audio playback <\/strong>system was set <\/strong>with a sample rate <\/strong>of 48 kHz<\/strong>, but you were listening <\/strong>to an audio file <\/strong>with a rate of 44.1 kHz<\/strong>, the audio <\/strong>would be read faster than it should<\/strong>. <\/p>\n\n\n\n

This would speed up <\/strong>the audio <\/strong>and make it sound higher pitched<\/strong>. If the systems sample rate <\/strong>was 44.1 kHz <\/strong>and the audio file<\/strong> was at 48 kHz<\/strong>, the audio <\/strong>would sound lower-pitched <\/strong>and slowed down<\/strong>.<\/p>\n\n\n\n

These may sound like unwanted consequences<\/strong>, but there are creative uses here<\/strong>. Audio samples <\/strong>with very high rates <\/strong>can also have interesting creative use<\/strong>. <\/p>\n\n\n\n

Go & lower <\/strong>the pitch <\/strong>of a 44.1 kHz audio file<\/strong>. Notice how empty <\/strong>they sound <\/strong>in the highs<\/strong>? That’s because frequencies above <\/strong>the 22.05 kHz threshold <\/strong>were filtered <\/strong>out pre-conversion<\/strong>. That means there is no audio <\/strong>to pitch down <\/strong>in the highs<\/strong>, which has given you a quiet hole there<\/strong>. <\/p>\n\n\n\n

This means that if you were to use <\/strong>the highest sample rate <\/strong>of 192kHz<\/strong>, the Nyquist frequency <\/strong>would be 96kHz<\/strong>. Above the threshold <\/strong>of human hearing <\/strong>(by a lot<\/strong>), but if you were to pitch <\/strong>this high sample rate audio file down<\/strong>… there would be lots of frequency content <\/strong>left to hear <\/strong>in the highs<\/strong>.<\/p>\n\n\n\n

Basically, sample rates <\/strong>can be a fantastic tool <\/strong>to play with <\/strong>if you were to dabble <\/strong>in resampling<\/strong>\/sample based synthesis<\/a><\/strong>.<\/p>\n\n\n\n

Of course, if you’d rather download <\/strong>some vocal samples <\/strong>than record your own<\/strong>… Mixxed<\/a><\/strong> has a plethora of sounds <\/strong>for you to choose from <\/strong>to accentuate <\/strong>your music <\/strong>from the rest! <\/p>\n\n\n\n

<\/p>\n\n\n\n

<\/p>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

What is Digital Audio? You’ve been recording your vocals and you’re impressed with your killer voice. You give yourself a nod in the mirror that says “good job”. However, you find yourself curious about what’s actually happening inside your gear when you record your audio. Characteristics like the frequency and amplitude of your acoustic sound waves have been converted into binary data that your computer can read. This converted sound wave is what we call digital audio, and this now allows you to edit and manipulate your vocals inside your DAW. What is an Audio Sample? 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