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    Record at 96kHz/24bit 48kHz/24bit or 44.1kHz/16 ?
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    Hi
    Just bought a zoomH1 and plan on doing some dual sync recording with my 7D. Will be using FCP as my NLE.
    With a 4GB micro SD I get just under 2, 4 and 6.25 hrs recording time for the 3 different quality options in WAV format.

    96kHz/24bit

    48kHz/24bit or

    44.1kHz/16bit

    Is the extra quality of 96/24 worth the much reduced recording time, or should I stick with 44.1kHz/16?
    Does it depend substantially on the actual audio being recorded ie spoken voice vs classical symphony vs nature sounds?

    Any audiophiles care to chime in?


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    #2
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    IMO, Audiophiles are those guys that spend $5,000 on a bucket of rocks to make their hi-fi sound better, but that's my own little side rant.

    Sound for picture should almost always be 48kHz (or a multiple, like 96) at the greatest bit-depth you have available. Generally, you'll only really benefit from 96 or more KHz right now if you're doing FX recording. (Cue everyone else on here getting into an argument about sample rate in 3...2...)


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    #3
    Moderator Alex H.'s Avatar
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    48kHz/24-bit. Anything else is wasting your time and resources.
    Nobody notices audio... until it's not there.

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    #4
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    I agree with C2V, unless it's a theatrical release, 48khz/24-bit is the standard.


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    Even for theatrical release, production dialogue at 48/24 is what's used. Going any higher is a waste of space. Now, if you are recording sound fx, then do the higher resolution.
    Audio Product Specialist; DVeStore. A DVXUser forum sponsor.


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    Typically these small recorders only achieve about 15-17 bit dynamic range (even the very best field recorders get only 19-20 bits worth in reality), so 24 bits is more marketing than reality. 48 kHz is the standard video sample rate, so using that makes things simple. If, for some reason, you are short on card space, using 44.1/16 would be fine. Convert that to 48 kHz before dropping the audio into the editor (some editors convert automatically) and nobody will notice any difference.


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    #7
    Senior Member unclebob6958's Avatar
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    As an audio post guy I really like 96k. When using NR and other processing I get significantly fewer artifacts at the higher sample rate.
    Filmmaking is the art of being invisible; if anyone notices your work you haven't done your job right.

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    Bob
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    Senior Member Alan H. Chang's Avatar
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    With the settings you've just given for recording purposes,

    1. 24/96 for SFX
    2. 24/48 for Film Dialogue
    3. 24/44 or 16/44 for Music-related

    If you're running out of space and need more recording time and have no place to transfer, switch to MP3 mode. Don't kill me, but it'll save you. If your device has the capability to do 24/192, go for it.

    Spoken voice for normal narration work, 24/48 or 24/44
    Spoken voice for sound design purposes, 24/92, extreme conditions 24/192
    Classical recording, 24/88 or 24/92. Demo purposes 24/44 or 24/48, all depending if it's going down to video or broadcast. Higher the sample rate, the less harmonic distortion on materials/sources with high transients. More than just harmonics.
    SFX for library and sound design work, 24/192. Ambience, 24/92 or 24/192 if extreme/unique design situations.


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    #9
    Senior Member John Willett's Avatar
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    Quote Originally Posted by eco_bach View Post
    Hi
    Just bought a zoomH1 and plan on doing some dual sync recording with my 7D. Will be using FCP as my NLE.
    With a 4GB micro SD I get just under 2, 4 and 6.25 hrs recording time for the 3 different quality options in WAV format.

    96kHz/24bit

    48kHz/24bit or

    44.1kHz/16bit

    Is the extra quality of 96/24 worth the much reduced recording time, or should I stick with 44.1kHz/16?
    Does it depend substantially on the actual audio being recorded ie spoken voice vs classical symphony vs nature sounds?

    Any audiophiles care to chime in?
    If you are recording for video, do it at 24-bit / 48kHz.

    Don't use 16-bit at all - 24-bit gives you the safety headroom and the ability to manipulate in a DAW.

    I was at Abbey Road a couple of years ago with a multi-mic. recording of the LSO (all digital microphones) and the whole lot was recorded at 24-bit / 44.1 kHz (as it was for CD).

    I record mostly classical for CD release and record at 24/96 or 24/88.2 - but foe video, stick with 24/48 and don't use 16-bit at all.
    John Willett
    Sound-Link ProAudio Ltd.
    Circle Sound Services
    President - International Federation of Soundhunters (FICS)

    Recorder: Nagra VI, Nagra SD, AETA 4MinX
    Mics: (all pairs): Sennheiser MKH 20/30/40/800/8020/8040/816F, Neumann KM-D series. Plus: Soundfield SPS200, Neumann TLM 103, KMR 81i + loads more
    DAW: Sequoia
    Monitors: ME-Geithain RL944K, ME-Geithain RL906, Harbeth M30A, K+H O110D
    Headphones: Sennheiser HD 25-1, HD 800
    Monitor Controller: Grace m903


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    #10
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    And if you have concerns about record time, get more/bigger SD cards.


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