Old but still a monster and must have!


http://www.studiorecordingengineer.com/amazon-buy-0240515870.html
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Recording Studio Suntans

There is also "Modern Recording Techniques" at http://www.modrec.com/
and for those of us who are into surround sound, such as myself, there is the truly awesome "5.1 Surround Sound Up & Running" by Tomlinson Holman, available at Focal Press books. They have different sites for Europe & North America, so a Google search is the best way to find them. (The URL is far too long to include here) and as well as the Surround Sound book, they stock a widerange of Excellent Audio books, such as The Audio Engineers Handbook, by Glenn Ballou; The Art of Digital Audio, by Jon Watkinson (mentioned in the above post too)

try http://books.elsevier.com/ and navigate from there.

Happy Reading!
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www.opusproductions.com
Multichannel Audio Specialists

Direct links to those books here:


"5.1 Surround Sound Up & Running" by Tomlinson Holman.


Handbook for Sound Engineers, Third Edition, by Glenn Ballou
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Recording Studio Suntans

Nice one, Admin. Much better than my feeble effots.
Top books, both of them.
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www.opusproductions.com
Multichannel Audio Specialists

Not at all, just done it before
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Recording Studio Suntans

I got a question that's been bugging me a while. Let's say I'm using a decent studio condenser mic with a frequency response of abou 20hz to 22khz. What are the advantages of using a sample rate of 96K over, say, 48K? According to the Nyquist theorem, the sampling rate only needs to be double that of the audible frequecies. So shouldn't even the standard 44.1K be enough? i know that recording at the higher rate can produce certain nuances, but is it really noticeable?

Funny, I got the opportunity to learn the answer to my own question the other night. A friend of mine got some new speakers. He's not a big audiophile, but he wanted me to make a cd with various frequencies so he could test the response of his speakers. I synthesized a sine wave that started at 20 Hz and shifted up to about 20KHz. I did this in a 44.1 KHz file. As the frequecy got closer to 20KHz, I experienced some serious aliasing. I recreated the synth in a 96KHz file and it sounded fine. So I guess that at 44.1, there is still a good chance of aliasing at higher frequecies. Since microphones are analog, they are not effected by this, but when signal runs through the A/D converters, aliasing occurs. So I guess that's it.

It's not just a question of Nyquist, the Nyquist theory states that a sampling rate of twice the highest audio frequency to be coded is enough, that's it, it is simply enough to enocde the waveform. There will be no erros, the waveform frequency WILL be captured.

However, where higher sampling rates come into play (over sampling) is with such things as "noise shaping" and many other benefits that the "added" bandwidth brings such as bringing less stress on the components used for filters (the slopes of the filter become more gradual), and therefore cheaper to produce, and less prone to nasty audio artifact as a result of over stressed components.

Hope that helps you.

Here is a straight talking article about it:
http://www.alvaromrocha.com/blog/9#more
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Recording Studio Suntans

So what would you say should be the minimum sampling rate for a inexpensive studio that will still sound awesome?

I know a bunch of new (and expensive) digital recorders are using 196khz, is it that much of a difference (for twice the price)?

IMO, the more important spec is the bit depth -- there's far bigger audible difference between 16-bit and 24-bit, than there is between 44.1/48KHz and 88.2/96Khz....

In general you'd want to record at the highest resolution/sampling rate possible for your rig. Going 24-bit is a given - but when deciding on sampling rate, you also have to take into account the increased storage requirements/processing requirements for a DAW.

Also keep in mind that with high-quality converters, if someone can't get excellent results at 24/44.1KHz, then the resolution is not to blame, but rather their engineering skills!
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Bruce Valeriani - Mix Engineer

i'm a beginer in music and i'm at college and i need to explain the advanages and disadvantage of digital and analogue mixing desks and how they work just wondered if theres any one who could help me