On 9/22/2020 8:29 AM, Edward Park wrote:
I might be making up the history behind it, but 44.1kHz was basically
just workable, with 20kHz assumed to be the “bandwidth” limit of sound
intended for people to hear, 40kHz would be needed to encode sound
signals that dense, and the extra 4.1kHz would help get rid of artifacts
due to aliasing - and probably the biggest factor was the CD.
My recollection is that you're substantially correct- tradeoffs of number of
the bits on a CD, human hearing (most people can't actually hear up to
20kHz), however....
"The official Philips history says this capacity was specified by Sony
executive Norio Ohga to be able to contain the entirety of Beethoven's Ninth
Symphony on one disc.[25] This is a myth according to Kees Immink, as the
EFM code format had not yet been decided in December 1979, when the decision
to adopt the 120 mm was made. The adoption of EFM in June 1980 allowed 30
percent more playing time that would have resulted in 97 minutes for 120 mm
diameter or 74 minutes for a disc as small as 100 mm. Instead, however, the
information density was lowered by 30 percent to keep the playing time at 74
minutes"
(which some of the things I was recalling, too)
As for 30000/1001- that's an artifact of NTSC analog television trying to
fit color information into a b/w signal and then later applying SMPTE
timecode to the resulting frame rate. There's a good explanation at
https://en.wikipedia.org/wiki/SMPTE_timecode#Drop-frame_timecode
z!
_______________________________________________
ffmpeg-user mailing list
ffmpeg-user@ffmpeg.org
https://ffmpeg.org/mailman/listinfo/ffmpeg-user
To unsubscribe, visit link above, or email
ffmpeg-user-requ...@ffmpeg.org with subject "unsubscribe".
