In real systems the issue of sampling rate conversion arises frequently but fortunately there are plenty of solutions.
Successful microphones have been built working on a number of different principles. Those ideas will be looked at here.
It should constantly be borne in mind that although digital audio is a form of data, those data represent an audio waveform and there are therefore some constraints on what can and cannot be done to the data without causing audible impairment.
In this new series John Watkinson looks at all aspects of microphones to create a technical reference resource for professional broadcast audio engineers.
Gain control in digital audio is essentially a numerical model of the same process in the analog domain.
The advantages of digital audio for recording purposes are clear, but once in the digital domain, productions steps also need to be carried out. Recorders don’t care about the encoding method, which is instead optimized for production purposes.
The best sampling rate for digital audio is easily established by considering the requirements of the human auditory system (HAS), which is the only meaningful arbiter. Provided that the bandwidth of a digital audio system somewhat exceeds the bandwidth of the HAS, that should be enough.
It’s interesting to compare the quality that can be obtained using digital audio with legacy media such as the vinyl disk and magnetic tape.