Are you saying I shouldn't invite you to my 24 hour restream of Change of Seasons?
LOL there are things that are impressive that are not enjoyable.
And I mean, humans both hear and see relatively, not absolutely so if Eddie and... whoever the bassist was at that show had ratcheting whammy bars on their axes no one would have noticed a thing. The only reason it's a problem is that Sony needed to fit 74 minutes of stereo program audio on 120mm of lexan to be read by a 780 nm laser and physics says you can't do that at 48kHz.
- random googling occurs to see how far back DASH dumbness goes; author is reminded of "44.056kHz" which you never see but which exists; the author is again reminded of PCM adaptors which are well before his time but goddamn it a pet theory dies: -
It is simplest if the same number of lines are used in each field, and, crucially, it was decided to adopt a sample rate that could be used on both NTSC (monochrome) and PAL equipment. Since NTSC has a field rate of 60 Hz, and PAL has a field rate of 50 Hz, their least common multiple is 300 Hz, and with 3 samples per line, this yields a sample rate that is a multiple of 900 Hz. For NTSC the sample rate is 5m × 60 × 3, where 5m is the number of active lines per field, which must be a multiple of 5 (the rest used for synchronization), and for PAL the sample rate is 6n × 50 × 3, where 6n is the number of active lines per field, which must be a multiple of 6. The sampling rates that satisfy these requirements – at least 40 kHz (so can encode 20 kHz sounds), no more than 46.875 kHz (so require no more than 3 samples per line in PAL), and a multiple of 900 Hz (so can be encoded in NTSC and PAL) are thus 40.5, 41.4, 42.3, 43.2, 44.1, 45, 45.9, and 46.8 kHz. The lower ones are eliminated due to low-pass filters requiring a transition band, while the higher ones are eliminated due to some lines being required for vertical blanking interval; 44.1 kHz was the higher usable rate, and was eventually chosen.
Okay kids ignore that Norio Ohga Beethoven's Ninth thing. We're stuck with 44.1 because backintheday if you wanted to record digital audio, you were doing it on a 3/4" U-Matic VCR through a PCM transcoder that turned sound into video and so that it would work with NTSC and PAL VCRs, it HAD to be 44,100 Hz because it's the least common multiple that works with 29.97 frames @ 60Hz, and also 25 frames @ 50Hz. And if you were PAL you were actually recording at 44,056 Hz because of dropped frames.