Hey all

I am doing a bit of freelance location sound recording for TV/Film, I know it is delivered in 48k/24bit but I usually record sound effects/Foley at 96k/24bit so I wondered which I should be going for whilst doing location sound recording?

Would it be easier for the post production team if it was already in 48k or would they appreciate the 96k?

Thanks in advance!


3 Answers 3


If it is 48/24 they ask for then there's really no point in recording in 96KHz and then convert it. There is a great gain if the project is being mixed in 96 and then resampled down to 48KHz, the program will have more to work with to reach a more undistorted mix, but doing it the other way around can only lead to degrading of the soundfile, remaining at equilibrium at best. Though few resample-algorithms really are completely transparent.

Just ask them directly and go with what they say.

  • Thanks for the quick response, I will ask them directly that does make more sense :) Commented Feb 6, 2013 at 22:55
  • There shouldn't be any problems, good luck with the gig :-) Commented Feb 7, 2013 at 5:23

Conversion is mostly automatic and very easy and fast to do. So don't make it an issue unless you end up doing conversions from uneven sample rates (e.g. 96k -> 44.1k is not an even division), which causes some, but often minimally audible digital errors.

Better record at 96kHz, if possible, because it gives a more flexible recording for later use.

  • While I would normally agree with you on every count, tv/film rolls at 48. Best to avoid sync issues that can even happen with conversion.
    – Dave
    Commented Feb 6, 2013 at 22:41

Yea, having done some field stuff, especially if it's meant to sync to picture later, better off just grabbing it in 48. That's for the location stuff of course. Later on, if you are laying in sound design or foley, you can record that at whatever you want, esepcially if you plan on slowing and pitching stuff. For the location sound, I would rather not risk the sync errors and just go 24/48.

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