Convertisseur de taux d'échantillonnage audio

The Audio Sample Rate Converter computes Nyquist frequency (half of sample rate — the maximum frequency that can be accurately captured) and uncompressed PCM file size from sample rate, bit depth, channel count, and duration. Common rates: 44.1 kHz (CD, music streaming), 48 kHz (video standard, broadcast), 96 kHz (hi-res studio recording), 192 kHz (specialty mastering). Higher rates capture more frequency detail but produce dramatically larger files with diminishing perceptual returns. Nyquist theorem: any sample rate can faithfully reproduce frequencies up to half the sample rate. 44.1 kHz captures 22.05 kHz (above the ~20 kHz upper limit of human hearing). 48 kHz captures 24 kHz. 96 kHz captures 48 kHz. 192 kHz captures 96 kHz — well into ultrasonic range. The argument for higher-than-44.1: better behavior of low-pass anti-aliasing filters near the Nyquist frequency, more 'headroom' for digital processing (EQ, compression artifacts), and arguably some psychoacoustic perception of frequency response shape near top of hearing. Practical benefit beyond 96 kHz is negligible for listening; valuable for production. File size formula: bytes per second = (Sample Rate × Bit Depth × Channels) / 8. Then × duration in seconds. 44.1 kHz / 16-bit / stereo: 44,100 × 16 × 2 / 8 = 176,400 bytes/sec = 10.6 MB/minute. 48 kHz / 24-bit / stereo: 288,000 bytes/sec = 17.3 MB/min. 96 kHz / 24-bit / stereo: 576,000 bytes/sec = 34.6 MB/min. 192 kHz / 32-bit float / stereo: 1,536,000 bytes/sec = 92.2 MB/min — 8.7× larger than CD quality. Producer workflow context: Record at 48 kHz / 24-bit / project-relevant channels for video work (standard sync rate for cinema/TV/streaming). Record at 88.2 or 96 kHz / 24-bit for high-end music production where downsampling to 44.1 kHz (CD) needs cleaner mathematics. Mix and process at recording rate; export to delivery format (44.1 kHz / 16-bit for streaming, 48 kHz for video). Don't record above 96 kHz unless specific mastering/archival reason — file sizes explode without proportional sonic benefit. Bit depth more important than sample rate for headroom: 24-bit gives 16 million levels vs 16-bit's 65,536 — much more important for dynamic range.

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1. 1Step 1 — Select sample rate (44.1 kHz CD, 48 kHz video, 96 kHz hi-res studio)
2. 2Step 2 — Select bit depth (16-bit CD, 24-bit production standard, 32-bit float editing)
3. 3Step 3 — Select channels (1 mono, 2 stereo, 6 for 5.1 surround)
4. 4Step 4 — Enter duration in seconds
5. 5Step 5 — Calculator computes Nyquist frequency: Sample Rate / 2
6. 6Step 6 — Computes bytes per second: SR × BD × Ch / 8
7. 7Step 7 — Multiplies by duration; converts to MB; outputs Nyquist, bytes/sec, and total file size

• !Recording above 96 kHz without specific reason — wastes storage with negligible audible benefit
• !Confusing sample rate (Hz) with bit depth (bits) — different dimensions of digital audio
• !Forgetting that channel count multiplies file size (5.1 is 3× stereo)
• !Mismatching sample rate to video (using 44.1 for video work creates sync issues)
• !Recording 16-bit when 24-bit would prevent clipping headroom problems