How did 48 kHz come about?

I could Google and find from
http://en.wikipedia.org/wiki/44,100_Hz
that the 44.1 k was due to early digital using VCR transports and tape.

But how then did video end up with 48 kHz? What is that story?

And does anyone know why on Earth the CD did not end up with artist and track metadata embedded? It certainly had enough room!

 

Some CDs now come with metadata. It's handy in the car, but for the most part I burn copies of my CDs for the car and add that data to the CDR. Remember that in the early 80's an in-car entertainment system had no screen and was basically a cassette and radio.

 

Yeah, check out CD-Text for embedded track information:
http://en.wikipedia.org/wiki/CD-Text

Didn't come out until 1996...

 

…so nobody knows where the 48 kHz came from?

 

RE "Many in the U.S. television industry liked 60 kHz as a standard sample rate because it was free of leap frames and split frequencies, and it synchronized readily with all timing signals used in 60 Hz and 50 Hz television systems, 24 Hz film and the 13.5 MHz component digital video sample rate. The professional audio industry, however, considered it wastefully high…"
…must been the same bozos that didn't encode artist/song/album onto the CD-OR the DVD-and decided that PLAY shouldn't play but instead we must use ENTER. Sigh. Where is the tar and feathers when ya need 'em?

 

P.S. in the very early era of digital audio, VTR machines got used. Open reel 1" machines for video or even instrumentation. Sony came later on being able to use 3/4" U-Matic or Beta formats on cassette. Most VHS was not suited to early digital audio due to tracking unreliability and the HQ machines AGC messing up PCM reliability and causing dropouts.

 

If I remember correctly that some of the first Telarc releases were recorded on the SoundStream unit that sampled at 50khz, a very odd rate to have to move back to 44.1 . Their recordings always did sound great anyway. I love 2496 and really like the few 24/192 files I have purchased...equally as much as my SACDs.

It would seem to me that with 24/192 the engineering of the recording will be exposed as very good or just good. No one is hiding at 24/192. What is captured is the real deal. Most of us can manipulate those pcm files in our DAWs, DSD...not going to happen.