Uploaded July 2015 | Updated September 2026, 3 weeks ago
In 1953, when color television was first introduced, the NTSC decided to pull-down the frame rate 0.1% from 30 to 29.97 frames per second. This was done to avoid any possible resonance with the 60 Hz electrical line frequency.
Most of the early digital audio workstations that needed to play in-sync with video players were always pulled-down when locked to house sync generators. This made the sample rate either 44,056 for 44.1 or 47,952 for 48k.
So, whenever editors are involved in audio post for video, they need to be aware of both the video frame rate and also whether or not a pull-down is being used. Projects that are made for television, as opposed to the big screen, will more likely to use a pull down.
With most digital audio workstations it's now possible to operate at a pulled-down timecode rate like 29.97 or 23.976, without also using a pulled down sample rate. However, often the sample rate is pulled down as well. So, in order for sound and picture elements to be locked to the timeline, it's necessary for the audio editor to know whether or not to use the pull down.
In 1953, when color television was first introduced, the NTSC decided to pull-down the frame rate 0.1% from 30 to 29.97 frames per second. This was done to avoid any possible resonance with the 60 Hz electrical line frequency.
Most of the early digital audio workstations that needed to play in-sync with video players were always pulled-down when locked to house sync generators. This made the sample rate either 44,056 for 44.1 or 47,952 for 48k.
So, whenever editors are involved in audio post for video, they need to be aware of both the video frame rate and also whether or not a pull-down is being used. Projects that are made for television, as opposed to the big screen, will more likely to use a pull down.
With most digital audio workstations it's now possible to operate at a pulled-down timecode rate like 29.97 or 23.976, without also using a pulled down sample rate. However, often the sample rate is pulled down as well. So, in order for sound and picture elements to be locked to the timeline, it's necessary for the audio editor to know whether or not to use the pull down.
