The Black Hole......

This got my attention.... is there a some what normal condition with music transients which is similar .... start violates nyquest?
I did mention a while ago a guitar string pluck. If a lead guitarist pulls a string taut, then let's go, does the pickup filter the start? The string goes from full amplitude zero velocity to full velocity center of travel at the string frequency. A 1khz note, that represents full amplitude in 1/4 cycle.
Any percussion instrument, I would look at as well.

Ed: the example I posed, exponentially modulated sine, has identical zero crossings throughout.

Mountain bob...now that I select all/copy, the iPad never times out. I am sure the one time I forget, I'll lose the entire post. Again, thanks.

Jn
 
I did setup a convolution in excel, but tried only sin(x)/x. I didn't try any of the wavelets I found using Google. Results didn't float my boat.

Jn

Which of course is taken care of by the aliasing filter in the A/D so no violation will actually occur. If a good implementation.

Discussing PCM while omitting that rules around the A/D process is not meaningful as I see it. It's just theoretical farting 🙂

//
 
Which of course is taken care of by the aliasing filter in the A/D so no violation will actually occur. If a good implementation.

Discussing PCM while omitting that rules around the A/D process is not meaningful as I see it. It's just theoretical farting 🙂

//
My excel convolution was to find a signal that was a modulation of a fourth harmonic by the fundamental in a periodic waveform. I setup a simple subtraction analysis, removing each frequency one at a time. What was left was a modulation.
I had been hoping to use convolution to show the fundamental was indeed modulating the fourth, but the results were not good.
I also tried it on an exponentially decaying sine, again no joy.

The discussion at hand, otoh, is about musical content that will violate nyquist if not filtered.
 
So as I understand it, the microphone is the recording engineer's (as artist) "paintbrush", so what we hear is as much the product of that art, as it is the musician's output. Particularly in the multi-mic'd / mixed down studio recordings where (I assume) the engineer's goal is to make it sound good on playback across as many devices as possible, from the dishwasher's boombox to a high end system.

Contrast this to an idea such as a minimally mic'd recording of musicians in a room - where tracks 19 and 20 are the room impulse for left and right, where one could unravel the room conflaguration and put the musicians in your own room.

I'm still intrigued by the GD wall, where it was intended for the musicians to hear just what the audience hears - instead of hearing what comes out floor monitors while the audience hears something else. Quite a spectacular attempt at giving the musicians more control over what the audience hears and I can read how a lot of work went into expressing that idea. Still curious "what happened"? Perhaps musicians (generally) just want to perform - and leave the details of how it sounds to somebody else...

Also, what do listeners prefer - a minimally mic'd recording - or - one where the engineer is free to use certain mics for certain parts of an acoustic instrument, angle them in some particular way and mix down so that it sounds "as-if" the ensemble is "right there" in between your stereo speakers. Which I assume is the usual way its done. So whomever has their craft the most polished should sound the best - maybe its time to uplevel from the individual hardware level of discussion to who's doing the best sounding work as a music recording artist.

I once rapidly approached Dave Grusin during a local performance break, I think I made him nervous. I thanked him for his GRP digital master studio work and commented that it always makes the stereo sound great. He said "well, we want it to sound good too!" as I shook his hand. I told him its great to be here tonight and then vanished so someone else could have a turn.

I havent been on stage in 20 years (bass) and from what I remember it was all about holding up the band for the song - my little brain had no room for small details in how it sounded. Perhaps when you're really good...you can think about that and play at the same time. Maybe even then its preferred to simply leave those to somebody else you trust.

Great post. The recording craft isnt learnt over night. I say a live gig is like a play a record is like a movie. Great sound is the object but life gets in the way. Drunk musicians, overbearing producers, the loudness wars, earbuds etc, etc.

As far as live gigs, musicians like there own mix, usually more me except the drummer who has too much drums, so stage monitors or lately in ear monitors.
 
...snip... The discussion at hand, otoh, is about musical content that will violate nyquist if not filtered.

....OK + but mosts above my head...

Ehhh, why is this in need of discussion? Fart analysis :-DD

But, than I have the answer: Anything entered above Fs/2 will violate Nyquist. QED. I.e. any part of a signal that exhibits a steeper slope than a 22,05kHz sinus at zero-crossing will violate.

Isn't it as simple as that?

//
 
....OK + but mosts above my head...

Ehhh, why is this in need of discussion? Fart analysis :-DD

But, than I have the answer: Anything entered above Fs/2 will violate Nyquist. QED. I.e. any part of a signal that exhibits a steeper slope than a 22,05kHz sinus at zero-crossing will violate.

Isn't it as simple as that?

//
Almost. Look back at the sin(20)cos(4) stuff.. Nothing in that waveform has a zero crossing slope that exceeds the 22.05, yet frequency content is certainly above.

I gave an example (the guitar string) where the start absolutely violates Fs. The question of the day is, are humans sensitive to the leading edge content of that guitar note? If we remove some of the leading edge content because it starts too abruptly, is that loss audible?
Jn
 
Almost. Look back at the sin(20)cos(4) stuff.. Nothing in that waveform has a zero crossing slope that exceeds the 22.05, yet frequency content is certainly above.

I gave an example (the guitar string) where the start absolutely violates Fs. The question of the day is, are humans sensitive to the leading edge content of that guitar note? If we remove some of the leading edge content because it starts too abruptly, is that loss audible?
Jn

Well, this is where JC indicated a wider BW and thus a faster Tr was audible and was a difference between LP and CD that he and others is sensitive to.

Which then lead into microphone BW. And further back, that 40KHz BW would have made a better CD standard etal

So..... everything is starting to fall into place...

Back in the Day ... Pre CD, we learned that a BW of -3dB at 40KHz was the minimum BW to cause no detectable change. If when CD was developed, that known criteria was used, we might not be having this discussion.

THx-RNMarsh
 
Last edited:
Almost. Look back at the sin(20)cos(4) stuff.. Nothing in that waveform has a zero crossing slope that exceeds the 22.05, yet frequency content is certainly above.

I gave an example (the guitar string) where the start absolutely violates Fs. The question of the day is, are humans sensitive to the leading edge content of that guitar note? If we remove some of the leading edge content because it starts too abruptly, is that loss audible?
Jn

Yes, leading edge ( and trailing) transients are quite important to accurate sounding playback.

I know people here think it’s bs, but it’s what makes the ‘prat’ correct.....call it what you want but the whole time smearing or removal/lack of content, it messes with the believability in playback.

Just glad the iPad trick worked for ya......anything to stop the whining! 😀
 
Last edited:
If we remove some of the leading edge content because it starts too abruptly, is that loss audible?
Jn

Well, if the leading edge has frequency components that is beyond our ability to hear - then they are .... not audible and there is no loss losing them in an anti-aliasing filter ;-D

There are a lot of audio events around us daily that has content that we don't hear. So also a guitar - but we don't mind, as we don't know.

//