As I mentioned before, we would not be able to hear that 25kHz tone anyways. No audible information is lost by not capturing it.
What concerns me is that some who are un-knowledgeable fight tooth and nail, instead of learning.
If you examine closely the data Hans provided, you too would have questions.
Why did the 20k shift, yet the 5k and 10k notches are dead on. I first thought simple time scale error on the waveform plots, but that would have shifted the spectral notches as well.
A 5k modulated 20 k sine should not get through that filter unscathed due to upper side bands, and clearly it didn't. The surprise is it appears to be frequency shift. I also didn't see that coming.
You'll have to be more specific, who is unknowledgeable and fighting tooth and nail?
Jn
Thank you to understand my feeling. You are very kind to me.
Do you need prove my feeling with DBT?
I love L.U.V. me some Ethan Winer. He's the real deal boots on the ground. The recently posted _I Am Sitting in a Room_ takes this into the art world. I was surprised that that was made at the same time as Eno's early Ambient Music. How ambient can you get?
All good fortune,
Chris
My pleasure!
It wasn't that difficult or time consuming, given the right tools. It's pitty, though, that it was the only track in DSD format that I had on hand that had some drums going on. I would have preferred something with more agressive cymbals.
I hope everyone in the Eastern/Central USA time zones just finished watching the new PBS _American Experience_ about Joseph McCarthy. One of their most powerful (IMO of course) in several decades. Prescient about the modern world, but the Shakespeare-couldn't-even-write-this-stuff look on Roy Cohn's face at the final Army-McCarthy hearing is the greatest look of betrayal I've ever seen portrayed. All real-time cameras-running real.
A different perspective from _Angels in America_ but equally compelling.
All my best, to all of us,
Chris
A different perspective from _Angels in America_ but equally compelling.
All my best, to all of us,
Chris
Well you gain some points for that
Not necessarily a gorilla, a plain old human
can work as well. Sometimes, in a live mix, I used kick, snare and overhead and call it a day.
That's just the droop of Hans' filter. With a steep brickwall the spectra are exactly identical to beyond 20kHz.
The filtered version has a lot of time-domain ringing from the steep filter (symmmetrical, as it was lin-phase as built in into Adobe Audition's resampler), but the "effective envelope" is exactly the same.
And by the way, the test signal is not 20kHz modulated by 5kHz sine, rather the modulation/window is one period of a *raised cosine* of 5kHz, which is something completely different, sin(x) is not 1+cos(x)/2.
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Not necessarily a gorilla, a plain old human
I was trying to find the reference last night of when the eagles recorded in London and were given the same drum mike setup as Zep. When the drummer complained about the sound he was told to hit harder!
Again, why should I?
The surprising point is, that you don't have to change your belief (that Oohashi's results were not sufficient to show that...), but stop spreading false/incorrect informations.
That can't be that hard to understand for someone who allegedly published himself and did peer review work.
So it is now not about correct facts anymore but about the way a group of other bellievers "receive" something......
At least me.
@billshurv,
+1
As said before, in a traditional stereo reproduction of music a lot is missing in comparison to a real acoustical event and our brain is constantly trying to create a convincing internal representation that is compatible with our experiences (based on the cues in the reproduced soundfield).
So different people most likeley prefer different versions of losses.
@ scott wurcer,
That is obviously true, but Stockham already had modified their digital recording equipment to a sample rate of 52 kHz (afair) allegedly on request by the Telarc guys.
They did know that it would need a combined effort to push the new thing, therefore the collaboration with Sony, but reading over the years all the different story from the technical developers (Sony and Philips) I got the impression that both feared the partner could be more successful and so tried to hinder each other where possible.
Oh absolutely. I know what I prefer and understand I may be in a minority
IMO some of those Telarc recordings have stood the test of time well. Even if they did use spot mikes here and there!
For a practical application that might feel intuitive, you can look at how people have implemented digital (software) peak program meters / clipping indicators and VU-style meters.
Some work for me, most don't. I haven't tried them on my big electrostatics but the in ears often fail. I suspect I don't have the target curve quite right. BBC proms in binaural this year were a lot better than last, but I end up with this feeling that I'm hovvering over the orchestra rather than sitting down listening. The chesky demos fail completely to throw a convincing image.
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