That obviously depends on the size of screen. You know this. You are trolling.
This is also clearly irrelevant to audio.
Why do keep making irrelevant analogies in non related fields?
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That obviously depends on the size of screen. You know this. You are trolling.
This is also clearly irrelevant to audio.
Why do keep making irrelevant analogies in non related fields?
@Sergei
Its clear that no-one here accepts you opinions on this subject. The "evidence" you have presented has clearly been debunked and in the process exposed your lack of understanding of the subject. There are too many members here with too much genuine knowledge of the subject to accept your pseudo scientific and irrelevant ramblings.
If you dont have anything further to contribute to the thread topic of MQA, can you desist?
If not then perhaps a thread lock is appropriate.
Its clear that no-one here accepts you opinions on this subject. The "evidence" you have presented has clearly been debunked and in the process exposed your lack of understanding of the subject. There are too many members here with too much genuine knowledge of the subject to accept your pseudo scientific and irrelevant ramblings.
If you dont have anything further to contribute to the thread topic of MQA, can you desist?
If not then perhaps a thread lock is appropriate.
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My reaction to this post is to feel insulted. You'd have to think I was stupid to fall for this. Screen size and distance etc. If you are in the uncanny valley of facial expression move closer or get a telephoto lens.
I must be stupid to have engaged you with good faith thus far.
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Hint: Sergei's avatar.
Let's work through this, OK? I'm sorry you feel insulted - definitely wasn't my intent.
As it relates to volleyball. I couldn't move closer - there are strict rules governing the volleyball tournaments, dictating where a videographer can stand. I couldn't use telephoto either - the ball moves so fast it is really hard to follow it - believe me, I tried.
Broadcast organizations, back then, used at least three 1080p video-cameras, sometimes up to five, to tape volleyball games. Manned by professional cameramen. And a video engineer behind a video-mixing console. Couldn't afford, or even fit, such setup for school kids tournaments.
Monitor size and distance, precisely! Works in audio too. Have you tried it?
That's called multiple mic positions and/or multichannel audio.
Yeah, turn up the volume of fade in/out portion of songs to hear noise, or playing a 44k audio at 22k speed, and if it is the way you listen to music.
Yep, the validity of this method relies on Fourier Analysis. Derivation on page 3 of http://www-inst.eecs.berkeley.edu/~ee120/fa99/notes/notes26.pdf illustrates that. The domain of its applicability are properly band-limited signals. That's what I meant by Fourier-based.
Can you desist with your off topic irrelevant ramblings?
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Aha, it feels like we are getting somewhere. I see it differently. The pulse, inherently, doesn't contain any periodic frequencies. It only happens once.
A function of time is just a function of time. You can elect to approximate it with a linear combination of other functions. It is more mathematically convenient to calculate the coefficients of the approximation if the other functions are orthogonal in some mathematical sense.
The sinusoids used in Fourier analysis is just one kind of such function families: https://en.wikipedia.org/wiki/Orthogonal_functions. In fact, researchers showed that the pulses we are discussing can be much more compactly represented by certain families of wavelets, rather than by sinusoids.
In order for a function to be approximated by a linear combination of other orthogonal functions, there must be something - some mechanism - that calculates the approximation. The mechanism employed by the mammal hearing system does not use Fourier transform.
It uses a different type of transform, based on mechanics and neurophysiology of cochlea, which assigns extracted frequencies to bins spaced approximately logarithmically, rather than at equal intervals like in the case of Fourier transform. In some ways, the cochlear transform is cruder than the Fourier. In other ways, it is more advanced, honed by millions of years of evolution.
A sufficiently short pulse arriving to cochlea does transform into all the cochlea frequency bins. However, it was experimentally proven that the distribution of extracted frequency coefficients doesn't depend in a detectable way on the rise time or other shape-related parameters of the pulse - as long as the pulse duration is much shorter than the characteristic time of the highest detectable sinusoidal frequency (approximately 50 μs for humans).
What matters is the mechanical momentum transferred, and timing of the pulse. What it means is: if an audio delivery system preserves these two characteristics of such pulses, a human will hear on such system the transients he or she would hear in a high-end studio mastering room while listening to the master record.
Unfortunately, as we've seen with examples of cymbal sounds captured at 176,400 sampling rate, downsampling such signals to 44.1 may, sometimes, result in the mechanical momentum and timing of such pulses not being preserved, which introduces transient distortion.
It appears that using 192/24 PCM throughout the audio delivery chain ensures that the momentum and timing of transients is preserved with sufficient accuracy for the overwhelming majority of music records. Some people, who record large symphonic orchestras, argue that 384/24 works even better for their use cases.
Can you post an example of music with such mechanical momentum? Not words. But music.
Fascinating WRT high frequency signals. You do realise that DSD format produces lots of ultrasonic noise?
From 2L recordings http://www.2l.no/hires/
Joseph Haydn: String Quartet In D, Op. 76, No. 5 - Finale - Presto
Engegård Quartet
DSD64
same track at DSD128
There are no microphones (used in audio recording) that respond to such frequencies. There is no acoustic content being recorded.
We have repeatedly demonstrated that timing in digital audio does not rely on sample rate. Why do you refuse to acknowledge this?
Momentum of a transient is a nonsense term.
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I've been to Hiroshima and Nagasaki. Both cities have excellent museums dedicated to victims of the nuclear blasts. Plenty of perceptual evidence relayed by survivors.
Those closer to the epicenter didn't report hearing much: loss of consciousness, intense shock, ruptured tympanic membranes were common. At 20+ miles: the loudest sound they ever heard in their lives.
So what is the distance between you and the performers, or the mics, or the loudspeakers/headphones when you listen to music? How much loudness and high frequencies were lost and/or distorted at 20+ miles?
The loss is about 3 dB per m (20 deg C and 50% H) at 96khz for sounds that would be probably be at least 100dB down already listening live to say an orchestra.
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So 32km at 96kHz that is about -96000dB.
even at 20kHz its still -16000dB
All this has zero relevance to the subject, its just Sergei waffling.
Please print this picture and hang it on the opposite wall to your bed so it can be a first thing you see when you wake up.
LMAOPlease print this picture and hang it on the opposite wall to your bed so it can be a first thing you see when you wake up.
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Yes, I'd like an example of some music with this ultrasonic momentum inducing transients. And yes, not words describing what might be or could be or imputed to be. A bit of music that one can point to as having it in the recording.
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