Quote:
|
Originally Posted by Feelingsat24khz The only thing it is telling us is weather the given rate of sampling is enough to know that there is something there, but it has no idea what. |
No, it tells us that to describe a sine wave you need at least two samples per cycle. So with CD-style sampling at 44.1kHz you can't describe a sine wave with higher frequency than 22kHz.
Quote:
|
Originally Posted by Feelingsat24khz if we have a singwave at 11khz recording at 44khz it would not appear as a sign wave to our eyes or ears. It is limited to useing 3 points of reference (in a single rize and fall) to understand the signal. |
No, a sine wave at 11kHz can be perfectly reconstructed from a sampling at 44.1kHz. Note the word RECONSTRUCTED. Not straight lines connecting the dots. When you know that the shape is a sine wave then all it takes are a couple of samples per cycle. Regardless of frequency.
Quote:
|
Originally Posted by Feelingsat24khz Our brain deciphers these irregularities to know what is going on in the signal if it is held long enough. short burts of recorded material always sound harsher on digital than long notes as the brain doesn't have the time to deciphere between the irregularities. |
I don't know if you're trolling or not, but lets assume not. Then your misunderstanding of the models behind digital audio is quite impressive. Unfortunately you're far from alone. This idea that, within the audible range, the more samples you have the closer to the original wave form you get is wrong. A bass tone is not better described than a treble tone within the audible range. So increasing the sample rate to 88kHz or 96kHz makes zero difference below 20kHz in the digital domain. The only thing it does is to extend the frequency range by one octave above the audible range. One extra octave a few octaves above the highest note on a piano.
You need to read up on elementary calculus and calculus in general leading to transforms. In particular the Fourier transform. Then you will see that any wave form can be described as the sum of sine waves of different frequencies. The limit imposed of 44.1/48/88.2/96 kHz sample rate sets the limit for the highest frequency component of this sum. All sine waves below this limit are smooth and perfectly shaped sine waves. As sine waves are. Regardless of frequency. Sum them and you get the original complex waveform back. Using this as a model, combined with the sample theorem means that complex waveforms can be perfectly described within the audible range by CD-quality sampling at 44.1kHz.
best regards
Lars