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- From: whit@carson.u.washington.edu (John Whitmore)
- Newsgroups: rec.audio
- Subject: Re: CD Sound Quality
- Date: 31 Dec 1992 05:51:10 GMT
- Organization: University of Washington, Seattle
- Lines: 29
- Message-ID: <1hu1oeINNej@shelley.u.washington.edu>
- References: <7490273@hpfcso.FC.HP.COM> <1992Dec26.072221.1912@hpcvaac.cv.hp.com>
- NNTP-Posting-Host: carson.u.washington.edu
-
- In article <1992Dec26.072221.1912@hpcvaac.cv.hp.com> billn@hpcvaac.cv.hp.com (bill nelson) writes:
-
- >: > Say you sample at 44 KHz. The maximum theoretical limit of frequency
- >: > you can capture is half of this, 22 KHz. However, at this rate there
- >: > are only two samples per cycle. With two samples per cycle, a sine
- >: > wave will sound the same as a square wave. Surely this is not hi-fi?
-
- (sound familiar? This one comes around periodically...)
-
- >: God, not this again. Here, let me introduce you to my good friend,
- >: Mr. Fourier, and his friends, Mr. Shannon and Mr. Nyquist.....
-
- (and Bob Myers has heard it too many times, I suppose)
-
- >He probably believes that the lathe cutter cuts a square wave into
- >the vinyl on the analog disc.
-
- Well, I know better than that. The vinyl encodes the signal
- in the cutter VELOCITY, not position. The lathe cutter cuts
- a triangle wave into the vinyl on the analog disc.
-
- And, the stylus carefully stumbles on each peak and in
- each trough... so after a playing or two, the triangle wave has
- yet another interesting shape.
-
- John Whitmore
-
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