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Order 5 over a range of fractional delays

Figures 4.17 and 4.18 show amplitude response and phase delay, respectively, for 5th-order Lagrange interpolation, evaluated over a range of requested delays between $ 2$ and $ 3$ samples in steps of $ 0.1$ samples. Note that the vertical scale in Fig.4.17 spans $ 100$ dB while that in Fig.4.15 needed less than $ 9$ dB, again due to the constrained zero at half the sampling rate for odd-order interpolators at the half-sample point.

Figure 4.17: Amplitude responses, Lagrange interpolation, order 5, for the range of requested delays $ [2.0 : 0.1 : 3.0]$, with $ 2.495$ and $ 2.505$ included as well (see next plot for why).
\includegraphics[width=0.9\twidth]{eps/tlagrange-5-ar}

Figure 4.18: Phase delays, Lagrange interpolation, order 5, for the range of requested delays $ [2.0 : 0.1 : 3.0]$, with $ 2.495$ and $ 2.505$ included as well.
\includegraphics[width=0.9\twidth]{eps/tlagrange-5-pd}

Notice in Fig.4.18 how suddenly the phase-delay curves near 2.5 samples delay jump to an integer number of samples as a function of frequency near half the sample rate. The curve for $ 2.495$ samples swings down to 2 samples delay, while the curve for $ 2.505$ samples goes up to 3 samples delay at half the sample rate. Since the gain is zero at half the sample rate when the requested delay is $ 2.5$ samples, the phase delay may be considered to be exactly $ 2.5$ samples at all frequencies in that special case.


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Next: Avoiding Discontinuities When Changing Delay

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About the Author: Julius Orion Smith III
Julius Smith's background is in electrical engineering (BS Rice 1975, PhD Stanford 1983). He is presently Professor of Music and Associate Professor (by courtesy) of Electrical Engineering at Stanford's Center for Computer Research in Music and Acoustics (CCRMA), teaching courses and pursuing research related to signal processing applied to music and audio systems. See http://ccrma.stanford.edu/~jos/ for details.


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