Help understanding audio sampling

"Jerry Avins" <jya@ieee.org> wrote in message...

> Those dunces have nothing to do with either of us. Some of them even use
> half-inch bundles of Litz wire for speaker cabling and swear they can
> hear the difference.

Thank heavens...  a sense of humor.    :-)

> I was in the analog end of audio far enough back to be running a Scully
> lathe.

And I recorded on Scully 8 and 12 track machines.

> It gave us up tp 20% more playing time.

... And some mighty narrow grooves in the center of the disc.

> I built my first low-distortion sound system from components in 1950.
> When did you start?

1967, as a sophomore in high school... building with Heathkit.

> The reconstruction filter will have
> the same relief. If you want to save storage apace, decimate before
> storing and maybe interpolate before going analog.

Excellent explanation, Jerry... but I go by the human ear, as apparently
do a lot of producers and engineers who record at 24 bit, 44.1 or 48K.
Nothing but consumer stuff and 'fad' electronics (IMHO) consider
anything over 48K as a "standard".  An option, yes... a standard, no.

> You barged in like a bull in a
> china shop and started throwing numbers around. No, not a bull: an old
> geezer on a hobby horse.

Watch it...    ;-)    I threw personal opinions out, and I made it clear that
that's what they were.  Mainly because I was taken aback at everyone's
apparent love for "the numbers" as opposed to the reality of human
perception.

> > Have a nice day Jerry.
>
> You too, David.

Cheers.

David Morgan (MAMS) wrote:
...>
> Watch it...    ;-)    I threw personal opinions out, and I made it clear that
> that's what they were.  Mainly because I was taken aback at everyone's
> apparent love for "the numbers" as opposed to the reality of human
> perception.
> 
> 

Which reality that? The reality that "older people" lose anything up to 
an octave of hearing, such that radio FM broadcasts that stop at 15Kz 
sound indistinguishable even from the live event, much less a CD? This 
sadly, probably describes me now; but I don't demand that everyone else 
is limited to what I can hear. If people say they can hear above 20KHz 
and need 96KHz srate material, how can I possibly be in  a position to 
argue with them? I guess I should get myself tested some time; casual 
trials at home seem to indicate my hearing fails above about 18KHz. My 
speakers are relatively old domestic dual-concentric Tannoys, not even 
sure how high they are specified up to.

Seems to me that an audio engineer who has customers, need to respect 
the hearing of those customers at least as much as he relies on his own, 
especially if he is of "a certain age"!

Richardd DObson