Relay-Version: version B 2.10 5/3/83; site utzoo.UUCP
Posting-Version: version B 2.10.1 6/24/83; site seismo.UUCP
Path: utzoo!linus!philabs!seismo!mo
From: mo@seismo.UUCP (Mike O'Dell)
Newsgroups: net.audio
Subject: Ultrasonic harmonics
Message-ID: <430@seismo.UUCP>
Date: Wed, 30-Nov-83 09:35:13 EST
Article-I.D.: seismo.430
Posted: Wed Nov 30 09:35:13 1983
Date-Received: Fri, 2-Dec-83 00:39:21 EST
Organization: Center for Seismic Studies, Arlington, VA
Lines: 18

Even if I cannot hear ultrasonic sinusoids free-standing, I certainly
CAN tell the difference between a 12KHz sine wave and a 12KHz square wave,
and that means SOMETHING is happening to some 36 KHz energy.  Moreover,
what makes the difference between a cymbal crash with a clearly-defined
sizzle, and one which sounds like trash-can lids banged together
(low-fi trashcan lids)? Overtones, my friends.  You cannot have fast
rise-times without lots of overtones, and you don't get good reproduction
unless you can reproduce the rise-times in transients like triangles,
cymbals, snare-drum attacks, and even some high-end piano work, not to
mention pipe organs and synthesizers.  The current CD standards are
purest crap.  We need 250 Ksamples/second minimum, and 16 bits minimum.
None of this 14-bit non-linear crap.  Remember, the Nyquist frequency
is 2f only for pure sinusoids sampled infinitely long.  Music recordings
are poor approximations to those boundary conditions.

	"Get that digital crap out of here!"
	-Mike O'Dell