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Nope. Not when you advocate, as you have, removing much of the material needed for "math" to be used to effect a solution.
Cutesy little one liners, though ... even if more than a bit shallow.
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Good grief, you're the one who threw around Nyquist, without even understanding what you were saying. ...and now you're complaining about me bringing up math? Without understanding the transform from the time domain to the frequency domain (Fourier), there isn't much point in discussing your audiophoolery. You're not making *any* sense.

Dumbass. How's that?
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Wrong again ... "represent" is not my term. It is in fact part of the actual technical definition of the Red Book audio CD standard:
http://www.sccs.swarthmore.edu/users/08/ajb/tmve/wiki100k/docs/Red_Book_ (audio_CD_standard).html
Making your total ignorance of the basics of the issue even more apparent.
And so now you agree ... meaning you were wrong to begin with and have publicly admitted it.

It's you that's pwned, Dude.
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Ok, as long as the "Red Book" means *perfectly* reproducing... The fact remains.

You're a liar.

No, I'm saying that you can't read. I'm saying that the frequencies above the "audio range" (20kHz is the nominal value usually taken) don't matter. There is no "coloring" caused by what you can't hear. *THAT* is audiophoolery. There is no issue with Nyquist (other than sampling above 40kHz is unnecessary, if one could make a perfect filter - the reason for 44.1kHz (room for a filter), and indeed the reason for "oversampling" (cheaper filters).

Again, you can't read what's right in front of you.
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Dont let'em wind you up with his innocent, you're the villain passive aggressive nonsense.
------------
wrote in message Again, you can't read what's right in front of you.
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On Feb 8, 10:05pm, " snipped-for-privacy@att.bizzzzzzzzzzzz"

You listen to a sultry flute solo from whatever sound source you please. *I* will inject 120dB worth of 30KHz sinewave in to the signal path. 120dB too much? How about 110 dB? Aiming to please here. If you can't hear that, then you don't need to know anything about psychoacoustics because you're deaf.
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dB measurements are relative measurements. When you use them you are required to state a reference level for them to not be meaningless. I would have to guess you mean dBA and not dBm or dBW.
.
I find it hard to believe you just want to constantly inject nonsense (disruptive/trolling) but rather want to argue in an attempt to use the opportunity to display intelligence and gain acceptance here. This behaviour is developing a pattern and the former is becoming more evident.
BTW: the prefix for "kilo" is denoted with the usage of a lowercase "k" on English keyboards. You may want to use the correct form "kHz" in future ranting
------------- "Robatoy" wrote in message wrote:

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You know, that was my reaction when I saw this in response to one of my posts:
"Irrelevant ... Google can indeed provide you with information and terminology, but, unfortunately, can't provide you with the basic understanding to properly use it."
Not derogatory terminology perhaps but certainly derogatory towards me. <grin>
And you never did pick me up on the fact that although even studio machines use equalisation they also use compensating circuitry to correct the resulting phase shifts.
<grin>
PAX.
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wrote:

Wasn't me, but it was right on target.

...and far more audiophoolery.
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wrote:

This is the Usenet, not email. As to what I'm "on about", I was assuming that you were reading the thread. I suppose that was a bit much to assume.
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On 2/5/2012 3:36 PM, Stuart wrote:

You mean like your remark previous to that where you stated your were dealing with a "poorly educated" American?
... and "sunshine" is not derogatory?
Tit for tat, eh? .. <G>
Yes, Pax ... :)
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wrote:

It *might* ask more questions but it certainly wouldn't give any answers.

Certainly true. The fourth harmonic would be at what is considered to be the "limit" (a few can hear significantly higher than 20kHz) of human hearing. OTOH, the second harmonic of 15kHz is *way* outside the realm of human hearing and as such doesn't matter at all.

None are flat and certainly none are flat from 50Hz to over 20kHz. Earphones have ridiculous resonances, even the professional types.

I'd like to see some serious double-blind tests on audiophool stuff. Nothing I'd love more than to see Monster, and its ilk, bankrupt. "Copper free", my ass.
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I don't /believe/ any frequency beyond the upper limit of hearing matters either, unless it gets hetrodyned down, but I would be interested in, and open to, hard scientific evidence either way.

Which is why I said they would have to be specially designed.

As far as cables are concerned, the only thing that matters at audio frequencies is the resistance, and that is simply measured. Keep it low to maintain a good damping factor and all will be well.
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On 2/5/2012 4:49 PM, Stuart wrote:

That is exactly what these guys are saying in effect.
I've got a lot of respect for this old timer, contemporary of Rupert Neve, and an excellent audio designer:
http://recordinghacks.com/articles/the-world-beyond-20khz /
Here is some more food for thought in that regard:
http://skreddypedals.com/digital_sucks/Ultrasonics.htm
http://www.positive-feedback.com/Issue52/ultrasonic.htm

Actually, in quite a few studies since, headphones turned out to not be of benefit in HFC being important to perception of audio quality ... strange as that may seem. I'd have to dig up a cite, but I clearly remember reading that in an AES paper because of "who woulds of thunk it?". :)

I agree with that ... AAMOF, it was the first thing I said in the thread. I am not a proponent of Monster Cable, but I do know from practical experience that every link in the audio chain needs to be designed to work together, and extension cord as speaker cable simply does not fill that bill. Good quality speaker cable, of the proper gauge and length for the application and components, yes.
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On 2/5/2012 4:49 PM, Stuart wrote:

Let me put some perspective on it:
Spending literally thousands of hours mixing recorded content of all types, for commercial release and airplay, takes an unbelievable amount of focus and concentration on all aspects of "sound" that very few folks will ever have the opportunity to either practice or experience.
The overriding task and problem that must be solved when doing so is to do it in such a manner that the resultant audio "mix" will _transfer as accurately as possible_ AND over the greatest number of speakers and playback systems that it may be played back upon.
IOW, just because it sounds good in the control room does not mean that particular mix will _transfer_ to the outside world.
This ability to effect this _transference_ is the coin of the realm and the keys to kingdom of success in the recording industry as an engineer.
This is a daunting task that requires an unusual amount of attention to all aspects of audio and the principles of human hearing, as well as a keen ear for differences in harmonic content, both within and without the audible range of human hearing, as well as a keen sense of "timbre" of instrumental sounds.
Again, this ability is what makes or breaks a recording engineer, particularly if he also mixes what he has tracked.
Trust me ... those good enough to do this task well have the ability to use HFC to their advantage.
I would put my life on it ...that's how convinced I am and firm in my beliefs. I've lived it, and I've walked the walk, anyone who has not can only have an opinion on the matter, but that's all it is, an opinion.
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wrote:

Heterodyning requires a nonlinear system (i.e. a multiplier). Audio systems aren't nonlinear, at least by design. ;-)

If they *could* be. Indeed, if they could be, someone would have done it.

Agreed. It doesn't take tremendous effort to make it "good enough". 14GA zip cord is just right. ;-)
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wrote:

14Ga = 2.08mm^2
D(mm) = e^(2.1104-.11594n)
If that's too hard:
D(mm) = .127 x 92^((36-n)/39)
Where D is the diameter in mm and n is the wire gauge. Simple, huh? ;-)

Two-wire "lamp cord". It's called "zip cord" because the two wires easily separate down the middle (unzip it) by pulling them apart.
http://www.filmtools.com/zipcord122.html
http://www.its.bldrdoc.gov/fs-1037/images/zip4c.gif

Not on purpose.
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Ta for that.
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I have always used "zip" cord (never heard that term before) 'cause it's the cheapest conductor for the buck. The impedance is known and constant unlike single conductors that vary with their placement and cost monster dollars. Mind you the gauge has to be heavy for low connection impedance.
When dealing with an 8 Ohm impedance speaker system (3.2 Ohms resistance) a few milliohms is not a factor in the sound quality of the audio. This has been proven in lab tests I have seen reports from over the last many decades.
Next will be the gold plated 1m HDMI cables for $100...LOL The scam artists always take advantage of the uneducated by mass hype and shills to convince them of the importance of their engineering accidents. It's called good "marketing".
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wrote:

Physics can be a bitch.
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