Phil Leigh Wrote: 
> Sibilance is easily avoided in the studio using good mics & mic
> technique, sensible EQ and (where necessary) a suitable de-esser.
> 
> And I'd be a bit more circumspect Jack - there are some people on this
> forum with a lot of professional audio experience.
> 
> As for digital cables affecting frequency response - absolute nonsense.
> It's simply not possible, because the cable would have to change the
> bits which they demonstrably DO NOT DO.
> Cables can affect jitter which is a different problem. I'd love to know
> what the "studio test" is...I'll try it in my studio - anyone like to
> comment? In fact I did a test last year on this using my TACT gear to
> do an in room plot using various cables (digital - coax (various) vs
> toslink (various) and analogue.
> 
> I found that there was absolutely no change in the plot using different
> digital cables (TACT to DAC), but there were very small differences
> (tiny fractions of a dB here and there) using different cables between
> DAC and pre-amp. I gave up in the end.
> 
> 
> 
> Sibilance is a particular type of "distortion" (to be more accurate,
> it's an over-emphasis of certain sounds) on vocals and  has nothing to
> do with mix levels per se - you can have really low-level sibilance.
> It's quite rare to come across an album with noticeable sibilance these
> days. Of course, it is possible to introduce "a sound like sibilance"
> into the replay chain by boosting certain frequencies. Early (84-86)
> low-end CDP's were notorious for this especially anything made by Sharp
> (ugh).
> 
> 
> 
> I'll take the bait and ask one final time - please give an example of a
> track (any track) that sounds excessively bright / "sibilant"
> 
> By the way what instrument do you play? - I'm guessing it's bass
> guitar...

Jitter can and does give an impression of altered frequency response,
i.e emphasized or deemphasized parts of the frequency spectrum.


-- 
P Floding
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