I'll drown here shortly but I'll wade in.

Resolution is sample bits (up and down) and time is on the sample
frequency line (left to right.) In practice these have no effect on
volume.

Accuracy then is the combination of both resolution and frequency.

Back in the days of half-speed masters, accuracy (the up-and-down
resolution) was enhanced was enhanced both by slowing the master cutter
(by half) and by using high quality vinyl and pressing techniques. The
sample frequency line was determined by the rotation speed and could
not be altered.

In the full digital world (praise be to "Bop 'Til You Drop,") both of
these variables are open to tinkering. 

Interpretation (by both the equipment and the engineers) is possible
and the dynamic range (being the speed and range of frequency response-
resolution) and the frequency of sample of the source material is
subject to modification. Note the dynamic range of the source material
has inviolate limits: limits on how well the original is recorded. This
is to say digitally chopping the source more vigorously in either
resolution or frequency will not improve each instant digital sample.

So then we're back to volume. Accuracy depends on the A/D (or A/A)
encoding and it's faithful transfer into the digital space. Volume then
depends on where the engineer chooses to place it in the digital space.
So long as the waveform is fully represented (and we would hope
accurately,) the volume is not an issue.

Since quality stereo depends on flat response to input it would make
sense to place the full-range digital signal in an optimal range
slightly above the lowest volume levels. This would enable well powered
amps to drive their speakers with enough amperage to produce desirable
SPL (unless you live in a trailer.)

P


-- 
pski

real stereo doesn't just wake the neighbors, it -enrages- them..
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