A recently published meta-study confirms that listeners are able to discriminate high resolution audio recordings from standard ones, at least to some degree. It pays to take a closer look.
In the final part of the series about the ins and outs of oversampling, it’s time to look at the oversampling process itself and investigate how it affects the audio, even when no other processing is involved.
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In the third part of the oversampling series, we look at a case where oversampling is not necessarily the best answer. At the same time, we get a first glimpse at what all the “zero-delay feedback” fuss is about.
We continue our tour through signal-processing algorithms that benefit from high sampling rates. This time we’ll look at what the oversampling option that can be found in many digital equalizer plugins does.
Loyal readers of The Science of Sound know I’m not a friend of super-high sampling rates for audio recording. But there are a couple of DSP processes that benefit from oversampling.
Humans are great at identifying, localizing and separating different sound sources in a complex mixture, like music. The key to sound source separation is time-frequency segmentation. Sounds great, huh? Let’s shed some light on these buzzwords.
Whenever it’s about the subtlest and most controversial issues in audio, the so-called null test or difference test isn’t far away. Therefor it surely deserves an article on The Science of Sound.
Creating an illusion of space is a key element of music and sound design. But to be convincing, we need to understand the mechanisms of spatial hearing. The most important component of that is sound localization.
Today we dip our toes into one of my favorite topics: room acoustics! In this article I’ll show you an elegant way of understanding the influence of room dimensions and speaker placement on room modes.
One of the most important technical specifications of analog and digital audio equipment is the signal to noise ratio. But it’s also one of the most misunderstood. Here’s a closer look at some of the possible problems with the definition of the SNR and it’s close relative, dynamic range.
