I know that with oscilloscopes, it’s recommended to use 5x instead of nuquist 2x of the highest frequency you want to use., but the most reasonable argument I’ve heard for higher than 48kHz sampling is digital audio effects.
But for the end result 48kHz is more than necessary. I can’t even hear any frequency above 17kHz.
yeah for real time signals higher frequency makes sense (very briefly before you fft and kill the high frequencies), but for stored signals nyquist is king.
> I know that with oscilloscopes, it’s recommended to use 5x instead of nuquist 2x of the highest frequency you want to use.
For capturing analog signals, 2.5X is enough headroom.
The 5X recommendation is probably for digital signals where the frequency refers to the baud rate, not the highest frequency coming through. A fast switching digital signal will have components with higher bandwidth than the fundamental. Using a higher multiple of samples (assuming the bandwidth is there) will let you see the shape of the waveform and rise and fall times better.
> But for the end result 48kHz is more than necessary. I can’t even hear any frequency above 17kHz
And even if you could, would the frequencies that all humans lose with age really be all that essential for the enjoyment of music? We are talking about frequencies most instruments won't even produce unless severely abused.
For some reasons in audiophile-land the magic is always in some elusive outer realms and never right there where the important stuff happens. They spend a fortune on speaker cables, while often not giving a second thought on room acoustics beyond the cosmetic. The magic sparkle is all the way in the ultrasonic, while their listening spaces have deep nulls in the mid-range due to comb filtering from reflective surfaces caused by a lack of acoustic treatment.
I love music (enough to have mixed it for a living) and to me it is very clear how the priorities are ordered when it comes to audio fidelity:
1. Room Acoustics
2. Speakers
3. Electronics & Digital
Going from the back: Assuming you don't get the cheapest of the cheapest and don't abuse the gear by making it do things it wasn't build for electronics and digital audio nowadays is transparent. That means, it essentially sounds the same if operated within spec. Even a 0,50 € IC will have distortion figures so staggeringly low it is below human perception and equipment is getting better still. A decent opamp can have distortion figures like 0.005 % THD with a linear frequency response all the way up to radio frequencies. There can be challenges with driving very weird speakers or headphones, but if you hsve the right combination of gear it doesn't have to be expensive to be indistinguishably good in it's audio performance.
This means speakers are way more important thsn the electronics before it. Their distortion numbers are multiple magnitudes higher (in the ball park of 3% THD), their frequency response is inherently problematic (often many dBs up and down even in expensive speakers), they will hsve different beaming characteristics st different frequencies, small speakers lack bass, placement is essential, etc. So getting good speakers is important.
But all of this is dwarfed by the impacts acoustics. The position of the speakers alone makes a huge difference. The impact of an acoustically untreated space is severe: you can get a completely smeared time response with deep nulls of 20dB and more while other frequencies are highly resonant. Even a budget speaker won't have problems of that magnitude.
So get some ok electronics, even more ok speakers, but invest the bulk of the money/time into the setup of the room itself.
Many adiophiles have that priority list reversed. Room acoustics suck. You need to measure a lot, add ugly absorbers in inconvenient places, can't place speakers where they look nice and conserve space, but need to place them where they work well acoustically, there is no ideal solution and everything is a compromise. So buying a gold plated HDMI cable and imagining the improvement appears to be better. Only that you might be doing it in a room where a positional difference of a few centimeters changes the frequency response of the listening position massively.
But for the end result 48kHz is more than necessary. I can’t even hear any frequency above 17kHz.
For capturing analog signals, 2.5X is enough headroom.
The 5X recommendation is probably for digital signals where the frequency refers to the baud rate, not the highest frequency coming through. A fast switching digital signal will have components with higher bandwidth than the fundamental. Using a higher multiple of samples (assuming the bandwidth is there) will let you see the shape of the waveform and rise and fall times better.
And even if you could, would the frequencies that all humans lose with age really be all that essential for the enjoyment of music? We are talking about frequencies most instruments won't even produce unless severely abused.
For some reasons in audiophile-land the magic is always in some elusive outer realms and never right there where the important stuff happens. They spend a fortune on speaker cables, while often not giving a second thought on room acoustics beyond the cosmetic. The magic sparkle is all the way in the ultrasonic, while their listening spaces have deep nulls in the mid-range due to comb filtering from reflective surfaces caused by a lack of acoustic treatment.
I love music (enough to have mixed it for a living) and to me it is very clear how the priorities are ordered when it comes to audio fidelity:
1. Room Acoustics
2. Speakers
3. Electronics & Digital
Going from the back: Assuming you don't get the cheapest of the cheapest and don't abuse the gear by making it do things it wasn't build for electronics and digital audio nowadays is transparent. That means, it essentially sounds the same if operated within spec. Even a 0,50 € IC will have distortion figures so staggeringly low it is below human perception and equipment is getting better still. A decent opamp can have distortion figures like 0.005 % THD with a linear frequency response all the way up to radio frequencies. There can be challenges with driving very weird speakers or headphones, but if you hsve the right combination of gear it doesn't have to be expensive to be indistinguishably good in it's audio performance.
This means speakers are way more important thsn the electronics before it. Their distortion numbers are multiple magnitudes higher (in the ball park of 3% THD), their frequency response is inherently problematic (often many dBs up and down even in expensive speakers), they will hsve different beaming characteristics st different frequencies, small speakers lack bass, placement is essential, etc. So getting good speakers is important.
But all of this is dwarfed by the impacts acoustics. The position of the speakers alone makes a huge difference. The impact of an acoustically untreated space is severe: you can get a completely smeared time response with deep nulls of 20dB and more while other frequencies are highly resonant. Even a budget speaker won't have problems of that magnitude.
So get some ok electronics, even more ok speakers, but invest the bulk of the money/time into the setup of the room itself.
Many adiophiles have that priority list reversed. Room acoustics suck. You need to measure a lot, add ugly absorbers in inconvenient places, can't place speakers where they look nice and conserve space, but need to place them where they work well acoustically, there is no ideal solution and everything is a compromise. So buying a gold plated HDMI cable and imagining the improvement appears to be better. Only that you might be doing it in a room where a positional difference of a few centimeters changes the frequency response of the listening position massively.