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RE: Filter Stuff

A problem I see is that there is no standard that specifies how the bits in a file are supposed to be interpolated during playback. This leaves the mastering engineer with no reference playback. It's like the days of LP before the RIAA came along and standardized the equalization.

I've been mastering 44/16 material on the assumption that a linear phase brick wall filter will be used for playback. (I use a minimum phase anti-alias filter that cuts off below Nyquist and has a wide transition band.) This is consistent with most DACs which use on-chip brick wall linear phase filtering. But these recordings sound a bit blurred and soft when played on audiophile DACs that use less aggressive filtering, presumably because this mitigates some of the ringing of brick wall anti-alias filtering common on many CDs. I don't find this a satisfactory solution.

It's clear enough from theory what the solution should be: tradeoffs between ringing, pre-or post, and transient response should be left with the mastering engineer and playback should simply interpolate between the samples with as close an approximation to perfect sinc filtering as is practical. This leaves the artistic control where it is belongs, with the producer of the recording. But that's not the way things seem to be going, at least not with high end gear. Of course, some might consider this to be an advantage, as it gets the audiophile couch potatoes up of their butts to tweak their DAC settings. :-)



Tony Lauck

"Diversity is the law of nature; no two entities in this universe are uniform." - P.R. Sarkar


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  • RE: Filter Stuff - Tony Lauck 14:05:25 04/02/10 (0)

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