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RE: You go one better and make a tagential argument

You are not content making a circular argument, you go one better and make a tangential one :0. I see why DB and SM were rather very short when replying your posts, You make it raison d'etre to be either tangential or circular, whichever suits your purpose at the time.

Let's rewind and go back AJ original post.

MC - Who are the engineers designing high fidelity gear for, the test bench or human listeners? When designers make a real effort to apply what has been learned to date about psychoacoustics to electronics design then we might begin to see a directed progress in sound quality

MC - Sony uses noise shaping in SACD, not to eliminate the problems but to push them where they are outside human (listener) perception

Huh???


AJ is highlighting the contradiction in MC comments, on the one hand, he claims that designers do NOT apply psychoacoustics to their audio designs, whilst unwittingly commenting somewhere else on how Sony use noiseshaping push (eliminate? the exact wording is irrelevant) noise outside of human (listener) perception. In other words apply psychoacoustics to audio design. Therefore, the exact terminology describing noiseshaping is auxiliary to the point, it is simply an illustration to highlight inherent contradiction in MC's commentary.

Now, you come along and dance around AJ's comments, ignoring the substantive issue. But proceed to make circular arguments about noiseshaping terminolgy. Eliminate, push further up or whatever word you choose to use, what does it matter, EStat? The point is that they applied psychoacoustic knowledge to audio design.

My comments

"Isn't the "human element" the reason why noise is moved outside the audible range"
are intended to reiterate that the "human element" is the application of psychoacoustics to audio design not further your circular and now tangential comments on noiseshaping. The semantics of the noiseshaping terminology is auxiliary to the main issue. So please stop playing dumb.


Music making the painting, recording it the photograph

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