I found some speaker which has reponse from 40-60.000 hz. Does that high frequency (60.000hz) do any good in sound? because human ear only hear max 20.000 hz?
Above 20KHz, if a sound was so loud is was audible, it would be painful. One of the reasons why hi sampling rates are pointless for domestic audio playback.
For a contrasting take on this, I'd say "it depends". 60kHz is pretty high, and certainly not audible (to humans) as a pure tone. But it is only an octave and a half more than 20KHz, which when you think of it like that isn't such a lot. The point is that any medium that goes beyond 20k can benefit, so that excludes CD, but includes good vinyl and hires audio which can have useful harmonics at 40k or higher.
You can be pretty sure that full orchestra heard live produces much higher frequencies than 20k from cymbals and strings obviously, and maybe elsewhere too. These contrbute to the accuracy of the audible frequencies, so ideally we need hifi to reproduce them.
A spec of 60kHz is only relevant with a decent array of response graphs and checks for ringing or distortion.
What speakers were they?
Hi-Fi: Krell KAV-300cd, Michell TecnoDec/RB250/Grado Prestige Black1, KAV-300i amp, Transparent balanced interconnects and bi-wire to Sonus faber Concerto grand piano speakers, Nakamichi ZX-7 cassette deck, Logitech Squeezebox Touch, Hitachi FT-5500 and Sony S570ES tuners, BCD Engineering stand, RA Powerlink, Chord powerchord, Grado SR60i cans.
AV: Sony Bravia KDL-32EX503 telly, BDP-S370 player with QED HDMI. Currently unused: Denon AVR-1705, DVD-1710, KEF KHT1005.2
Sound is a complex interaction (Ask any studio engineer or professional) with all instruments having a fundamental tone and a number of overtones, (Thus giving you its characteristic sound) these overtones also intermix with each other and the fundamental tone to create the sound. If you remove these overtones then the characteristic of the sound changes, now as instruments can produce frequencies much higher than the human hearing, while you cannot physically hear them, you hear the interactions they make with the lower tones within the normal hearing range, so theoretical removing the high frequencies could cause a change in sound.
Regarding sampling frequency’s, it has nothing to do with the frequency of the sound, but how accurate the analogue waveform (All audio is analogue) is spit into, (The more it is split into the more chance of converting it back into the original waveform) if you sample at 44khz (CD) then a frequency of 22khz is only recorded (Sampled) on 2 parts of the analogue waveform, 11khz = 4 parts, 5.5khz 8 parts etc.
Move up to 96 kHz recording (Sampling) and 48 kHz gets sampled in 2 parts, 24 kHz = 4 parts, 12 kHz 8 parts etc. thus it is much easier to recreate the original waveform accurately.
Hope this clears up the confusion
Which, I assume, is why an acoustic instrument - eg, violin, classical guitar - will sound 'different' when played live in a studio, compared to the 24-bit/48kHz playback of the same session? (Assuming the engineer is not 'colouring' / 'treating' the recording.)
Sorry Bill, that doesn't help, you've misunderstood how sampling theory works. Rather than explain it all, perhaps you could read http://en.wikipedia.org/wiki/Nyquist%E2%80%93Shannon_sampling_theorem and then if you have any questions I'd be happy to help.
You're example is kind of the opposite of why we need anti-aliasing. Perhaps you're getting confused with that?
Anyway, harmonics above your range of hearing can't be heard - obviously! Harmonics are multiples of the original frequency, e.g., a 3rd harmonic of a fundamental frequency of 500Hz is 1500Hz.. It doesn't go the other way, e.g., a 60KHz fundamental doesn't produce harmonics lower down the frequency, that's not the way it works.
So back to the original question, speakers that go to 60KHz are pointless. Reproducing the frequencies we can hear is hard enough without having to worry about things we can't hear!
If they sound different it's due to THD+N & bandwidth distortion. Red Book sampling rates and bit depths have been proven to be audibly transparent. In your example, any differences won't be down to the sampling rate and bit depth used.
Yes an orchestra will harmonics above your audible range, but they're not audible, so no need for your hi-fi to reproduce them - unless you want to impress your cat?
I simply don't agree. Removing anything that was there must affect what we do hear. Those sounds beyond our hearing range still influence what we do hear.
Why must it?
Did you look at this link? http://people.xiph.org/~xiphmont/demo/neil-young.html
What in this article do you disagree with?
Some people still think that the sun revolves around the earth - no amount of science will convince them otherwise.
Well, I don't think that. Science is notoriously unreliable in certain areas, though I have no dislike of measurement applied with intelligence.
As to the article, it ceratinly highlights many research sources that conform to the established 20Hz to 20 kHz human hearing belief. Broadly, I accept that, but I believe (without much readily available research to support it) that ultra- and infra-sonic sounds affect the overall perception experience (my concert hall analogy). There is some research from Oohashi T, Kawai N, Nishina E, Honda M, Yagi R, Nakamura S, Morimoto M, Maekawa T, Yonekura Y, Shibasaki H. ‘The role of biological system other than auditory air-conduction in the emergence of the hypersonic effect’.
Department of Research and Development, Foundation for Advancement of International Science, Tokyo 164-0003, Japan; National Institute of Information and Communications Technology, Koganei 184-8795, Japan
You can access a good article that refers to it here:-
You will see it concludes overall there is little benefit in reproducing above 20kHz, but returning to the OP, I still prefer the notion of speakers that try to get some way to 60kHz instead of brickwalling at or before 20kHz. If the source is well tailored at HF then that's OK, but I'd rather the speakers weren't at their last gasp. I've long preferred the sound of wide-bandwidth gear, as you can see from my signature.
However, your article mainly seems intended to scotch any idea that 24/192 recordings are a benefit. Obviously that makes all the hifi manufacturers, record producers and hifi reviewers gullible, blinded by numbers, and delivering kit that worsens the listening experience then. A sort of conspiracy, even?
As an example of the established view, WHF reviewers said this in the Naim NDX streamer:-
"Switch to higher-resolution recordings such as Beethoven’s Piano Concerto No.5 by the Scottish Chamber Orchestra – a 24-bit/96kHz recording – and the increase in subtlety is readily apparent."
Do you think they were imagining it?
pauln and others - please provide scientific professional evidence that humans categorically cannot hear, or be affected by frequencies above 20khz. There are some who believe that consciously you may not fathom anything above 15 or 20khz, but that subconsciously you may actually be hearing something.
As far as I've read the perceived human range of 20-20khz is not absolute in any way.
Arcam Solo Mini/Monitor Audio RX1/Cambridge Audio 751BD/Samsung 37” LCD
Tannoy clearly believe in the benefits: http://www.tannoy.com/products/112/Eyris%20DC_Revise.pdf
"Everything has been said before, but since nobody listens we have to keep going back and beginning all over again." André Gide
I really don't have the time.
However, as you are questioning something that is universally accepted, is it not up to you to show some evidence that people can hear frequencies above 20khz?
How can you "subconsciously" hear something?
Well, it does really, if you think about it.
(Although I admit I'm being a bit pedantic!)
Main: SqueezeBox Classic>AVI ADM40
Second: SqueezeBox Touch>AVI ADM9RSS
© 2013 Haymarket Publishing