I have no doubt as to the Fourier statements and theory, but that is also
based on unlimited data. It would seem that in the case where there is an
upper limit, then the data available becomes truncated as you approach that
limit, making recreation of a waveform much more difficult.
Perhaps the problem is not so much with the Nyquist theory as its
application. After all, a DAC has to set the parameters of what waveform it
seeks to recreate. I believe the Spectral DAC had an option to set different
algorithms to use in the decoding process. The waveforms generated are not
dissimilar to the differences seen in a cadcam system when asked to
interpolate a curve over various points.
While most music is a series of sine waves, there are a lot of impulses and
other unusual waveforms (think of the 'grundge' associated with rock
electric guitars and the inherent distortion those instruments can produce).
No wonder that the classical community was the first to embrace CD. I know
many rockers that even today claim that analog captures the guitar sound
more accurately.
I believe the Synclavier uses a sampling frequency of 100kHz. If it needs
that much to create a specific sound, how can a lowly 44.1 kHz sampling rate
reveal the subtleties that a programmer/musician may want to play.
At any rate, to continue this discussion is fruitless for me. There are
limitations, and whether one can hear it or not is a subjective thing.
Different people are sensitive to different things, but of course your own
personal sensitivities are all that counts.


Stu