COPPER

A PS Audio Publication

Issue 20 • Free Online Magazine

Issue 20 QUIBBLES AND BITS

Fifty Years After

Back in 2000, Dr. Michael Unser of the Swiss Federal Institute of Technology in Lausanne, published an interesting technical paper entitled “Sampling – 50 years after Shannon”.  In this paper he considers the state of the art in digital sampling.  It is not a puff piece.  It requires a post-graduate level grasp of mathematics if one is to follow it in any serious detail.  It mostly goes over the top of my head, for starters.  But in doing so, it makes some interesting points, including the dry observation that the so-called “Nyquist-Shannon” theorem handily predates both Nyquist and Shannon!

One key finding is as follows.  It reduces the problem of regular digital sampling to a ‘general theorem’.  In other words, all methods of digitally sampling a continuous function will be subsets of this general theorem.  It goes something like this:

All continuous functions (such as waveforms) can be represented as the sum of a number of “orthogonal functions”.  Orthogonal functions are like the X-Y-Z axes of a co-ordinate system, where an object’s location in three-dimensional space can be unambiguously specified by its co-ordinates, given by its positions along the X-axis, Y-axis, and Z-axis.  If the object moves purely along the direction of the X-axis, then it’s Y-axis and Z-axis co-ordinates will remain unchanged.  In fact, I can change its position along any one of the three axes without affecting its position along the other two.  It is this property that makes the three axes “orthogonal”.  The same property makes for “orthogonal” functions – you can independently change any one of them without affecting any of the others.

An example of this would be the frequencies of an audio signal.  I can change the amount of the 1kHz frequency content, and it will have no impact on any of the other frequencies present.  The frequencies – or more specifically the sine waves exhibiting them – are therefore “orthogonal functions”.

Usable families of orthogonal functions can range from simple to very complex.  The set of families of orthogonal functions may even be infinitely large.  The simplest members are base functions such as sine waves.  For sine waves, Unser’s set of coefficients is obtained by performing a Fourier Transform.  Slightly more elaborate families include such things as “wavelets” which are best described as short bursts of sine waves; and Splines, which are best known as curve-fitting functions.  Much interest over the past 20 years has been focused on wavelets, and it seems likely that this will accelerate in the future, as the computing power required to use them to their best advantage becomes more commonplace.

Unser’s paper tells us how to examine any set of orthogonal functions to determine whether they are suitable for representing a waveform.  Unfortunately, the test itself is mathematically obtuse, and does not lend itself to a pithy description in plain English.  But if a set of orthogonal functions proves to be suitable, then our waveform can be fully represented by determining a corresponding number (in mathematical terms a “coefficient”) for each of the orthogonal functions.  We can then store those numbers, and use them to fully and accurately reconstruct the waveform at some future time.

This is Unser’s general theorem of digital sampling, and he uses it to ask and explore some very interesting questions, ones which may well prove to be useful in the near future.  But before discussing that, we’ll just take a quick look at how Nyquist-Shannon sampling theory fits into it.  Suppose we choose as our family of orthogonal functions the Sinc() function:

Sinc(x) = Sin(x)/x

As it happens, when we work out what the corresponding coefficients are for the Sinc() functions, they turn out to be the real values of the waveform itself as it evolves with time.  In other words, turning the whole thing backwards, if we sample our waveform in time, the resultant sample values will be the coefficients of an orthogonal family of Sinc() functions which can be used to exactly reconstruct the original waveform.

I have stated glibly that we can choose any family of orthogonal functions which meet some incomprehensible criteria, and fully represent our waveform by storing only the coefficients of these functions.  However, this is of no practical use if our family of orthogonal functions is infinitely large, because we’d then have to store an infinitely large set of coefficients.  This is where the concept of “bandwidth limitation” comes in.

We are familiar with the Nyquist Criterion, which states that our waveform must contain no frequencies above one half of the sampling rate.  In the context of Unser, this means that by reducing our infinitely large family of orthogonal functions to a finite set – such as by eliminating all those which correspond to frequencies above our Nyquist Criterion – we can represent our waveform using a finite set of coefficients.  We can apply this kind of logic to any family of suitable orthogonal functions.  By appropriately reducing the size of the family to a finite subset we will end up with a finite set of coefficients.  The smaller this set can be, the fewer the amount of numbers that would be needed to fully represent the waveform.

For the most part, this analysis appears only to be of use for the purpose of data compression, where it has limited applicability.  At the end of the day, information theory already tells us most of what we need to know to determine just how much compression can actually be achieved.  But where Unser’s paper gets really interesting is where it heads next.

Unser invokes the Physicist’s “frog on a lily pad”.  This is where a frog attempts to cross a lake by jumping from lily pad to lily pad.  Each lily pad is exactly half as close to the far side of the lake as the previous pad.  The mathematician says that the frog will never reach the other side, but the Physicist observes that at some point the gap will be so small as to be meaningless.  Unser recognizes that there is a distinction between a mathematically exact representation, and one where any errors in the representation are practically irrelevant.

Before you get too excited, Unser does not take us anywhere immediately usable with this analysis.  He merely illustrates some ways in which this observation can be taken into account within his general theorem.  But the concept is an intriguing and useful one.  [It has been suggested – or rather hinted at – that some of these principles may be at play within Meridian’s controversial MQA technology, but at the time of writing MQA’s inner workings remain undisclosed.]  As an example, conventional Nyquist-Shannon theory requires strict bandwidth limitation, but practical anti-aliasing filters can never be perfect.  Unfortunately, the “better” the filter, the worse its time domain (i.e. phase) response will be.  Unser’s analysis may provide a mathematical framework within which practical issues such as this can be formalized.

More from Issue 20

View All Articles in Issue 20

Search Copper Magazine

#234 A Life in High-End Audio: The Roy Hall Interview, Part One by Frank Doris Sep 07, 2026 #234 Jason Greenlaw Offers His Personal Perspective on Jazz Guitar in Vantage Point by Frank Doris Sep 07, 2026 #234 Transcendent Phoenix: Lucina Yue Brings the Ancient Konghou Into Modern Times by Frank Doris Sep 07, 2026 #234 We Must All Follow Our Bliss by B. Jan Montana Sep 07, 2026 #234 How to Play in a Rock Band, 27: Leveling Up by Frank Doris Sep 07, 2026 #234 Ross Valory: Traveling Into New Musical Territory With All of the Above by Ray Chelstowski Sep 07, 2026 #234 Singer/Songwriter John David Schrader: On the Need to Create by Joe Caplan Sep 07, 2026 #234 The People Who Make Audio Happen: More From T.H.E. Show SoCal 2026 by Harris Fogel Sep 07, 2026 #234 The Vinyl Beat Digs Into the Gadget Box by Rudy Radelic Sep 07, 2026 #234 The Rolling Stones: Foreign Tongues Spoken Loud by Wayne Robins Sep 07, 2026 #234 Musical Moments by Rich Isaacs Sep 07, 2026 #234 Rags for Solo Piano and a Dog: David Chesky's Ragtime Music for the Modern Age by Frankly Speaking Sep 07, 2026 #234 HIGH END 2026, Vienna: Here to Stay by Carsten Barnbeck Sep 07, 2026 #234 From The Audiophile’s Guide: The Two Main Types of Loudpeakers – Box and Panel by Paul McGowan Sep 07, 2026 #234 Letting it Slide by Frank Doris Sep 07, 2026 #234 PS Audio in the News by PS Audio Staff Sep 07, 2026 #234 Long Playing by Peter Xeni Sep 07, 2026 #234 La Mer by B. Jan Montana Sep 07, 2026 #233 A Report From The Total Hi-Fi Experience Show SoCal 2026 by B. Jan Montana Aug 03, 2026 #233 Bluegrass Meets Country, Folk, Jazz and More in All That We Carried by The Squid City Slingers by Frank Doris Aug 03, 2026 #233 Corey Glover and One Tribe Nation: A Variegated Musical Collective by Ray Chelstowski Aug 03, 2026 #233 Excursions with Clive: The Late Clive Davis, A Personal History by Wayne Robins Aug 03, 2026 #233 AI, Art, and Music: A Conversation With Synthography Art by Joe Caplan Aug 03, 2026 #233 New American Symphonies: A Rediscovered Gem and a Vital Contemporary Work by Frank Doris Aug 03, 2026 #233 The Vinyl Beat: Genesis, the Dave Clark Five, Antonio Carlos Jobim and More by Rudy Radelic Aug 03, 2026 #233 How to Play in a Rock Band, 26: When It's Time to Record Your Music by Frank Doris Aug 03, 2026 #233 More From T.H.E. Show 2026, and the People Who Made it Happen by Harris Fogel Aug 03, 2026 #233 Underappreciated Artists, Part Three: Icehouse by Rich Isaacs Aug 03, 2026 #233 The Surprisingly Rich and Varied Music of Somalia by Steve Kindig Aug 03, 2026 #233 A Remarkable Discographic Legacy: The LP Recordings of the Basel Symphony Orchestra by Stephan Haberthür Aug 03, 2026 #233 From The Audiophile’s Guide: The Importance of Loudspeakers by Paul McGowan Aug 03, 2026 #233 From Swimming Pool to New Listening Room: A Conversation with Norman Varney of AV RoomService by Gilles Laferrière Aug 03, 2026 #233 PS Audio in the News by PS Audio Staff Aug 03, 2026 #233 Audio Jewelry by Peter Xeni Aug 03, 2026 #233 Enrich Your Life by Frank Doris Aug 03, 2026 #233 The Searcher by James Schrimpf Aug 03, 2026 #232 What came first: Art or Music? A Conversation With Artist Jose Acosta by Joe Caplan Jul 06, 2026 #232 Blow By Blow: The Jeff Beck Story: An Insightful Book About a Guitar Icon by Ray Chelstowski Jul 06, 2026 #232 Creed Over Camaraderie? by B. Jan Montana Jul 06, 2026 #232 Chronicles of a Sound Pilgrim at the 2026 Montreal Audiofest by Hugues Morin Jul 06, 2026 #232 The Vinyl Beat: Summer Grooves by Rudy Radelic Jul 06, 2026 #232 Hibbing Hillbilly Dylan's Acoustic Rock by Wayne Robins Jul 06, 2026 #232 Quad Quads and Plasmatronics Tweeters: An Extraordinary System Comes to Life by Frank Doris Jul 06, 2026 #232 In Praise of Live Music, Once Again by Ted Shafran Jul 06, 2026 #232 Allnic Audio’s L-9000 Preamplifier: Design and Engineering Innovation by Howard Kneller Jul 06, 2026 #232 “Best Of” Lists and Rage Bait: Enough Already by Frank Doris Jul 06, 2026 #232 Quick Takes: Bud Shank, Paulo Almeida, Jakob Dreyer, Tim Eriksen and Peter Irvine by Frank Doris Jul 06, 2026

Fifty Years After

Back in 2000, Dr. Michael Unser of the Swiss Federal Institute of Technology in Lausanne, published an interesting technical paper entitled “Sampling – 50 years after Shannon”.  In this paper he considers the state of the art in digital sampling.  It is not a puff piece.  It requires a post-graduate level grasp of mathematics if one is to follow it in any serious detail.  It mostly goes over the top of my head, for starters.  But in doing so, it makes some interesting points, including the dry observation that the so-called “Nyquist-Shannon” theorem handily predates both Nyquist and Shannon!

One key finding is as follows.  It reduces the problem of regular digital sampling to a ‘general theorem’.  In other words, all methods of digitally sampling a continuous function will be subsets of this general theorem.  It goes something like this:

All continuous functions (such as waveforms) can be represented as the sum of a number of “orthogonal functions”.  Orthogonal functions are like the X-Y-Z axes of a co-ordinate system, where an object’s location in three-dimensional space can be unambiguously specified by its co-ordinates, given by its positions along the X-axis, Y-axis, and Z-axis.  If the object moves purely along the direction of the X-axis, then it’s Y-axis and Z-axis co-ordinates will remain unchanged.  In fact, I can change its position along any one of the three axes without affecting its position along the other two.  It is this property that makes the three axes “orthogonal”.  The same property makes for “orthogonal” functions – you can independently change any one of them without affecting any of the others.

An example of this would be the frequencies of an audio signal.  I can change the amount of the 1kHz frequency content, and it will have no impact on any of the other frequencies present.  The frequencies – or more specifically the sine waves exhibiting them – are therefore “orthogonal functions”.

Usable families of orthogonal functions can range from simple to very complex.  The set of families of orthogonal functions may even be infinitely large.  The simplest members are base functions such as sine waves.  For sine waves, Unser’s set of coefficients is obtained by performing a Fourier Transform.  Slightly more elaborate families include such things as “wavelets” which are best described as short bursts of sine waves; and Splines, which are best known as curve-fitting functions.  Much interest over the past 20 years has been focused on wavelets, and it seems likely that this will accelerate in the future, as the computing power required to use them to their best advantage becomes more commonplace.

Unser’s paper tells us how to examine any set of orthogonal functions to determine whether they are suitable for representing a waveform.  Unfortunately, the test itself is mathematically obtuse, and does not lend itself to a pithy description in plain English.  But if a set of orthogonal functions proves to be suitable, then our waveform can be fully represented by determining a corresponding number (in mathematical terms a “coefficient”) for each of the orthogonal functions.  We can then store those numbers, and use them to fully and accurately reconstruct the waveform at some future time.

This is Unser’s general theorem of digital sampling, and he uses it to ask and explore some very interesting questions, ones which may well prove to be useful in the near future.  But before discussing that, we’ll just take a quick look at how Nyquist-Shannon sampling theory fits into it.  Suppose we choose as our family of orthogonal functions the Sinc() function:

Sinc(x) = Sin(x)/x

As it happens, when we work out what the corresponding coefficients are for the Sinc() functions, they turn out to be the real values of the waveform itself as it evolves with time.  In other words, turning the whole thing backwards, if we sample our waveform in time, the resultant sample values will be the coefficients of an orthogonal family of Sinc() functions which can be used to exactly reconstruct the original waveform.

I have stated glibly that we can choose any family of orthogonal functions which meet some incomprehensible criteria, and fully represent our waveform by storing only the coefficients of these functions.  However, this is of no practical use if our family of orthogonal functions is infinitely large, because we’d then have to store an infinitely large set of coefficients.  This is where the concept of “bandwidth limitation” comes in.

We are familiar with the Nyquist Criterion, which states that our waveform must contain no frequencies above one half of the sampling rate.  In the context of Unser, this means that by reducing our infinitely large family of orthogonal functions to a finite set – such as by eliminating all those which correspond to frequencies above our Nyquist Criterion – we can represent our waveform using a finite set of coefficients.  We can apply this kind of logic to any family of suitable orthogonal functions.  By appropriately reducing the size of the family to a finite subset we will end up with a finite set of coefficients.  The smaller this set can be, the fewer the amount of numbers that would be needed to fully represent the waveform.

For the most part, this analysis appears only to be of use for the purpose of data compression, where it has limited applicability.  At the end of the day, information theory already tells us most of what we need to know to determine just how much compression can actually be achieved.  But where Unser’s paper gets really interesting is where it heads next.

Unser invokes the Physicist’s “frog on a lily pad”.  This is where a frog attempts to cross a lake by jumping from lily pad to lily pad.  Each lily pad is exactly half as close to the far side of the lake as the previous pad.  The mathematician says that the frog will never reach the other side, but the Physicist observes that at some point the gap will be so small as to be meaningless.  Unser recognizes that there is a distinction between a mathematically exact representation, and one where any errors in the representation are practically irrelevant.

Before you get too excited, Unser does not take us anywhere immediately usable with this analysis.  He merely illustrates some ways in which this observation can be taken into account within his general theorem.  But the concept is an intriguing and useful one.  [It has been suggested – or rather hinted at – that some of these principles may be at play within Meridian’s controversial MQA technology, but at the time of writing MQA’s inner workings remain undisclosed.]  As an example, conventional Nyquist-Shannon theory requires strict bandwidth limitation, but practical anti-aliasing filters can never be perfect.  Unfortunately, the “better” the filter, the worse its time domain (i.e. phase) response will be.  Unser’s analysis may provide a mathematical framework within which practical issues such as this can be formalized.

0 comments

Leave a comment

0 Comments

Your avatar

Loading comments...

🗑️ Delete Comment

Enter moderator password to delete this comment:

✏️ Edit Comment

Enter your email to verify ownership: