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The sonic result of oversampling mirrors those of resolution enhancement in digital photographs:
more apparent detail is noticeable. However, impulse reproduction is slightly distorted, leading often to
a slight perception of an edginess or graininess.
d. Oversampling 4x – this mode engages the Digital Filter with an oversampling factor of 4, performing
quite a large degree of digital manipulation. The original data from the CD is in effect discarded and re-
placed with a re-calculated version. This new version of the music is mainly linearly scaled up using a
whole number as scaling factor and resolution/edge enhanced. The sonic result of Oversampling 4x
is similar to that of Oversampling 2x; except more accentuated.
e. Upsampling at 96kHz – this mode engages the Upsampler with a sampling frequency of 96kHz,
performing quite a large degree of digital manipulation. The original data from the CD is in effect
discarded and re-placed with a re-calculated version. This new version of the music is non-linearly
scaled up using a complex number as scaling factor and resolution/edge enhanced. The sonic result
of upsampling is similar to oversampling; however there are subtle degrees of change in the tonality
due to a shift in the harmonic spectrum as a result of the complex number which underlies the scaling.
f. Upsampling at 192kHz – this mode engages the Upsampler with a sampling frequency of 192kHz,
performing a very large degree of digital manipulation. The original data from the CD is in effect discarded
and re-placed with a re-calculated version. This new version of the music is non-linearly scaled-up
using a complex number as scaling factor and resolution/edge enhanced. The sonic result of 192kHz
upsampling is similar to 96kHz upsampling. However, as the complex numbers that underlie the
upsamplings are different to oversampling, the shift in the harmonic spectrum is not the same: hence
tonality is somewhat different.