A Time to Die by Robert Moore

Nonfiction

By Robert Moore

Ona quiet Saturday morning in August 2000, explosions--one so big it used to be detected via seismologists round the world--shot during the shallow Arctic waters of the Barents Sea. Russia's prized submarine, the Kursk, started her deadly plunge to the sea flooring. Award-winning journalist Robert Moore offers a riveting, brilliantly researched account of the deadliest submarine catastrophe in heritage. trip down into the center of the Kursk to witness the final hours of the twenty-three younger males who survived the preliminary blasts. stopover at the hugely limited Arctic submarine base to which Moore got mystery admission, the place the households of the team clamored for information in their household. Drawing on particular entry to best Russian army ?gures, Moore tells the interior tale of the Kursk catastrophe with authentic intensity and the compelling moment-by-moment rigidity of a thriller.From the exchange Paperback edition.

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Clearly the wheel is not really rotating backwards, it just appears to be. Perhaps ideally one would arrange to filter out moving objects that were rotating faster than half the frame rate of the film, but this is hard to achieve in practice and visible aliasing does not seem to be as annoying subjectively as audible aliasing. If audio signals are allowed to alias in digital recording one hears the audible equivalent of the backwards-rotating wheel – that is, sound components in the audible spectrum that were not there in the first place, moving downwards in frequency as the original frequency of the signal increases.

It is therefore clear that in practice the choice of sampling frequency governs the high frequency limit of a digital audio system. In real systems, and because filters are not perfect, the sampling frequency is usually made higher than twice the highest audio frequency to be represented, allowing for the filter to roll off more gently. 18 In simple A/D convertors an analog anti-aliasing filter is used prior to conversion, which removes input signals with a frequency above the Nyquist limit within the audio band, the slope with which it rolls off at high frequency and the phase linearity of the system.

This applies in any requantising operation, not just CD mastering. A number of applications are available that automatically scale the audio signal so that its level is optimised in this way, allowing the user to set a peak signal value up to which the highest level samples will be scaled. 37 Truncation of audio samples results in distortion. (a) shows the spectrum of a 1 kHz signal generated and analysed at 20-bit resolution. In (b) the signal has been truncated to 16-bit resolution and the distortion products are clearly noticeable 40 Digital audio principles Peak level New res.

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