Jeez...not this pointless graph/measurement BS again. When are people going to learn to ignore measurements and judge equipment with their ears and not their eyes ?
Sigh...
Peete.
PS: That high frequency noise is from quantization (error) and has to do with algorithms used to covert digital to analog being imperfect representations (mathematically speaking) to their analog sine wave counterparts IIRC. The reason why first gen CDP's were almost universally rejected was because of the lack of decent filtering, no oversampling and strict adherence to the stupid 20-20khz spec which is fine for analog but terrible for pcm (any digital actually speaking). Until gentle roll off filters were implemented and oversampling applied to get the artifacts being filtered well out of the audible range we were stuck with ice pick highs and a bad case of listener fatigue from rampant digititis. Since filtering effects travel downward as well as upward in the freq spectrum you can well imagine why oversampling became one of the big break throughs in 85-87. That and the whole sale abandonment of NOS dacs and the requisite super steep brick wall analog filtering they employed which caused all kinds of problems well into the audible range. My first high end CDP I bought in 85 for 700USD, Carver unit with a special digital time lens circuit. It was worlds better than my first gen Sony machine was. Care to guess what was different vs the 1st gen SONY ? It also measured worse than the 1st gen machines in the highs and yet sounded worlds better. Go figure. I find it amazing that 37 years on we are still looking at 20-20khz and taking it seriously. As long as the freq response is good between 20-14Khz your pretty much good to go. Most instruments even synth stuff does not reach anywhere near 5K. Listen to test tones and try to correlate anything that is musical above 10Khz made by any instrument. I can only think of 2nd or 3rd order harmonics on something like triangle or a splash cymbal...even then that's a bit of a stretch.