How could you study it without practicing it? In other words, without listening?
Theory must be backed by experiments.
You have this backwards. The theory wasn’t invented to explain how digital audio works, it’s the other way around. The theory was invented (nearly a century ago) and digital audio was developed from that theory. So if the theory is somehow wrong, digital audio wouldn’t work/wouldn’t exist.
There has of course been countless experiments, dating back over 70 years when digital audio was first implemented in practice and numerous listening tests, even specifically regarding clocking/jitter going back to the 1960’s. The first publicly published study was in 1974, a decade before digital audio recordings were available to the public and there have been many since then.
No measurements can exactly capture what we hear, in fact they fall far short. We can't even measure something as audible as soundstage depth with any accuracy.
Digital audio is itself a measurement, so if this measurement did not include soundstage, then obviously no digital audio recording would ever have any soundstage. You’re not really claiming that are you?
We don’t have a specific/isolated measurement for soundstage because soundstage is a human perception/illusion. So obviously, when we’re measuring the performance of a converter we’re not measuring human perception/illusion, because converters do not have any human perception.
Bold statement .... I wondered why top high end brand like Soulution, CH Precision, Audionote, etc never used room correction. You must be a genius better than their engineers, right?
Obviously it depends on what these companies are making, they may have no need of a hi-fidelity listening environment.
We treat rooms!! we don't use room correction software!! get it? solving problem from the root.
We do both, we acoustically treat rooms AND we use room correction software/hardware. Acoustic design/treatment does not entirely solve the acoustic problems, it only gets you so far. So correction software/hardware is also required for high-end/fidelity. There’s really no need to be rude about it, especially as you’re actually wrong! Because:
I have to admit room correction is ok and convenient for mid-fi, a lot of people cannot afford to treat their rooms, but there is no place for it in hi-end audio.
This assertion is incorrect. If there is no room correction (with a speaker system) then it’s not a “hi-end audio” system! It could very well be an expensive system but it’s not a high-end (high-fidelity) one.
The top/professional speaker manufacturers and installers all either have their own correction software/hardware (JBL, Genelec, Meyer, etc.) or rooms/studios are corrected by using room measurements/analysis (Smaart for example) and then corrective EQ/filters/crossovers or dedicated units such as those made by Trinnov.
the mixing engineer has no idea what his recording sounds like on hifi, he is only listening to his monitor which sounds completely different from what it sounds on your hifi. Comparing that to your hifi? you got to be kidding.....
Commercial recording studios have a considerable amount of acoustic design, treatment and correction software/hardware and are very much high-fidelity so of course the mixing engineer does have a very good idea “
what his recording sounds like on hifi”. I’m baffled how anyone can claim any different, unless they’ve never been to a commercial studio or experienced a high-fidelity system/environment. However, the mixing engineer won’t necessarily have a great idea how his mix will sound on consumer systems (which are lower fidelity) but that’s obviously why we have the mastering process and mastering engineers!
The arguments are baffling, if you’re listening to digital audio then you’re listening to measurements!
G