Count me in for an analog vs digital battle!
Only the styli are rated up to 76kHz, but I haven't seen any rated past 20-22kHz myself.
And frequency response is not everything anyway. To me its all about having a consistent sound, not something with gaps in between.
The 44.1kHz of CDs is the sampling rate, not frequency reponse. The Nyquist-Shannon sampling theorem states that half the sampling frequency of a discrete signal gives you the folding (or cutoff) frequency. Therefore 44100hz/2 = 22050hz = 22.05kHz, which is the frequency response of CD's.
My 2c
I can see why the whole thingy vs. thingy is so important in preserving the original culture of a genre.
I've said before that the best way to observe and experience that original culture, in this case dubstep , is to go to the UK and experience it for yourselves...
But i doubt that supporting the sound , soley relies on copying exactly what is done in the UK. Furthermore making tracks that sound exactly the same , starting nights that have the same name, mixing the same way as they do, speaking the same way etc...
And i have still not heard of ANY dj rejected from overseas, interstate or locally because they have music from to play for us on several different formats, its only important, in my opinion, if they have good music and they deliver it (mixing, eq'ing, blending, bleaching, dymanic or gain shaping the sound...etc) in a good way yeah?... neccesity is the mother of invention...
People in all parts of the world, when they hear music that they like, will find all sorts of ways to bring it to their area in the best way they can (when budget, location, materials etc is concerned)
Yeah, back to styli, they are the things that get the sound from the vinyl.
So if the manufacturers haven't improved the styli's rated frequency over the time they'e been in exisitence, that shows a certain limit has been reached within that technology doesn't it? ( they have started already with "laser-reading" vinyl, which prolongs the life of the vinyl and there's some styli and turtables that do far more for sound than technics turnies for example, they could also discover a new alien metal or gem in space in 100 years or so, then it may make the frequency range greater
)
However, i can understand the concept of continual linear sound reproduction, which a cd does not do...which brings me to this quote, which i asked that people should read from in the last post i made... to avoid a whole stack of re-quoting and double-up discussions
"....The RIAA has suggested the following acceptable losses: down to 20 kHz after one play, 18 kHz after three plays, 17 kHz after five, 16 kHz after eight, 14 kHz after fifteen, 13 kHz after twenty five, 10 kHz after thirty five, and 8 kHz after eighty plays. While this degradation is possible if the record is played on improperly set up equipment, many collectors of LPs report excellent sound quality on LPs played many more times when using care and high quality equipment..."
<that was taken from this link
http://en.wikipedia.org/wiki/Vinyl_recordIt's also important to note this about CD's and their oversampling technology...
"The smallest entity in a CD is called a frame. A frame consists of 33 bytes and contains six complete 16-bit stereo samples (2 bytes × 2 channels × six samples equals 24 bytes). The other nine bytes consist of eight Cross-Interleaved Reed-Solomon Coding error correction bytes and one subcode byte, used for control and display. Each byte is translated into a 14-bit word using Eight-to-Fourteen Modulation, which alternates with 3-bit merging words. In total there are 33 × (14 + 3) = 561 bits. A 27-bit unique synchronization word is added, so that the number of bits in a frame totals 588 (of which only 192 bits are music).
These 588-bit frames are in turn grouped into sectors. Each sector contains 98 frames, totalling 98 × 24 = 2352 bytes of music. The CD is played at a speed of 75 sectors per second, which results in 176,400 bytes per second. Divided by 2 channels and 2 bytes per sample, this results in a sample rate of 44,100 samples per second...."
< that was from this link
http://en.wikipedia.org/wiki/Compact_discsFair enough, communications-based equipment on large scale would def have signal gaps, digitally, something has to return to a base-point so the converters can work on what is meant to be there and what isn't... as a discrete signal is one voice... not a track on a cd or vinyl that could have up to 300 imbedded in it... it makes it difficult to apply that Nyquist theory, but it can be used to determine an outcome...
"...Indeed, it is impossible in practice because it requires summing an infinite number of terms..."
If anyone wants to read more on the Nyquist-Shannon sampling theorem, please do, its quite intertesting when you get your head around the science/maths involved
( discovered and proven before anti-aliasing filters and oversampling technology was invented i think) and it does indeed state that
" The sampling theorem is usually formulated for functions of a single variable..."
on this link:
http://en.wikipedia.org/wiki/Nyquist-Shannon_sampling_theorem Read this ( also from the link above ) to prove how sound engineering is a detailed process regardless of the format it's finalised on....
"...The sampling theorem does not say what happens when the conditions and procedures are not exactly met, but its proof suggests an analytical framework in which the non-ideality can be studied. A designer of a system that deals with sampling and reconstruction processes needs a thorough understanding of the signal to be sampled, in particular its frequency content, the sampling frequency, how the signal is reconstructed in terms of interpolation, and the requirement for the total reconstruction error, including aliasing and interpolation error. These properties and parameters may need to be carefully tuned in order to obtain a useful system...."
And as far as sound quality ? (from
http://en.wikipedia.org/wiki/Vinyl_record)
"...The theory that vinyl records can audibly represent lower frequencies that compact discs cannot (making the recording sound "warmer") is largely a myth - according to Red Book specifications, the compact disc has a frequency response of 20 Hz to 22.05 kHz, while the human auditory system is sensitive to frequencies from 20 Hz to a maximum of around 20,000 Hz. This means that any frequencies that a vinyl record can represent that a compact disc cannot would be inaudible and thus completely subliminal...."
Even though the cd player i used that night, and most times i play, can apparently reproduce 4 Hz...
also important to note that the power consumption of both technics turnies and cd players (CDJ-200's in particular) are rated at 14W, so depending on how the sound is converted and spat out the back of those units, no-one could say that one is more "powerful" than the other... because they both are converted to digital, and back to analogue again, when they are put through Macro's custom rack-mount thingy's and those KV Audio speakers and subs... 6 MHz.... !!!!
And again, no-one can be held responsible for the end product when a track's purchased on whatever format, all a dj can do is eq it to give its maximum flavour without negatively destroying the original intention of the artist who created it...
If people wanna check the track's artwork on the cover sleeve, or like looking at the label spinning around, or like looking at a person mashing though their crate to find the next best tune in a set , that's totally cool with me.
The marketing departments in each label love that because it creates an identity for the track...
In jamaica, the true foundation of all this bassline music, this is rarely done, the dj usually chats over the track, shouting out to the producer or sound system that created it, or asking the mc to stop and drop it again from the top.
Besides and a person instantly knows a tune from its rhythm or the bassline, if they've heard it before that is...due to the huge amount of subs.
Me personally ?... i like to be suprised, i don't usually keep my crate in view, cause people may see the tunes and gank them later on in the night (this has happened all over the world).
I like the dj to suprise me with tunes that i'm not expecting, mixes that i'm not expecting, i don't pay to see a run-of-the-mill style set that i've heard before.
I don't care what condition the sleeve or the vinyl jacket is in, i don't have time to train-spot when i'm out with mates , having a bit of a chat up the end of the club, catching up on the latest.
I don't have time, and neither would the dj, to be stopped while they're mid-mix and asked "what tune" this is, "what tune" that is, "can i have a look through your crate" etc...i ask, and prefer to be asked afterwards, i have more time for answering questions then, dj's are too busy during the set...
I can trust what the dj is doing, and that they continually stay skilled-up on the technology and innovation that exists in their industry otherwise, why would they be allowed to play in the first place ?
Keeping things locked the same for too long can stagnate and block progression and growth... demand and supply are directly related in many cultural artforms.
There are numerous logistical, ecological, sustainable, financial, legal and technological reasons why i and other people chose to play multi formats of music, be that digital or otherwise.
And the people who preserve the culture's original aspects, are just as important as the people who create and develop new ways to support, deliver and maintain a high level of quality, for all the good people who actually come to appreciate the sound and the style of dubstep...
*stomach rumbles*
i'm hungry after all that typing, i gotta eat some food!!!!
( @ Klute ) 
a lil more resonance in the lower end 
exciting stuff and a good warm up for caspa the week after peace
Just shut up and make music. If it's good people will listen to it, no matter what the intent.
incoming:
. more so beer and spliffs. the dubstep diet. 
where did you go in brizzle?
. k not included. call me crazy but i like being able to walk and talk im funny like that.
in my opinion, 
to the haters
more 2 steppy goodness. no one creates soundscapes quite like burial. and such emotive twisted vocals. 
haha, oh and whens the next dubstep event too? 
