AndyC_772 said:
It seems a shame it only uses sinx/x under certain conditions, because the scope certainly can do it and it looks much better.
kg4arn said:
I usually work with sinusoidal signals so I like to see nice and smooth sinusoids.
Also:
The sin x/x clearly produces better looking waveforms at the 50 Meg sample rate.
Gentlemen,
Firstly, let me apologise for taking your comments a little out of context. However, I've heard enough discussion of sinx/x interpolation to make me feel queasy, so here goes. An oscilloscope is a tool, it should show the input signal with fidelity. Aesthetic considerations of waveform shape seem irrelevant to me. If an input waveform is judged as ugly, the scope should show it as ugly. Since the scope cannot know anything about what the waveform does between sample points, any sort of artifice in interpolation should be avoided. LInear interpolation many not make pretty waveforms, but if you have 10 or 20 samples for each cycle of the highest sine wave component, you have a reasonable basis for judging what the waveform is doing.
If you use sinx/x interpolation on an undersampled waveform, it still shows a sine or sine like screen trace, but they may not be real. With linear interpolation, the waveform becomes obviously spikey if it's undersampled. This may be considered ugly, but it's a clear warning that there are insufficient samples to reconstruct a true representation of the incoming waveform. In reality that's all that a DSO can ever do, construct a representation, since it truly knows nothing about what the incoming waveform does between sample points. If the scope only uses linear interpolation, but also highlights (brightens) the actual sample points, the risk of misinterpreting a waveform as true when it may be an alias is greatly reduced. With linear interpolation, undersampling looks ugly. That is it's great advantage, ugly=untrustworthy. With sinx/x interpolation, there is no visible warning that you are on dangerous ground. Also, the theoretical basis for sinx/x requires that you filter the input with a steep low pass filter, with a corner frequency at half the sample rate. (The minus 3dB of the input's analogue bandwidth is nowhere near sharp enough.) Without a sharp anit-alias filter, the theoretical basis for using sinx/x is absent!
Because sample rate varies widely with timebase setting, such a filter would be quite impractical to build, and that's why DSO makers don't have an anti-alias filter button. FFT vibration and audio analysers have far more constrained operating parameters, so anti-alias filters are common and sinx/x interpolation is appropriate.
On the philosophy of scope design, the manufacturers have a tough job. Scopes get used in such varied applications it must be difficult to build one scope that fits all.
With regard to some of the example waveforms, it seems that many modern DSOs don't announce the fact that they have shifted acquisition mode from repeated single shot mode to Random Interleaved Sampling. RIS allows synthesis of a sample rate perhaps 20 times faster than the max rate of the digitiser. A scope should really flag that mode change to the user, but I've noticed that many don't. My cynical assumption is that it makes the waveform look "nicer". DSO makers need to trust their end users with all the information, although I won't be holding my breath until that day comes...
Cheers, Colin