alfie wrote:the problem with this case though was the apparent complete absence of a mark on hot spot. Which does seem contradictory.
I dont know enough about hotspots science to comment on its accuracy generally, but series like the 2013 Ashes it was absolutely clear that both teams sussed out at the time that silicone tape on the edges of bats stopped the friction heat being detectable. I have seen critique of hotspot saying Vaseline or certain oils for wood that they treat the bat with can have similar effects, and I think in this series I can only remember hotspot picking up marks on the face (like Starc) or gloves (as with Kohli). I am more than dubious that hotspot works all the time, I have seen loads of example of clear edges it doesnt pick up. I think you have to ignore it and go with the sound.
Despite your well reasoned post on the sound waves , Sussex , I have certainly seen additional squiggles on Snicko at various times in the past - all apparently irrelevant ; but never explained . So I am not totally convinced that Snicko alone should decide all cases of "did it hit the bat".
The problem is, such squiggles might look irrelevant to people because they are ingrained into thinking they are looking for something of a particular form. I have seen the ICC advice to umpires (they no longer post it) in the past for instance where it explains you need a fat oscillation for a pad hit, or a tiny snick will produce a thin, tall peak in the oscillator. Generally this has some truth, but it cant be applied as a blanket rule.
Snicko uses a really sensitive microphone and amplifies the signals it receives so they are detectable on the oscillator more visually. The problem is, a microphone is going to be picking up everything in the background, so in order to cancel out all the sound that is irrelevant you need to put some type of filter on it. They would almost certainly use a bandpass filter/resonance filter where the high pass is cut into the amplifier, and then the low pass cut after amplification. Amplification gain itself naturally limits gain on extreme frequencies, so the bottom line is you end up cutting the interfering sound, but visual interpretation of the sound you get on the oscillator is not raw. It is adapted. I would have to guess that the audio setup is not consistent, because certain environments, stadiums, countries, crowd size etc produce different levels and types of background noise, so the filter parameters would have to change for the acoustic environment the match is played in. This means that the exact same edge will look different on the wave everytime, with simple filter differences.
To the layman, they see a small soundwave that barely registers and assume the sound signal itself must be soft. So they equate larger amplitude waves with contact force. In actuality, this could be a simple level of amplification. If I turn the gain up on an amplifier and leave it off on another, the same edge in one would look huge, the other it wouldnt register at all. So you cannot really rely on the amplitude of the wave to signify something significant.
You can actually see the filtration taking place on background noise level before the ball reaches the batsman. It is pretty much always flatline or very gentle murmur. So when you consider the microphone is registering nothing despite the wicket keeper breathing or moving next to the mike, the batsman shuffling in the crease, any wind or background noise. Nothing. So it begs the question where does the disturbance come from that suddenly registers? Some people argue it could be the pressure of the air hitting the bat if the ball goes close, such a contact would not register though. It would not appear on an oscillator.
If you look at a standard snicko regulation knick you get a high frequency/high amplitude spike followed by a lowering of both down to a murmur. The envelope of the sound has zero attack (the peak amplitude is the moment of contact), short decay and release, and a sustain envelope that is carried by lower frequency, lower amplitude waves that are longer. As the attack/decay phase are in higher frequency bands, what you might actually find is a high pass filter might eradicate all of that from snicko in some cases, and the release phase being in very low frequency ranges would be filtered out by the low pass. What you would be left with would be a lowish murmur, the dying embers of the sound, wobbling on snicko as these are the only sounds in the range that arent filtered.
I appreciate this might be double dutch to you, but in short, there is very little justification in situations of bat/ball contacts with nothing else in play where snicko registers a clear murmur that would not state with absolute authority that contact has been made. The pictures are pasted over the audio (well maybe visa versa) manually as they are seperate channels, so sometimes they are a frame or two out. Maybe if it clearly doesnt touch the bat you can attribute those sounds to a subsequent delayed contact, like it flicking a pocket or the thigh pad. But I dont have an example of that to hand.