Re: Multiple pass moving average filter
- From: "Newport" <edwards2107@xxxxxxxxxxx>
- Date: 23 Aug 2006 06:53:40 -0700
Clearly your generally statement is not applicable to all
data sets and applications as it appears to apply. Otherwise
there would not be experts in the dsp field that state that
moving averages are optimal in most cases (it a given that
other filters can be just as good). Since I'm not a dsp
person I'm out of my league to even attemp to debate the
issue or whether multi pass being "a variant" of moving
averages -- has similar properties.
I do know the data in my domain exceptionally well. The
same applies to the application side. So 95% of the time I
never need or use any smoothing in model design. The
performance benefits have to be huge for me to consider
dealing with the type of lags that smoothing filters introduce.
I can verify the performance benefits are huge with probability
based data and "do not expect" any significant performance
gains from using a custom designed filter.
My goal at this point is merely to gain a better understanding
of the equivalent filters that are being created with custom
modification to the ends. While I know various formulas as
outlined in this discussion on treating the ends are commonly
used and considered acceptable by dsp professional -- I'm
looking to understand the mathematical results the weighting
strategies are equivalent to. If at some point in the future I
decide to explore the possibility of an improved solution I would
have more useful information to pursue that goal. Right now I'm
not looking to chase incremental gains that might or might not
be possible using other filters.
Multi-pass moving average filters are a conceptually simple but
computationally inefficient way to implement a low-pass filter. They are
a highly constrained subset of FIR filters which sacrifices performance
for intuitive presentation.
Jerry
--
Engineering is the art of making what you want from things you can get.
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
.
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