Originally Posted by QueueCumber
Well, at least you admit it.
When there are impulse spikes in the music, when you are in a decent acoustic environment (or when you use good headphones and have little noise in your environment) and when you are listening on equipment that doesn't have distortion elements high enough to conceal it. The signal is smeared over time because a digital filter can not accommodate an infinitely steep slope, such as the kind made by a transient noise. A square wave is just an easier way of seeing the effect under controlled conditions.
I'm not so sure the phenomenon you're describing - square waves with overshoot and evidence of ringing - is properly called the Gibbs effect. Rather it's the consequence of trying to represent a construct that is the summation of an infinite series by a system that is inherently band limited. This same ringing will be observed by any system that is so band limited such as an amplifier that begins to roll off past say 20K or 30K, tape or for that matter vinyl. Your speakers in fact, since they're not 1st order, will also exhibit a square wave whose shape is more frightening in appearance than any of your electronics. Yet, you're rather quick to attribute whatever it is that you're hearing to a ringing phenomenon to the CDP.
There are no infinitely steep slopes in real world music and to my mind what you bring up regarding ripples/ringing, both pre and post waveform, is a phenomenon largely relegated to older CDP's, the audibility of which being dependent upon the type of filter being used. The problems with some older analog filters were not unknown and designing well behaved ones where issues such as audible phase errors or pre-echo were well controlled cost money. This was though not limited to mass market players. So what we had was nothing more than bad band limiting in some cases. Some.
So what do we have today? Oversampling where the filtering is done in the digital domain that greatly mitigates these artifacts while also allowing for overall reduced costs since the analog filter need not be designed so carefully.
Audibility of such a phenomenon (ringing), as I'm sure a person such as yourself knows, depends upon its duration, magnitude, and any masking effects from your program material. It's certainly far easier using test tones to take a stab at hearing it rather than musical sources, but I challenge you to produce modern day examples of players so poorly designed that they exhibit long drawn out ringing of sufficient amplitude as to be heard. Some supporting graphs and measurements would be nice.
As has been mentioned by myself, JJ, krabapple, and others, under careful conditions, people are unable to reliably distinguish between vinyl and a digitized construct of vinyl. This has been for some time. In light of that, given that vinyl doesn't have any oddball analog filters, why can't people distinguish between the two? I just don't find anything to support your claim that the phenomenon you describe is related to what you're hearing. It just seems rather 'golden'.