The sampling theorem is the bridge between the analog and the digital: a signal containing no frequency above B is completely determined by samples taken at rate > 2B (the Nyquist rate), and can be reconstructed exactly by summing shifted sinc pulses. Sample too slowly and different frequencies become indistinguishable — aliasing — and a high tone masquerades as a low one (the wagon-wheel effect, the moiré on a screen). The whole of digital audio, imaging, and communication rests on it. Recovery is caused by the band-limit: it is that structure — no energy above B — that makes the dots enough to rebuild the curve.
A 7 Hz tone. The demo shows it reconstructs exactly above the Nyquist rate (14 Hz) but aliases to a lower frequency when undersampled: live demo
“Sampling always loses the in-between.” — not if the signal is band-limited and you sample above twice its bandwidth: then the samples are the whole story, and the continuous curve is recovered exactly. The band-limit is the guarantee. cited
Above the Nyquist rate the dots are the signal; below it, frequencies collide and a tone lies about its pitch. Recovery guaranteed by the band-limit — the structure the samples ride on. Nyquist-Shannon
On the canonical compiler, a 7 Hz tone has Nyquist rate 14; sampled at 10 (below) it aliases to |7−10|=3 Hz; sampled above 14 it reconstructs as 7: