Analog vs Digital Audio

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Analog vs Digital Audio: Understanding the Differences

Analog Audio: The Old School Sound

Analog audio refers to a sound signal that is continuous and unbroken. It is the old school way of recording sound, and it has been around for a long time. In the early days of audio recording, analog technology was the only option. Record players, cassette tapes, and reel-to-reel tapes were all analog formats that produced a unique sound.

One of the main advantages of analog audio is the warmth and depth of the sound. Analog recordings have a certain character that digital recordings simply can’t match. As author Salman Rushdie once said, “Analog is warm, digital is cold.”

However, analog audio is also subject to degradation and noise. Over time, the signal can deteriorate, resulting in a loss of quality. Analog recordings also tend to have more background noise and hiss than digital recordings.

Digital Audio: The Modern Sound

Digital audio, on the other hand, is a more modern method of recording sound. It involves converting sound waves into a series of numbers that can be stored and manipulated. The digital format has become increasingly popular in recent years, and it is now the standard for most audio recordings.

One of the main advantages of digital audio is its precision and clarity. Digital recordings are much more accurate and can reproduce sound with much greater fidelity than analog recordings. They are also immune to the degradation and noise that can affect analog recordings.

However, some people argue that digital recordings lack the warmth and character of analog recordings. As musician Jack White once said, “Digital sounds like it has a condom on it.”

Analog vs Digital: Which is Better?

So, which is better, analog or digital? The truth is, it depends on who you ask. Some people prefer the warmth and character of analog recordings, while others prefer the precision and clarity of digital recordings.

At the end of the day, the choice between analog and digital comes down to personal preference. Both formats have their advantages and disadvantages, and it ultimately comes down to what kind of sound you prefer.

Conclusion: The Best of Both Worlds

At mp4gain.com, we understand the importance of sound quality. That’s why we’ve developed a powerful audio normalization and conversion software that can work with both analog and digital formats. Our software can help you get the best of both worlds by optimizing your audio for clarity and warmth.

As technology continues to evolve, we can expect to see new and innovative ways of recording and manipulating sound. But no matter what the future holds, we will always be dedicated to providing our customers with the highest quality sound possible.

Final Words:

In the end, whether you prefer analog or digital audio comes down to personal preference. Both formats have their advantages and disadvantages, and it’s up to you to decide which one is best for you. But with the right tools and techniques, you can achieve great sound quality no matter what format you choose.

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MIDI and digital sound: pros and cons

Digital Audio

The WAVE format is one of many, but it is far from the only format for recording digital audio.

Digital Audio

Unlike MIDI data, digital audio data is actually sound recorded in thousands of units called samples. Digital data represents the amplitude (or volume) of a sound at discrete moments. The sound of digital data is independent of the playback device and therefore always sounds the same. But you have to pay for this with large volumes of sound files.

MIDI data is to digital data what vector graphics are to bitmaps. In other words, MIDI data depends on the audio playback devices and digital data is independent. Just as the appearance of vector graphics depends on the printer or monitor screen, the sound of MIDI files depends on the MIDI device to play these files. Similarly, a melody played on a concert piano will sound different from a normal piano. Digital data, on the other hand, is identical and independent of the reproduction system. The MIDI standard is similar in this respect to the PostScript standard and allows you to control instruments in understandable language.

Compared to digital sound, MIDI has the following advantages:

MIDI files take up less memory and the size of these files does not affect sound quality. On average, MIDI files are 200 to 1000 times smaller than digital files and therefore take up a small amount of RAM, disk space and do not require large CPU resources.

In some cases, MIDI files sound better than digital audio files. In this case, the sound source of the MIDI files must be of high quality.

You can change the length of MIDI files by changing the tempo of the sound, while maintaining the quality and volume of the sound. MIDI data can be easily edited, even at the single note level. You can manipulate small segments of a MIDI song (with millisecond precision), which is not possible with digital audio.

The main disadvantage of a MIDI file comes from its merits. Since MIDI data is not sound itself, playback will be as accurate as the device for playing the MIDI data is identical to the device used to create the original file. Even the sound of a MIDI instrument according to the General MIDI standard depends on the electronic playback device and the method used. MIDI sound is not used for voice playback.

The main advantage of digital audio over MIDI sound is that the reproduction quality of digital sound is always constant, and here MIDI sound is inferior to digital sound. There are two reasons why you should work with digital audio:

A wider selection of programs and systems that support working with digital sound.

The preparation and creation of digital sound elements does not require knowledge of music theory, which cannot be said for MIDI data.

Sound tips
Voice recording from microphone
Any book devoted to multimedia necessarily contains a section on microphone sound recording. In addition, the Sound Recorder (Phonograph) program, which is included in the standard Windows distribution, is usually used for this. Working with it is described in detail in the attached help file. It is easy to use and we will not dwell on it in detail.

The microphones come in condenser and dynamic microphones. Capacitors are more expensive, they give better sound, but your connection must be compatible with a sound card. And the vast majority of sound cards are designed for dynamic microphones.

Another important characteristic of a microphone is its directivity. The microphones are omni-directional (they have the same sensitivity to sound in all directions), unidirectional (they have the highest sensitivity to sound coming from the front), and bi-directional (more sensitive to sound coming from the front and rear). A unidirectional microphone is usually the best option, as it eliminates background noise. But it is more expensive than omni-directional microphones and is more sensitive to choppy breath sounds.

Be sure to pay attention to the impedance (impedance) of the microphone. The optimal value is around 600 ohms.

Therefore, we recommend a 600 ohm dynamic omni-directional microphone.

Differences between analog and digital audio

Differences between analog and digital audio

Analog vs Digital

Sound information. Sound is a wave that travels through air, water, or other medium with a continuously changing intensity and frequency.

Digital vs. Analog

A person perceives sound waves (air vibrations) with the help of hearing in the form of sound of varying volume and pitch. The greater the intensity of the sound wave, the louder the sound, the higher the frequency of the wave, the higher the pitch of the sound (Fig. 1.1).

Dependence of the volume and pitch of the sound on the intensity and frequency of the sound wave.

The human ear perceives sound at a frequency of 20 vibrations per second (low sound) to 20,000 vibrations per second (high sound).

A person can perceive sound in a wide range of intensities, in which the maximum intensity is 1014 times greater than the minimum (one hundred thousand billion times). A special unit of “decibels” (dbl) is used to measure the volume of sound (Table 5.1). Decreasing or increasing the sound volume by 10 dB corresponds to a decrease or increase in sound intensity by 10 times.

Provisional discretization sound. In order for a computer to process sound, a continuous audio signal must be converted to a discrete digital form using time sampling. A continuous sound wave is divided into separate small time sections, for each section a certain value of sound intensity is set.

Therefore, the continuous dependence of the loudness of the sound at time A (t) is replaced by a discrete sequence of loudness levels. On the graph, this appears to replace a smooth curve with a sequence of “steps” (Fig. 1.2).

Sync Audio Sampling

Sampling frequency. A microphone connected to the sound card is used to record analog sound and convert it to digital format. The quality of the digital sound obtained depends on the number of measurements of the sound volume level per unit of time, that is, the sampling frequency. The more measurements that are made in 1 second (the higher the sampling frequency), the more accurately the “ladder” of the digital audio signal repeats the curve of the dialogue signal.

The audio sample rate is the number of sound volume measurements in one second.

The audio sample rate can vary between 8000 and 48000 sound volume measurements per second.

Audio encoding depth. Each “step” is assigned a specific value for the sound volume level. Loudness levels of sound can be viewed as a set of possible states N, for which a certain amount of information I is required, which is called audio coding depth.

Audio encoding depth is the amount of information required to encode the discrete volume levels of digital audio.

If the encoding depth is known, then the number of digital audio loudness levels can be calculated using the formula N = 2I. Let the audio encoding depth be 16 bit, then the number of sound volume levels is:

N = 2I = 216 = 65536.

During the encoding process, each sound volume level is assigned its own 16-bit binary code, the lowest sound level will correspond to the code 0000000000000000 and the highest – 1111111111111111.

The quality of digitized sound. The higher the sampling frequency and depth of the sound, the better the sound of the digitized sound. The lowest quality of digitized sound, corresponding to the quality of telephone communication, is obtained at a sampling rate of 8000 times per second, a sampling rate of 8 bits, and by recording an audio track (“mono” mode). The highest quality of digitized sound, corresponding to the quality of an audio CD, is achieved with a sampling rate of 48,000 times per second, a sampling rate of 16 bits and the recording of two audio tracks (stereo mode) .

It should be remembered that the higher the quality of the digital sound, the greater the volume of information in the audio file. You can estimate the volume of information in a digital stereo sound file with a duration of 1 second with an average sound quality (16 bits, 24,000 measurements per second). To do this, the encoding depth must be multiplied by the number of measurements in 1 second and multiplied by 2 (stereo sound):

16 bits × 24,000 × 2 = 768,000 bits = 96,000 bytes = 93.75 KB.

Sound editors. Sound editors allow you not only to record and play sound, but also to edit it. Digitized sound is presented in sound editors visually, so copying, moving, and deleting parts of the audio track can be easily performed with the mouse. Also, you can layer tracks

Analog or digital audio?

Analog or digital audio?

Analog vs. Digital Audio

Mechanical, electromechanical, optical, and magnetic recording were originally analog recording methods: recording and reproducing sound vibrations in their natural form (waves).

ANALOG vs. DIGITAL AUDIO

Many people believe that there is no better sound recording than analog. The warm analog sound of the magnetic tape is the standard of the best audio recordings for all mankind. Everyone from Elvis Presley and the Beatles to the latest electronic musicians have used and are using analog tape recording or emulation to create their music.

But analog recording is not the most accurate way to record sound. Rather the most beautiful. Analog sound is pleasant to the human ear due to the presence of “warm” harmonics, which are, in fact, distortions of sound. The most accurate sound recording principle today is digital recording.

The father of digital sound was 25-year-old Volodya Kotelnikov, who created it in 1933. The famous “report theorem” (also known as “Kotelnikov’s theorem” or “Nyquist-Shannon theorem). This theorem was the beginning of the creation of the principle of digitizing sound: encoding an audio signal into bits, that is, converting an analog signal into digital. It only took 49 years to create the CDs we know about. the world, it was only adopted in 1982.

A complete list of the types of digital sound recording in use today is digital magnetic recording (format: DAT cassette), magneto-optical recording (miniDisc format), laser recording (CD, SACD formats), digital recording optical (dolby digital)

The development of computers and digital technology has opened up enormous possibilities for processing and recording sound. Huge analog studios with countless multi-kilogram recording equipment, consoles, and sound processors are being replaced by virtual studios that fit into the computer’s system unit.

To process sound on a computer, it must first be recorded in digital, encoded format. The analog signal is encoded by an analog-to-digital converter (ADC). To play back the recording, you must reverse the digital-to-analog audio conversion using a digital-to-analog converter (DAC). The DAC and ADC are part of the computer sound card and other digital audio equipment. The quality of sound recording and playback is highly dependent on the quality of the DAC and ADC.

DAC and ADC

The main parameters of digital sound are sample rate and bit depth. Both the quality of the digitized sound and the size of the recorded file depend directly on them.

Sampling rate (sampling)

Analog recording begins by pressing the “record” button and ends by pressing the “stop” button. Digital recording is discreet. It consists of many recording fragments (samples) that follow one after another. The number of samples logged per second is the sample rate. It is calculated in hertz. The 44 100 Hz sampling rate (standard for CD) means that the audio signal is measured 44 100 times per second. The lower the sampling frequency, the smaller the frequency spectrum that is recorded. The higher the sampling frequency of the source material, the higher the quality and the larger the file size. When you talk on the phone, you only hear a small mid-range range. This is because the sample rate for phone calls is only 8,000 Hz. To transmit a range of frequencies that the average person’s ear hears and transmits home stereos: 40,000 Hz is sufficient. If the difference in sound quality between 32 and 44.1 kHz is obvious, then the higher the sampling frequency, the less perceptible or not at all perceptible to the ear the difference in quality between the two different frequencies will be. A higher sample rate describes sound more precisely, but at the same time describes those frequencies that the human ear can no longer hear, although changes in sound in the inaudible frequency range can still affect audible frequencies, so that studio recording is performed at a higher sample rate. Since consumer equipment is primarily designed to reproduce sound with a sample rate of 44.1 kHz, when the recording is ready, it is re-encoded to a generally accepted standard. If the difference in sound quality between 32 and 44.1 kHz is obvious, then the higher the sampling frequency, the less perceptible or not at all perceptible to the ear the difference in quality between the two different frequencies will be.

Analog Audio and Digital Audio

Analog Audio and Digital Audio

Analog vs Digital Audio

A sound wave is a kind of complex function, the dependence of the amplitude of a sound wave on time.

Analog Audio vs. Digital Audio

The information contained in the acoustic wave is not determined by the parameters of the medium in which the elastic wave propagates, and the oscillation parameters (amplitude and frequency, tone and harmonics).

Any form of recording (mechanical and Skye, magnetic, optical, laser) is based on the previous conversion of the sound wave into an alternating electrical current with the same parameters of the oscillations (via microphone).

Analog sound is represented on the device as a continuous electrical signal.

Sound quality depends on the fidelity of the waveform, which is very difficult to maintain.

Until 1982, the world was consuming “canned music” only from analog media: vinyl records and magnetic tapes.

Good vinyl records, played with good equipment, offered excellent sound quality, which unfortunately deteriorated a little with each listening due to mechanical wear as the stylus moved along the sound groove and into the dust that permeated everything.

Tape recorders required precision read heads and high tape feed speeds to reproduce smoothly. Over time, the tape demagnetized, the magnetic layer crumbled.

But the main disadvantage of analog audio recording is the inevitable loss of quality when copying.

The mystery of trigonometry

According to the theory of the mathematician Jean Baptiste Fourier, a sound wave can be represented as a spectrum of frequencies included in it.

The frequency components of the spectrum are sinusoidal oscillations (pure tones), each of which has its own amplitude and frequency.

According to Kotelnikov’s theorem, any vibration, even the most complex shape (for example, a human voice), can be recovered unambiguously and without loss from its discrete samples taken with a frequency equal to its doubled maximum frequency.

Vladimir Aleksandrovich Kotelnikov (1908-2005) – a prominent Soviet and Russian scientist in the field of radio engineering, radiocommunication and radio astronomy.

Observation . The finite duration signal has an infinitely wide spectrum. Therefore, when a signal with a finite duration is sampled, it is impossible to recover it from the samples without loss of quality.

Digitization of audio information

The digitization of sound is the recording of the amplitude of the signal at certain intervals and the recording of the amplitude values obtained in the form of rounded digital values.
Any computer includes a motherboard, an audio adapter (sound card).

Sound cards include: ADC (analog to digital converter), synthesizer, mixer, DAC (digital to analog converter) amplifier s, MIDI interface port for gaming devices.

To record digital sound, the ADC produces:

temporal sampling of a continuous signal (determines the value of the amplitude of the signal with the frequency necessary to recreate its original shape = twice the maximum frequency of the sound wave);

quantization by the levels of the measured signal values (determines the number of fixed values (levels, gradations) of the amplitude of the signal);

signal coding (writing in a binary number system).

The reverse operation is performed by the DAC (digital to analog converter).

Bitrate

Bit rate (bit rate): literally bits of information of the transmission rate.

The bit rate is the effective information transmission rate through the channel (the transmission rate of “useful information”, in addition to the service information) expressed in kilobits per second (kilobits per second, kbps).

In lossy compression video and audio transmission formats, the bit rate parameter expresses the degree of compression of the stream and thus determines the size of the channel for which the data stream is compressed.

P-mode compression data stream:

with constant bit rate (constant bit rate, CBR) – The required bit rate is initially set, which does not change throughout the file. It makes it possible to predict the final file size quite accurately, but it does not provide an optimal size / quality ratio for musical works, the sound of which changes dynamically over time.

with variable bit rate (VBR): the codec changes the value of the bit rate based on the desired quality level according to the psychoacoustic model. It offers the best quality of the output file, but its size is unpredictable (it may differ several times).

with an average bit rate (ABR): a hybrid of constant and variable bit rates: the user sets the bit rate in kbit / s and the program varies it within certain limits.

TRUTHS ABOUT ANALOGUE VS. DIGITAL: VINYL VS. CD

Experts report on the topic of analog vs. Digital

Analog vs Digital

Which is better: the vinyl record or the CD, analog or digital? Generations of music lovers argue on this topic, but so do self-proclaimed experts. At this point, I’d like to let some real experts in your field speak up: sound engineers or sound engineers, people who deal with the subject on a daily basis. Here are some truths about record technology and how it really came about.

Analog vs digital audio

ABOUT DISCS, CDS AND RECORDINGS
First of all, a short note that the question asked at the beginning cannot be answered in this way. On the one hand, it has to be structured from a technical point of view, and on the other hand, it makes no sense to seriously compare two fundamentally different systems. However, there are approaches by many music lovers to compare the end results as a sound carrier.
In the end, I would like to return to the fact that there are many obstacles, most of which you have no idea. First, however, I will let the experts express their opinion, who know much more about the subject than the consumers. And in doing so, amazing aspects come to light that mainly illuminate the development of a vinyl recording, right from the beginning!

“The analog vs. digital discussion has been with me for many years, to be precise since 1982. That was when the CD was introduced. There was probably no sound engineer at the time who was not relieved that the CD arrived. Because in almost all technical respects, digital recording, assuming reasonable sampling accuracy, is clearly better.

Let’s take the signal-to-noise ratio: with the LP, you can consider yourself lucky to achieve 50 dB, with the CD – 80 dB. Or the wow and flutter: with the LP, it’s enough that the center hole is a bit too large (but still within the norm!), And a clear egg can be heard. With CD: neither measurable nor audible. Or take the channel separation: with the LP maybe 30 dB, with the CD 80 dB. And so. The exception may be the frequency response, the CD cuts hard at 20 kHz, the LP comes out “soft” and transmits perhaps up to 30 or 40 kHz, but much quieter.

The fact that many listeners and, meanwhile, many sound professionals, from musicians to sound engineers / technicians / teachers, turn to the LP again, has aesthetic and fundamental reasons, also philosophical. And there are many good ones. Digital is, for example, B. much more manipulable. Up to 100 cuts were found on an analog recording, mostly less, rarely more. 500 cuts are not uncommon on CD. Pitch correction, velocity change, sound manipulation, post-processing of individual tracks, synthetic spaces or even natural spaces, but artificially added, etc. etc.

It is also digitally interchangeable. An LP is unique, due to supposedly damaging technical weaknesses like creak, eggs, and noise. But what does technical weakness really mean in something like art? Isn’t it rather an advantage that not everything is so smooth and reproducible and that you have to fight hard to get a good result? The “clinical, sterile” sound of the CD is often criticized, it is not the weakness of the CD, but that of the LP, only that this incorruptibility also means lack of life.

Digital also means zack – track 17 and zack – track 9, while LP first means holding record in hand (haptic!), Admiring the cover / maybe running fingers over it, carefully removing record ( music is vulnerable and precious!), the hanging ceremony, taking your time and listening. In contrast, digital: next door, in the car, without emotions and without love.

Still, I find it difficult to say that one is better than the other. Like many others, I feel at home in both worlds. Digital can be intoxicating and addictive (if done right), analog too, just completely different. When it comes to my TACET label, we are pursuing a twofold approach: Producing with fervor and devotion to satisfy LP listeners. And equally fascinated and enthusiastic, working in a completely different way, suitable for digital sound carriers. “

Analog vs. Digital: Does vinyl sound better?

Music stored on vinyl is making a big comeback. The question of whether CDs, files, or music saved on vinyl sound “better” divides music fans. Sometimes the feeling arises that the toughest commentary battles on the web take place not between political camps, but between listeners of analog and digital music.

Analogversus Digital

It’s a shame, because almost everyone involved in these battles, which were fought with incredible vehemence, are united by their love of music. They belong to the minority of those who spend a lot of money on music, regardless of the medium they prefer. This battle is completely unnecessary and is mainly based on a misunderstanding or two different interpretations of what “good sound” means.

Analog vs Digital

“Good sound”: one expression, two meanings

Some say that something “sounds good” when the sound suits them. That is the musician’s point of view. A good example of this is the sound of a distorted electric guitar, a constituent element of rock music. It originated from the fact that a guitar amp was so loud that the actual sound of the guitar was destroyed beyond recognition by the overdriven amp. The result no longer sounds like a guitar, but the sound has been and continues to be liked by millions of people because it just “sounds good.”

Distorted but pleasing to the ears: the sound of a classic rock guitar.

Others use the term “good sound” as a synonym for “high fidelity,” meaning the most realistic reproduction of what the sound engineer heard when mixing a recording in the studio. This is what we call “high fidelity”.
By this definition, “good sound” means, at best, that the playback chain does not sound at all and that the sound changes as little as possible on its way from recording to playback. It’s called “High Fidelity”, not “Perfect Fidelity” because there can only be an approximation of the original sound.
And it is precisely this point that is the axis of the whole discussion. Logs were never a particularly good medium for hi-fi, but for decades they were the best medium that end users had access to. Until the CD arrived.

In terms of measurement technology, the record falls short
If one compares the CD and the disc under the criteria of “high fidelity”, the disc not only drops the straw, but is completely outperformed by the CD in terms of all the relevant criteria. Here are some examples.
Dynamic is the difference between the softest and loudest sound of a piece of music. While all digital media, including MP3, easily go up to 90 dB and can therefore even map the dynamic range of a large symphony orchestra, in practice the record barely achieves more than 40 dB. Enough for pop music, but even a well-received little jazz band like the one in our sound sample becomes a problem for the record. In quiet places, typical vinyl noise would be clearly audible.

Speaking of background noise: Typical vinyl noise, low-frequency rumble, and creaking caused by dust grains in the groove are also noticeable because they occur unevenly. The noise from a compact cassette is more constant, so the brain can filter it better. Digital recordings are virtually noise-free.
To present the purest music possible, all frequencies in the audible spectrum between 20 Hz and 20 kilohertz should be played at the same volume. With digital media, the frequency responses appear to have been drawn with a ruler. As a general rule of thumb, registers can linearly reproduce frequencies up to a maximum of 12 kilohertz and this only applies to the outermost slots at the beginning of a page. Due to the slowing down of the path speed towards the end of the groove, the highest transmission frequency drops more and more during the playing time of a disc, which, by the way, can be heard clearly. For the lower end of the spectrum, the deeper and louder the bass, the more space it needs in the groove, shortening the possible playing time. With LPs, you always have to find a compromise between bass level and playing time.

An important measure of the fidelity of a reproduction medium to sound is the distortion that is added to actual music. Especially in the low range, the register reaches values that significantly change the original signal.
In principle, a pick-up system works like a microphone. Converts mechanical energy into electrical energy. This mechanical energy comes not only from the grooves of the record, but also from the sound of the speakers. The louder you listen to the music from the turntable, the more feedback you will hear. And feedback blurs impulses in music, like the sound of drums. At home with moderate volume it is more likely to be neglected, at a club not.
Thanks to these (and a few other) technical shortcomings, the record doesn’t even meet the requirements of the traditional DIN No. 45500 standard on all points, which has defined the official hi-fi standard since the 1960s.

Don’t die: rumors about digital technology

On the contrary, rumors and false statements about digital technology are still circulating, for which the problems of the beginnings of the compact disc and the blatant misunderstandings about how digitization works are responsible.
Over and over again you can read that digital technology covers a smaller frequency range than analog. That’s actually true in theory, because CDs, for example, are limited to the range between 20 Hertz and 20 Kilohertz with filters.
However, on the one hand this is exactly the range that our hearing can cover in principle, and on the other hand it is pure theory that analog technology can represent a higher frequency range. In practice, for example, the cutting tools with which music is scraped into the matrices that vinyl is made of, heat up very quickly to high frequencies with a high level and thus limit the frequency response upward.
Friends of analog music storage like to deny digital technology the ability to display music correctly and that’s because of the discrete sampling. The waves that make up sounds are continuous events, whereas computers know only discrete states. The popular misunderstanding is that you can never fully capture the airwaves. After digitization, the waveforms would no longer be round, but staggered. But that is not right. The Niyquist-Shannon sampling theorem clearly states that the original signal can be restored exactly and not just roughly.
If all these facts are true and the record is so hopelessly inferior to the CD, why do so many people claim that the record “sounds better”?

ANALOGUE AND DIGITAL

The essential

Analog and digital are two methods of transporting and storing data. (audio, photo, video …). Analog was born with the onset of electricity, while digital appeared more recently in the computer age.

Analogue and Digital

The analogical principle is to reproduce the signal to be recorded (audio, video …) in a similar way in a medium (magnetic in general). For example, when recording an audio signal in an analog system, the signal present on the tape will follow the same amplitudes (“the same curve”) as the sound wave (with more or less fidelity): the characteristic pressure variations of a sound wave will result in variations of an electrical signal. Therefore, the electrical amplitude of the analog signal will be the more or less faithful image of the signal to be recorded (audio, video, etc.)

analogue vs digital

In digital, the analog signal to record becomes digital thanks to an analog> digital converter. After this conversion, the signal is just a sequence of “0” and “1”, that is, a signal with two amplitudes instead of infinity in analog.

Once in this form, the signal can be copied and transmitted losslessly because instead of transporting a signal whose amplitude should faithfully vary from the original, it carries a signal consisting of only two amplitudes (for example, 0 = 0 volts and 1 = 5 volts). So when a parasite disturbs an analog signal, digitally this parasite will have no effect: for example, a parasite that adds 0.2v disturbance will deteriorate an analog signal, while this same parasite on a digital signal will have no effect because 0v + / – 0.2v will always be considered = “0”.

Therefore, the digital signal is an analog signal made up of two possible levels (for example, “0” = 0v and “1” = 5v) and when the analog signal moves away from these two voltages, it does not matter because all the signals close of 0v will be considered = “0” and any signal close to 5v will be = “1” with a voltage threshold between the two resulting in exceptional immunity against parasites and exemplary ease of making perfect copies (clones) of this signal type.

After digital transport and storage, any signal (video or audio) must return to its original analog form. For example, an audio signal will be converted from digital to analog and then amplified; in fact, our ears cannot hear digitally! ! !

It should be noted that digital is only used (in the case of an audio or video signal) for the transport and storage of data.

2 / Analog VS Digital and data compression.

So we have just seen that digital is not a commercial device, it is the support of all new technologies, but should we consider that digital is definitely better than analog?

I would try to answer yes, but it is necessary to moderate this judgment and that for two reasons: compression and sampling.

* / Digital compression:

Converting a signal to digital is not without problems: the bandwidth occupied by a signal once digitized is greater than its analog equivalent. When dealing with very bulky data, such as video, the processing is very cumbersome; Therefore, it is necessary to use a compression algorithm intended to reduce the amount of information by reducing the quality of the signal. All of the compressions used for video or audio rely on human perception to make this drop in quality little or not noticeable to humans. But the problem is that we often tend to want to compress the signal too much and the degradation becomes noticeable (case of GSM phones, MP3 <128kbit / s, mpeg-1 videos …)

For example, a high-quality audio signal recorded on a high-end cassette deck (analog) will be of better quality than a 112kbit / s mp3, because a large amount of information has been suppressed at 112kbit / s to satisfy the 112kbit / s imposed bit rate.

On the other hand, in an analogous way, the concept of copy generation intervenes: one copy will be less good than the original, one copy of the copy will lose a little more … After 10 or 20 copies of copies, the signal is totally deteriorated and cannot be used. In digital, a copy is often a clone of the original, so in theory you can make countless copies that are strictly the same quality as the original. I am talking about theory because errors can occur during a digital copy, often due to the state of the media. This is the case when copying an audio CD digitally (from your CD-ROM drive to your hard drive, for example): when a scratch or failure occurs, the information will not be copied and will be replaced by the correction system errors due to “extrapolated” data make this defect go unnoticed; In this case, the digital copy will no longer be identical to the original.

Which is better, analog or digital audio?

Which is better, analog or digital audio? Is there really a difference? Do you need very expensive audio equipment to make a difference? Really matters?

analog versus digital

Before we get to the heart of the matter, we should take a quick look at what makes a sound digital or analog. This is how a sound is recorded. A copy of an analog sound recording is a continuous electronic signal.

Today, advances in analog-to-digital conversion methods have improved the quality of digital recordings. Some say that there is no distinction between digital and analog mode. Others disagree, sometimes with passion. Music lovers, those who want the best possible quality in public address systems, insist that analog systems provide better sound.

What are the differences between analog and digital recordings? Read on to find out.

analog vs digital

History of digital sound.

Before the 1970s, music was recorded with analog recording equipment. The microphones they used recorded sound and generated an analog waveform that other devices could transfer directly to the appropriate medium, which was generally a magnetic tape. Assuming the musician wore reliable equipment, the recorded sound was a faithful representation of the original sound.

With digital recording, sound engineers can convert analog waveforms to digital signals. There are many different types of equipment that can be converted from analog to digital. Some studios record analog sound on the original master tape and then transfer it in digital format. Others use special equipment to record digitally directly.

The first digital recordings sacrificed fidelity, or sound quality, in favor of reliability. One of the disadvantages of the analog format is that analog media tends to wear out quickly. Vinyl records can become deformed or scratched, which can significantly affect sound quality. The magnetic tape eventually wears out and is vulnerable to magnets, which can erase or destroy the data stored on the tape. Digital media like CDs can be played indefinitely and are more durable.

Analog versus digital

Some music lovers believe that digital recordings are insufficient when it comes to accurately reproducing sound. They use complex language and jargon to describe the capabilities and flaws of an audio system. Most of his criticisms relate to the frequency of the sound.

Humans can hear sounds ranging from 20 hertz (Hz) to 20 kilohertz (kHz). The frequency of a sound wave corresponds to our perception of the tone of a sound. The higher the frequency, the higher the pitch we hear.

Audiophiles describe the sound quality of an audio system at different frequencies using terms like full, warm, and airy. A full or warm sound comes from a system that reproduces low frequencies well. An aerial sound means that the music played gives the listener the impression that the instruments are in a spacious environment and generally refers to sounds in the high frequency range.

Some music lovers say that vinyl albums are better at low frequencies, which means they provide warm sound. They claim that CDs are not as accurate in reproducing sounds in this range. Others insist that there is no detectable difference between a well-produced digital file and a vinyl in good condition.

If the artist uses an analog format to create the original recording, an analog copy is preferable. In fact, there would be no need to convert sound from analog to digital. The copy must be an exact representation of the original track. But if the artist uses digital recording, it is better to buy the album on CD.

The perception of musical quality is subjective. Two people listening to the same music, with the same equipment, may have different opinions on the quality of the recording.

Differences between analog and digital sound: analog and digital

Analog and digital signals
The sound is of course an analog signal and the analog signal is continuous. Therefore, there is no rest or interruption. Digital signals are not continuous. Specific values are used to represent the information. In the case of sound, a sound wave is represented by a series of values that represent pitch and volume for the duration of the recording.

Analog vs. Digital

Analog and digital signals are used to transmit information, generally through electrical signals. In these two technologies, information, such as audio or video, is transformed into electrical signals. The difference between analog and digital technologies is that in analog technology, information is translated into electrical pulses of varying amplitude. In digital technology, the translation of information is in binary format (zero or one), each bit represents two different amplitudes.

Analog and digital signal definitions.

An analog signal is a continuous signal for which the variable characteristic of the signal (variable) is a representation of another quantity that varies in time, that is, analogous to another signal that varies in time. It differs from a digital signal in terms of small signal fluctuations that are significant.

A digital signal uses discrete (discontinuous) values. In contrast, non-digital (or analog) systems use a continuous range of values to represent information. Although digital representations are discrete, the information represented can be discrete, such as numbers or letters, or continuous, such as sounds, images, and other measures of continuous systems.

Properties of digital and analog signals.

Digital information has certain properties that distinguish it from analog communication methods. These included

Synchronization: Digital communication uses specific synchronization sequences to determine synchronization.
Language: Digital communications require a language that must be the property of the sender and receiver and must specify the meaning of the symbol sequences.
Errors: disturbances in analog communication cause errors in actual planned communication, but disturbances in digital communication do not cause errors that allow error-free communication. Errors must be able to replace, insert or delete symbols to be expressed.
Copy: Analog communication copies are inferior to their originals, but due to error-free digital communication, copies can be made indefinitely.
Granularity: For a continuously variable analog value to be represented digitally, there is a quantization error that is the difference between the actual analog value and the digital representation, and this property of digital communication is called granularity.

Differences in use in equipment.

Many devices have built-in translation features ranging from analog to digital. Microphones and speakers are perfect examples of analog devices. Analog technology is cheaper, but the size of the data that can be transmitted at any given time is limited.

Digital technology has revolutionized the operation of most equipment. The data is converted into binary code and then reassembled in its original form at the point of reception. As they are easy to handle, they offer a wider range of options. Digital equipment is more expensive than analog equipment.

Analog and digital quality comparison.

Digital devices translate and reassemble data and are more likely to lose quality than analog devices. The advancement of the computer has allowed the use of error detection and correction techniques to eliminate artificial disturbances in digital signals and improve quality.

Differences in applications

Digital technology has been more effective in the cell phone industry. Analog phones became redundant despite good clarity and sound quality.

Analog technology includes natural signals like human speech. With digital technology, this human speech can be recorded and stored on a computer. Therefore, digital technology opens the way to infinite possible uses.