Bit Depth: Understanding its Role in Audio Resolution

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Bit Depth: Understanding its Role in Audio Resolution

What is the importance of bit depth in audio resolution?

When it comes to audio resolution, bit depth plays a crucial role. Bit depth refers to the number of bits used to represent the amplitude of an audio signal. In simpler terms, it determines the level of detail and accuracy with which sound can be captured and reproduced. The higher the bit depth, the more precise the audio representation, resulting in greater dynamic range and fidelity.
Higher bit depths enable a wider range of possible values, allowing for more nuanced audio reproduction. In digital audio, the most common bit depths are 16-bit and 24-bit. A 16-bit audio signal can represent 65,536 discrete amplitude levels, while a 24-bit signal can represent a staggering 16,777,216 levels. This significant increase in resolution allows for more accurate representation of subtle audio nuances, resulting in a more realistic and immersive listening experience.

Moreover, higher bit depths help reduce quantization noise, which can degrade the audio quality. Quantization noise is the distortion introduced when the continuous analog audio signal is converted into a discrete digital representation. By increasing the number of bits used for quantization, the quantization noise can be pushed to lower levels, effectively minimizing its impact on the audio signal. This reduction in noise contributes to improved audio fidelity and a cleaner sound.

The impact of bit depth on audio recording

The choice of bit depth during audio recording has a significant impact on the quality and flexibility of the recorded material. When capturing audio, it is crucial to select an appropriate bit depth based on the desired outcome and the dynamic range of the source material.
For capturing music with a wide dynamic range or for critical recording applications, a higher bit depth, such as 24-bit, is preferred. This ensures that the delicate nuances and subtle variations in the performance are faithfully captured without losing detail. With a higher bit depth, there is ample headroom to accommodate sudden spikes in volume, preventing clipping and distortion.

On the other hand, for applications where the dynamic range is limited, such as voice recordings or podcasting, a lower bit depth, such as 16-bit, can be sufficient. Since these types of recordings typically have a smaller range between the softest and loudest sounds, the additional precision offered by higher bit depths may not be necessary. Using a lower bit depth can help conserve storage space and streamline the post-production process.

The benefits of higher bit depths in audio production

In audio production, working with higher bit depths offers several advantages that contribute to the overall quality of the final mix. Let’s explore some of these benefits:
1. Increased headroom: Higher bit depths provide more headroom, allowing audio engineers to work with greater flexibility during the mixing and mastering stages. This additional headroom ensures that any adjustments made to the audio levels or effects do not result in clipping or distortion.

2. Enhanced processing capabilities: Working with higher bit depths provides greater precision for applying audio processing effects, such as equalization, compression, and reverb. This precision allows for more accurate and transparent manipulation of the audio signal, resulting in a polished and professional sound.

The role of bit depth in audio playback

The bit depth of an audio file also impacts its playback quality. When playing back audio, it is important to ensure that the playback system supports the bit depth of the audio file. If the playback system is not capable of reproducing the full bit depth, the audio may be truncated or quantized, leading to a loss of detail and fidelity.
Furthermore, downsampling or converting high-resolution audio files with a higher bit depth to a lower bit depth can result in a loss of information and audio quality. It is essential to carefully consider the bit depth compatibility between the source material and the playback system to ensure an accurate and faithful reproduction of the audio.

Final Words

Bit depth plays a fundamental role in audio resolution, influencing the accuracy, fidelity, and dynamic range of the sound. Understanding the importance of bit depth in audio recording, production, and playback allows for informed decisions to be made regarding the selection and handling of audio files. By leveraging higher bit depths, audio professionals can achieve higher quality recordings and deliver an exceptional listening experience to their audiences.
Keywords (LSI): audio fidelity, dynamic range, quantization noise, recording quality, audio production, audio playback, higher resolution, audio nuances, digital representation, accurate reproduction, audio engineers, playback system, audio file compatibility.

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What is the maximum video bit depth supported by MP4?

Mp4 video bit depth

Understanding the MP4 Video File Format

As video technology has advanced, so too has the number of video file formats available. One of the most popular video file formats today is the MP4 format. The MP4 format is known for its versatility and compatibility with a wide range of devices and platforms.

One of the key features of the MP4 file format is its ability to compress video data without sacrificing quality. This is achieved through the use of video compression algorithms, which reduce the amount of data required to store video content while maintaining its visual fidelity.

Maximizing Video Quality in MP4

To ensure that your MP4 videos look their best, it’s important to understand the maximum video bit depth supported by the format. Bit depth refers to the number of bits used to represent each color in a video image. The higher the bit depth, the more colors that can be represented, resulting in smoother gradients and more accurate color reproduction.

The maximum video bit depth supported by MP4 is 10 bits per channel, which allows for a total of 1.07 billion possible colors. This is a significant improvement over the 8-bit color depth supported by many other video file formats, which only allows for 16.7 million colors.

To take advantage of the higher bit depth supported by MP4, it’s important to use a video encoder that supports 10-bit color depth. This will ensure that your videos have the maximum possible color accuracy and quality.

Ensuring Compatibility and Playback

While MP4 is a widely supported video file format, it’s important to ensure that your videos are compatible with the devices and platforms you intend to use them on. This includes checking the video codec used in your MP4 files, as well as the audio codec and other technical specifications.

In addition, it’s important to consider the playback software or hardware that will be used to view your MP4 videos. Not all devices and software support the maximum video bit depth of 10 bits per channel, so it’s important to test your videos on a range of devices to ensure they will play back correctly.

Final Words

In conclusion, understanding the maximum video bit depth supported by MP4 is important for ensuring the best possible video quality. By using a video encoder that supports 10-bit color depth and testing your videos on a range of devices, you can ensure that your MP4 videos look their best and are compatible with a wide range of platforms.

What is the difference between bit depth and bitrate?

Understanding Bit Depth and Bitrate

When it comes to audio and video files, there are two terms that are often used interchangeably: bit depth and bitrate. However, they are not the same thing. Bit depth refers to the number of bits used to represent each sample in an audio or video file, while bitrate refers to the amount of data transmitted per second.
Bit depth determines the number of possible values for each sample in a digital audio or video file. For example, an 8-bit audio file can have 256 possible values per sample, while a 16-bit file can have 65,536. The higher the bit depth, the more accurate the representation of the original sound or image.

On the other hand, bitrate refers to the amount of data transmitted per second in a digital file. In other words, it’s the rate at which data is encoded in a file. Higher bitrates typically mean higher quality files with more information, but also larger file sizes.

Audio Bit Depth vs Bitrate

When it comes to audio files, the bit depth and bitrate are both important factors in determining the quality of the sound. A higher bit depth means a more accurate representation of the original sound, while a higher bitrate means more data is transmitted per second, resulting in a higher quality sound.
However, it’s important to note that a higher bitrate does not necessarily mean a higher quality sound. If the original recording is of poor quality, increasing the bitrate will not improve the sound. In fact, it can actually result in larger file sizes with no improvement in sound quality.

Video Bit Depth vs Bitrate

Video files also have bit depth and bitrate, but they work slightly differently than in audio files. Bit depth determines the number of colors that can be represented in a video file, while bitrate determines the amount of data transmitted per second.
A higher bit depth means a wider range of colors can be represented in the video, resulting in a more accurate and vibrant image. However, a higher bitrate is also important for video files, as it determines the amount of detail that can be captured in each frame.

It’s important to find the right balance between bit depth and bitrate for video files, as increasing one can have a negative impact on the other. For example, a high bit depth with a low bitrate can result in a choppy or pixelated image, while a low bit depth with a high bitrate can result in a washed-out or blurry image.

Final Words

In conclusion, bit depth and bitrate are both important factors to consider when working with audio and video files. While they may seem similar, they serve different purposes and have different effects on the quality of the final product. It’s important to find the right balance between the two to ensure the best possible sound or image quality.
Keywords: audio bit depth, video bit depth, bit depth vs bitrate, bitrate definition, bitrate vs quality, audio quality, video quality, digital audio, digital video, file size, data transmission, accuracy, color representation, image quality, sound quality, audio recording, video recording, data encoding, pixelation, file format, media production, sound engineering, video editing, multimedia, digital media, technology, mp4gain, audio normalization, audio conversion, equalizer, windows, digital signal processing, dynamic

Audio Bit Depth Explained

Bit Depth

When it comes to producing or enjoying high-quality audio, understanding bit depth is essential. This technical aspect of digital audio determines the level of precision and accuracy with which sound is captured and reproduced. For sound engineers and audiophiles alike, a deep understanding of bit depth is a must-have skill for creating and experiencing truly exceptional sound.

What is Bit Depth?

Bit depth refers to the number of bits used to represent each sample in a digital audio file. Each sample represents the amplitude of the audio signal at a specific point in time. The bit depth determines the range of values that can be used to represent the amplitude of each sample. A higher bit depth provides a larger range of possible values, resulting in a more accurate representation of the audio signal. This, in turn, leads to a higher-quality audio recording.

Common bit depths used in audio recording and production include 16-bit, 24-bit, and 32-bit. The most common bit depth used in consumer audio devices is 16-bit, while 24-bit and 32-bit are more commonly used in professional audio production.

How Does Bit Depth Affect Audio Quality?

The bit depth of an audio recording has a significant impact on its overall quality. A higher bit depth provides a more accurate representation of the audio signal, resulting in a more natural and lifelike sound. With a higher bit depth, the audio signal can be recorded and processed with greater precision and accuracy, allowing for a wider dynamic range and more nuanced expression.

On the other hand, a lower bit depth can result in quantization errors, which can introduce distortion and noise into the audio signal. This can result in a loss of detail and clarity, particularly in quiet or complex passages of music.

Bit Depth and Dynamic Range

The dynamic range of an audio recording refers to the difference between the loudest and softest parts of the recording. A higher bit depth allows for a wider dynamic range, as the signal can be recorded with greater accuracy and precision. This means that even the softest parts of the recording can be captured with a higher level of detail and clarity, resulting in a more natural and lifelike sound.

For example, a recording of a classical music performance with a wide dynamic range may require a higher bit depth to capture the full range of dynamics and expression. Without a sufficient bit depth, the softer parts of the performance may be lost, resulting in a less engaging and less satisfying listening experience.

Conclusion

Understanding bit depth is crucial for anyone involved in the production or enjoyment of high-quality audio. By providing a more accurate representation of the audio signal, a higher bit depth can result in a more natural and lifelike sound, with a wider dynamic range and more nuanced expression. While a lower bit depth can result in quantization errors and a loss of detail and clarity, particularly in quiet or complex passages of music.

Overall, it is important to choose the appropriate bit depth for each recording or production, based on the dynamic range and complexity of the audio signal. By doing so, sound engineers and audiophiles can ensure that the audio they create or enjoy is of the highest quality possible.

As a final recommendation, we suggest using MP4Gain to adjust the volume and equalization of your digital audio files, ensuring that they are optimized for playback on a variety of devices and systems.

Understanding Audio Bit Depth: 8-bit vs. 16-bit vs. 24-bit

When it comes to digital audio, one of the most critical factors in determining the quality of a recording is the audio bit depth. In this article, we’ll delve into the technical details of audio bit depth and explore the differences between 8-bit, 16-bit, and 24-bit audio recordings.

Bit Depth

What is Audio Bit Depth?

In digital audio, sound waves are converted into a series of numerical values that can be stored and manipulated by computers. Audio bit depth refers to the number of bits of information used to represent each sample in a digital audio recording. Each sample represents the amplitude of the sound wave at a specific point in time.

The bit depth determines the range of possible values for each sample. For example, an 8-bit audio recording has 256 possible values, while a 16-bit recording has 65,536 possible values, and a 24-bit recording has over 16 million possible values. This increase in possible values provides greater resolution and accuracy, resulting in improved sound quality.

Dynamic Range

Another critical aspect of audio bit depth is dynamic range, which refers to the difference between the quietest and loudest sounds that can be recorded. With an increase in bit depth, the dynamic range of a recording also increases. For example, a 16-bit audio recording has a dynamic range of 96 dB, whereas a 24-bit recording has a dynamic range of 144 dB. This difference in dynamic range is quite significant and is one of the reasons why 24-bit audio is preferred for professional applications.

Quantization Noise

Quantization noise is an inherent part of digital audio and is introduced during the process of converting an analog audio signal to a digital representation. Quantization noise is essentially the difference between the actual analog signal and the closest quantized digital value. The more bits used for quantization, the lower the level of quantization noise.

However, as the bit depth increases, the noise introduced becomes less of an issue. At 16 bits, quantization noise is typically not audible, but it can become noticeable when processing audio. At 24 bits, quantization noise is virtually non-existent, even when processing audio.

Conclusion

In conclusion, audio bit depth plays a crucial role in the quality of digital audio recordings. Increasing the bit depth of an audio recording provides greater resolution and accuracy, resulting in improved sound quality. Professionals in the music industry typically prefer 24-bit audio due to its higher dynamic range and lower quantization noise. However, for most consumer applications, 16-bit audio is perfectly adequate and results in high-quality sound.

It is also important to note that bit depth is just one aspect of digital audio quality. Other factors such as sample rate and compression algorithms also play a significant role in determining the overall quality of a digital audio recording. Nonetheless, understanding audio bit depth is a crucial step in the journey to becoming a proficient audio engineer or producer.

24/192 digital audio format and why it doesn’t make sense. Part 3

24/192 digital audio format and why it doesn’t make sense. Part 3

192 kHz is considered harmful

192 kHz digital music files offer no benefit, but still have some impact. In practice, it turns out that its playback quality is slightly worse, and ultrasonic waves appear during playback.

Both audio converters and power amplifiers are susceptible to distortion, and distortion tends to build up quickly in the high and low frequencies. If the same speaker reproduces the ultrasound along with the frequencies of the audible range, any non-linear characteristics will change part of the ultrasonic range to the audible spectrum in the form of uncontrolled random non-linear distortions that cover the entire range of audible audio. Non-linearity in a power amplifier will have the same effect. These effects are difficult to notice, but testing has confirmed that both types of distortion can be heard.

The graph above shows the distortion resulting from intermodulation of 30 kHz and 33 kHz audio in a theoretical amplifier with a constant harmonic distortion (THD) of approximately 0.09%. Distortion is visible across the spectrum, even at the lowest frequencies.

Inaudible ultrasonic waves contribute to intermodulation distortion in the audible range (light blue area). Systems that are not designed to reproduce ultrasound often have higher levels of distortion, around 20 kHz, which further contributes to intermodulation. Expanding the frequency range to include ultrasound requires compromises that reduce noise and distortion activity within the audible spectrum, but in any case, unnecessary reproduction of the ultrasonic component will degrade reproduction quality.

There are several ways to avoid additional distortion:

An ultrasound-only speaker, amplifier, and signal spectrum splitter to independently separate and reproduce ultrasound you can’t hear so it doesn’t affect other sounds.
Amplifiers and transducers designed to reproduce a wider spectrum of frequencies so that ultrasound does not cause audible harmonic distortion. Due to the additional cost and complexity of the performance, the additional frequency range will reduce the quality of reproduction in the audible spectrum.
Well-designed speakers and amplifiers that do not reproduce any ultrasound.
For starters, you don’t need to encode such a wide frequency range. You cannot (and should not) hear ultrasonic harmonic distortion in the audible frequency band if there is no ultrasonic component.
All of these methods are meant to solve a problem, but only 4 ways make sense.

If you are interested in the capabilities of your own system, the following samples contain: 30 kHz and 33 kHz audio in WAV 24/96 format, a longer FLAC version, some melodies, and a cut of normal songs at 24 kHz to make them drop fully in the ultrasonic range of 24 kHz to 46 kHz.

Tests to measure harmonic distortion:

30 kHz audio + 33 kHz audio (24 bit / 96 kHz) [5 second WAV] [30 second FLAC]
Tunes 26 kHz – 48 kHz (24 bit / 96 kHz) [10 second WAV]
Tunes 26 kHz – 96 kHz (24 bit / 192 kHz) [10 second WAV]
Cutting songs down to 24 kHz (24-bit / 96 kHz WAV) [10-second WAV] (original cut version) (16-bit / 44.1 kHz WAV)
Suppose your system is capable of playing all formats with sample rates of 96 kHz [6]. When playing the files above, you shouldn’t hear anything, no noise, hiss, clicks, or other sounds. If you hear something, then your system has a non-linear response and causes audible non-linear distortion of the ultrasound. Be careful when turning up the volume, if you enter the digital or analog clipping area, even a soft clipping can cause strong intermodulation noise.

In general, it is not a fact that harmonic distortion of ultrasound is audible in a particular system. The distortion introduced can be negligible and quite noticeable. In any case, the ultrasonic component is never a merit, and in many audio systems it will lead to a sharp decrease in the quality of sound reproduction. In systems where it does not damage, the ability to process ultrasound can be preserved or instead, resources can be used to improve the sound quality of the audible range.

Misunderstand the sampling process

Sampling theory is often incomprehensible without the context of signal processing. And it’s no wonder that most people, even brilliant doctors in other fields, don’t get it. It’s also not surprising that many people don’t even realize that they are making a mistake.

24/192 digital audio format and why it doesn’t make sense. Part 2

24/192 digital audio format and why it doesn’t make sense. Part 2

Perfect hearing or hereditary gift

When I receive many letters, I see that many people believe in the existence of unique people with exceptional hearing. Are there really such people with “golden ears”?

It depends on what you call exceptional hearing.

The healthy ears of young people hear better than the ears of the elderly or damaged ears. Some people are exceptionally well trained to hear all the nuances of sound and music that most people don’t even know exist. In the 90’s, it could recognize all mp3 encoders (they were all pretty bad at the time) and it could prove it in a double-blind test [2].

If a person has healthy ears and is well trained to recognize sounds, I would say that their hearing is exceptional. However, people with below average hearing may be able to notice details that elude inexperienced listeners. Exceptional hearing is largely a matter of training, not the ability to hear beyond the hearing range of ordinary mortals.

Hearing researchers would love to find someone with exceptional hearing and the ability to hear outside the auditory range to test and record the research results. I have nothing against ordinary people, but every scientist wants to find a person with genetic peculiarities to write a first-class article. We haven’t found such people in 100 years of testing, so they probably don’t exist. So sorry. But we will continue to search for more.

Love for the color spectrum

You may be skeptical about everything I just wrote because it goes against all marketing tactics. Instead, suppose people have a craze for color and deviate from the subject of sound.

The figure above shows a rough scale of the sensitivity of rods and cones in the human eye, compared to the visible spectrum. These senses respond to light in overlapping spectral bands, just as the hair cells in the ears are tuned to perceive overlapping sound frequency bands.

The human eye sees a limited range of light waves called visible radiation. Here is a direct analogy with the audibility range of sound waves. Like the ear, the eye has sensitive cells (rods and cones) that capture light in different but overlapping frequency bands.

Visible radiation begins at a frequency of approximately 400 THz (dark red) and extends to 850 THz (dark purple) [3], but visual acuity decreases with the course of life. Outside of this approximate range, the intensity of light entering your eyes can burn your retina. So it turns out that the range is quite decent even for young, healthy and genetically gifted individuals, a range that is analogous to a wide range of the audio spectrum.

Suppose in our hypothetical world, where there is a craze to expand the visible spectrum of video recordings, there is a group of people who believe that these restrictions are not generous enough. They believe that video is not only the visual spectrum, but also infrared and ultraviolet radiation. Continuing with the comparison, let’s assume that the most active part of the group (who is proud of it!) Also claims that this spread spectrum is not enough, and the video will appear more natural if microwaves and X-rays are reached there. For those who have an “eye is a diamond”, the difference will be enormous, just day and night!

Of course, this is ridiculous.

No one can see X-rays (not infrared, not ultraviolet, not microwave). No matter how strongly a person believes in what they can, the retina simply does not have the tools to perceive them.

Here’s an experiment anyone can do: Go and grab the Apple IR Remote [TV]. The LED emits a wavelength of 980 nm, roughly equal to a frequency of 306 THz, which is close to the infrared spectrum. Waves of this length are not that far out of the visible range. Take the remote control to the basement or darkest room with the lights off in your house in the middle of the night and let your eyes get used to the dark.

The image above is an Apple TV infrared remote control, captured with a digital camera. Although the emitter is bright enough and the frequency of the radiation is close to the frequency of the red part of the visible spectrum, infrared radiation is completely invisible to the human eye.

Can you see how the remote control’s LED lights up when you press the [4] button? No? Even a little peek? Try some other remotes, many of them use infrared in the 310-350 THz range.

24/192 digital audio format and why it doesn’t make sense. Part 1

24/192 digital audio format and why it doesn’t make sense. Part 1

Unfortunately, there is no point in recording music 24/192. Its fidelity does not dramatically exceed 16/44 or 16/48 formats, but it takes up 6 times more space.
Save and read later –

Earlier headlines reported that musician Neil Young and Apple founder Steve Jobs were discussing a possible launch of a service to download “uncompromising studio quality” music formats. Most of the newspapers, magazines and users were quite optimistic about the prospects of a digital music format with signal quantization in 24 bits, at a sampling frequency of 192 kHz.

Unfortunately, there is no point in recording music 24/192. Its fidelity does not dramatically exceed 16/44 or 16/48 formats, but it takes up 6 times more space.

Today, there are several problems associated with audio quality and the “application” of digital music distribution. The 24/192 format does not resolve any of them. As long as everyone regards this format as a panacea, we will not see any improvement in the field of music.

Let’s start with the bad news

Over the past few weeks, I have talked to smart, scientific people who believe in the 24/192 music format and don’t understand how anyone can disagree with it. They asked good questions that are worth answering in detail.

I also wondered what could be causing such active support for high sample rate digital audio. The responses showed that few people understand the basics of signal theory or the sampling theorem (the Kotelnikov or Nyquist-Shannon theorem), which is not surprising. Misunderstandings about mathematics, technology and physiology were evident in the speeches of many professionals with extensive experience in audio technology. Some have even argued that Kotelnikov’s theorem does not explain how digital audio works [1].

Disinformation and prejudice only play in the hands of charlatans. Let’s go through the basics of why the 24/192 format doesn’t make sense before presenting other more valid ideas.

Gentlemen, welcome! Your ears!

The ear listens with the help of hair cells, which are located on the resonant basilar membrane in the cochlea of the inner ear. Each hair cell is precisely tuned to a specific narrow frequency range, which is determined by the position of the cell on the membrane. The peak of the sensitivity is in the middle of the frequency range, which gradually decreases in both directions and takes an asymmetrical cone-shaped shape, overlapping the frequency ranges of neighboring cells. We do not hear sound if there are no hair cells tuned to that frequency.

The left side of the figure shows a cross section of a human snail with a basilar membrane (beige in color). The membrane is designed to resonate in different places along its length, depending on the incoming frequency: high frequencies resonate closer to the base and low frequencies at the opposite end. The figure shows the approximate locations of various frequencies.

The right side is a schematic diagram of the response of hair cells along the basilar membrane, as a group of overlapping signals.

The process is similar to an analog radio receiver, which receives the frequency signal to which it is tuned from a nearby radio station. The more the receiver and station frequencies do not match, the more unstable and distorted the signal will be, regardless of its strength. There are upper (and lower) levels of the frequency range beyond which hair cells cannot receive signals and we cannot hear anything.

Sample rate and audible frequency spectrum

I’m sure you’ve heard many times that frequencies 20 Hz to 20 kHz are the audible range of the human ear. It is very important to understand how scientists obtained such numbers.

First, we measure the “hearing threshold” across the entire audio range for a group of listeners. This allows us to construct a curve that represents the quietest sound the human ear can hear at any given frequency, measured under ideal conditions in healthy ears. An anechoic environment, accurate calibration of breeding equipment, and rigorous statistical analysis are an easy part of the experiment. Auditory concentration is lost very quickly, so the test must be performed while the subject is not tired. As a result, there are many breaks and pauses, and testing can take from several hours to several days, depending on the methodology.

24 bit depth?

How come people start hearing higher quality with some kind of 24 bit DAC instead of the usual 16 bit?

The answer to this question, like the answer to many other questions, lies in the workings of the human brain. You can easily realize that, in fact, music exists only in our head and consciousness already receives it in a processed form from the subconscious. The subconscious mind, in turn, has an incredible effect on how we see things (literally). And everything that passes through the senses passes through the subconscious without fail.

So the wine for $ 10 seems tastier than the wine for $ 1, although in fact, both there and there the same body is poured. We fully understand that price does not mean high quality, but when we don’t think about it, the brain can very easily fill in the picture in the way it thinks best. And the subconscious mind is capable of operating with very complex structures, much more complex than the price of the product. Marketers know this very well. An old way to sell a pig in a poke, like an expensive DAC, is to compare it to a conventional audio system, but in the case of an expensive DAC, also increase the volume of the audio recording by 0.2 decibels. People do not consciously feel the difference, but the subconscious senses it. At the same time, it’s been known for a long time that people like louder music better. This is how an expensive DAC starts to sound “better” than usual.

The same goes for other components. So people believe that the sound has improved by replacing the USB cable. Or they think that tube sound is better than electronic. In fact, tube amps sound different than electronic ones, but that doesn’t mean that one is better or worse than the other. But without thinking, many, recognizing the “warm tube sound”, immediately prefer it to any other, although it can be emulated in electronic components with equal success.

And to me, in principle, I do not care, but I let them not dirty other people’s brains with these opinions. Better to let them honestly say they like this type of sound and stop saying it’s better.

The most surprising thing to me is that there are even people among audiophiles who pathologically hate digital sound. When digital sound first appeared, everyone from audio engineers to musicians was delighted with its quality. Before its introduction, all analog media were loud and wore out over time. It was impossible to listen to your favorite composition without the crackle or background noise, typical of vinyl records of that time, which was heard many times.

Digital sound on audio discs was perceived as something from another world: for the first time, music could be heard in perfect quality, without any external noise. And this recording could never deteriorate over time and could be transferred to other people via electronic means of communication without loss of quality.

But an extremely low percentage of people perceived this new digital sound with manifest horror. Digital sound sounded so unusual to them, used to analog recordings, that it seemed to them that the melodies with which they were familiar had lost their depth and familiar atmosphere. Just as some people long ago believed that photographs took people’s souls away, early audiophiles believed that digital recording took people’s souls away from music.

This trend continues to this day, although few have seen it in such extreme form. But its main meaning remains, the soul of the music needs to be returned. It doesn’t fit in 16 bits and 44.1 kilohertz, it needs 24 bits and 192 kilohertz. Some also need ritual items like gold wires or server-sized DACs. Some people use ultra-precise watches (oscillators) worth several thousand dollars, which they could not find useful in any professional study. Others diligently determine the processor load during music playback, believing that this affects the quality (in fact, the only thing the processor needs to do is take time to decode the music stream into an uncompressed format and poison it in the DAC before de as it ran out of data to convert and all modern processors cope with this without a problem). The list goes on and on, it would suffice for a series of articles.

Naturally, dozens, if not hundreds, of companies whose activities border on actual fraud benefit from all this. Ordinary people suffer from this too, sometimes spending several thousand dollars on a DAC that has no meaning to them instead of buying high-quality speakers for the same money.