Should we fall in love with HD audio?


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What is the advantage over MP3?

In the same title encoded in two formats, MP3 does not allow you to listen to sounds higher than 18 kHz
In the last ten years, the MP3 format has established itself as the preferred format for listening to dematerialized music. While it has come a long way, especially with compression rates that have gone from 96 kbps to 192, or even 320 kbps, it is a corrupt format.

HD Audio

In fact, the MP3 format is a lossy compression format, meaning that the sounds produced are not faithful to the initial recording. Therefore, some sounds disappear directly from the recording. For example, MP3 files cannot hear high-pitched sounds at a frequency higher than 16 kHz, while the human ear can hear up to 20 kHz.

High Definition Sound

Lexicon:

Bits: 16 to 32 for a lossless file, this is the amount of information present in a given sample. The higher the number, the more information is important and the more accurate the sound quality. The number of bits is used to set the dynamics of the recording sound.

kHz: This is the unit used to measure the sampling frequency. This frequency, associated with the number of bits, makes it possible to know how many times this number of bits is found in one second. Therefore, a 16-bit / 44.1 kHz CD-quality file will contain 705,600 bits in one second per channel, or a 1411-kbps quality file for a stereo file.

Audio compression: MP3, like WMA or AAC, is a compressed audio file. Specifically, this means that the file has been corrupted compared to the CD file to make it lighter and easier to transport. A lossy compressed file will have flatter sound levels, very high or very low sounds that disappear, and even compression artifacts that make some sounds disappear.

In audio formats, compression results in lighter files that are convenient to download quickly, but sometimes of lower quality. The lower the number displayed, the worse the quality. Therefore, an uncompressed or lossless compressed audio format will have more depth, will be less uniform between the weakest and strongest notes. Then an MP3 file compressed to 320 kbps will be of higher quality than an MP3 file compressed to 96 kbps. We can make an analogy between an audio file and a video file. Like video, a compressed audio file will be of lower quality, with less clear picture or sound and more or less visible or audible compression artifacts, but less weight than an HD file. This is the main difference between traditional audio formats and those that are compressed without loss, then called “lossless”.

What are the differences between CD and HD audio?

The human ear can hear perfectly up to the quality of coding in CD, that is to say in 16 Bits at 44.1 kHz. At a higher sample rate, it is much more difficult to detect quality differences between two identical sounds encoded at different frequencies. The Nyquist-Shannon sampling theorem indicates that it is particularly difficult to detect sounds at a sampling frequency greater than 40 kHz.

However, some people may listen to titles encoded at a higher frequency. This is the very principle of HD audio. These are titles encoded with a higher frequency and number of bits than the CD. Then we get closer to the audio quality of the master of an album, that is to say its most perfect studio version, directly from the studio recording, which can go up to 32 Bits at 192 kHz. There are many formats, physical or dematerialized, that allow you to listen to files in HD audio quality. Also, more and more services are beginning to differentiate themselves from MP3 and offer CD-quality files in a dematerialized version, allowing you to get the most out of an album as originally planned.

The reality, as studies have shown, is that people DO NOT distinguish between a normal CD and an HD one.
Many tests have been carried out and it has been shown that the common people, even musicians, do not distinguish one from the other.

So it seems more like marketing, rather than an audible reality.


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Do we really need HD (24 bit / 192 KHz) audio on smartphones?

We are currently testing Marshall London, the first smartphone from the famous English amplifier brand. It has a dedicated audio chip (Cirrus Logic WM8281), which in theory is capable of transcribing HD music with 24-bit coding and a maximum sampling frequency of 192 kHz. Audio files are happy to read these tracks, which have nothing to do, in theory with a compressed MP3 or audio CD with a 16-bit definition sampled at 44.1 kHz. But do we really need HD audio? Do you really notice a difference with standard files in practice?

hd audio

Before you go into the details of the case, a little physical explanation is required. Sound is a vibration that is propagated in the form of waves and that people feel through the ear. Young people are often said to be able to pick up sounds at a frequency between 20 Hz and 20,000 Hz. The older they get, the less they hear the top of the spectrum (hence the treble). To record music, you need to capture these vibrations and even the fastest (sharpest).

TESTING AND HERTZ

This is where the term sampling comes in. For convenience, sampling is the amount of information retrieved in a second when digitizing an audio signal. The unit is Hertz: a Hertz means to retrieve information per Second. On an audio CD, the sampling is 44.1 kHz, which means that we will be able to collect 44 100 times per minute. The second vibrations and therefore, in theory, a high-pitched sound with a maximum frequency of 44.1 kHz. But it gets a little trickier as you have to record a sound with a frequency of 20 kHz, you have to double the sampling frequency (according to the Nyquist-Shanon sampling theorem), which produces 40 kHz. When creating the audio CD, Sony decided to increase it to 44.1 kHz to leave some space and be compatible with the video standards of the time.

PCM-vs-MP3

DEFINITION IN BITS

As for the definition of music, it is expressed in bits and corresponds to its coding. In fact, it is the number of numeric values ​​that can exist between an inaudible sound and the loudest sound. At 16 bits, each sample (44,100 with 44.1 kHz sampling) can take 65,536 different volume values. With 24 bits, that number rises to 16,777,216 different values. The 24-bit definition has long been considered useful only for working on music to avoid loss of manipulation. In fact, one can think that with the 65,536 different 16-bit values, this definition is enough to listen. This is not necessarily true, as this figure is used only under ideal conditions and when the unit volume is maximized.

MORE HERTZIOS = BETTER QUALITY?

First, let’s look at the sample. On some media such as DVD-Audio or streaming / download platforms such as Qobuz, it is possible to enjoy 192kHz sampled music. Each music frequency is captured 192,000 times per Second, it is theoretically possible to record and transcribe a sound with a frequency of 96 kHz, well above the theoretical hearing limit, set to 20 kHz. So what’s the point of capturing the sound “so far”? Some people think they can hear sounds above 20 kHz. Others find that the harmonics of the instruments (which rise very high in frequencies) should be preserved for a more natural sound, even if the ears do not hear them directly.

A few months ago, the Le Monde site conducted an interesting experiment by blindly listening to two different versions of the same uncompressed song: in 24-bit / 96 kHz and in 16-bit / 48 kHz. Three famous musicians heard the piece (an audio technician, a pianist and a jazzman) blindly in an attempt to discern the difference in two portable players sold for 1,000 euros, a Sony and an Astell & Kern with Sennheiser HD650 headphones. In the end, it was impossible to distinguish the HD song each time from the standard version each time. Maybe with a team of tens of thousands of euros, this would have been possible, and even more … Jazzman Médéric Collignon also clarified: “If there’s a difference, it’s really small. At least I don’t like HD version. “