Analog and digital sound sources


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Analog and digital sound sources

analog and digital audio

Digital music comes from two main sources: analog and digital.

Analog and Digital

Analogous sources
An analog music source must use an analog-to-digital converter, such as a sound card, to convert the physical changes of the analog medium into a digital file that can be read by a computer. An analog medium is an object that stores music in itself through physical changes.

For example:

A cassette recorder changes the degree of magnetization of a cassette tape to record sound. Connecting a cassette deck to a recording device allows you to make a digital copy of an analog cassette.
The recorder cuts grooves in the vinyl record to create a physical representation of the sound. Ripping vinyl with a preamp and sound card allows you to make a digital copy of an analog record.
Analog recordings can be converted to digital music files in various formats, such as FLAC and MP3. Vinyl recordings can always be posted to the site, but posting tape recordings and other analog sources requires approval from the moderator.

Digital music sources
Music from digital sources is already encoded in a computer-compatible format, so no additional conversion is required. A digital medium is an object that stores music digitally (as a sequence of binary numbers).

For example:

CD
DVD
Super Audio CD (SACD)
Content from online stores (iTunes, Amazon, etc.)
Music from digital sources can be uploaded to RED after analyzing the spectrograms of the files to verify lossy transcoding.

Comparison of analog to digital music sources
Controversy still exists as to whether music sounds differently from analog and digital sources. Some people prefer the feel of vinyl and find that music on vinyl sounds “warmer” and “brighter.” On the other hand, some believe that digital sources provide true, pure and authentic sound. Both are represented in RED, so you can compare and make your own choice!


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Analog and digital

First of all, a fundamental distinction is necessary: ​​what is meant by an analog signal and what is meant by a digital signal. Sampling is in fact an analog-to-digital conversion, and to understand how this is accomplished, it is necessary to understand what the subjects of this transformation are.

The classic definition of “analog” and “digital” is as follows.
The analog signal is one in which the variation is continuous in time.
The digital signal is one in which the variation in time occurs in a discrete way.
Pay attention to this definition because it expresses a very simple concept but at the same time misunderstood.

Let’s use some examples to get the concept down.
As a first example, let’s think of a watch with hands (suppose it is of the type in which the second hand moves continuously and not broken).

This clock not only marks the hours, minutes and seconds, but also any other type of fraction that we want to imagine: half seconds, tenths, hundredths, etc. As difficult as it is for the eye to distinguish the different moments, we know that the clock continuously passes through every instant of time that we can imagine.

Let’s think instead of a digital clock, those that indicate the time with numbers on a screen. This clock will mark the hours, minutes and seconds, activating the latter one by one; We do not see half seconds, tenths and so on: from 10:10:01 to 10:10:02 (for example) the clock will always read 10:10:01.

The watch with hands can be defined as an analog device, while the other watch, which provides only discrete, but not continuous measurements, is called digital.

A second example: let’s think about two different ways to monitor the level of a signal: the first, the classic needle VU-meter, typical of old mixers; the second, the column of bright LEDs, typical for example of equalizers.

The VU-meter, for reasons exactly analogous to those of the hand watch, is an analog device; The LED column, which only provides discrete data, is a digital device.

So what does it mean to sample a signal?

It means finding a discrete representation for something that originally has continuous variation.
The purpose is obvious: where, for example, to modify the analog recording of a voice, we must first convert the sound energy into electrical energy (through a microphone), then transform the electrical energy into the magnetic property of a tape ( through a tape recorder) and finally intervene with mechanical modifications to the tape itself (editing operations with manual cutting and pasting of the tape), with a digital recording, in which the electrical energy supplied by the microphone is converted directly In digital samples, that is, in discrete number data, it will be possible to modify the register through an electronic calculator capable of analyzing and modifying the data.

Sampling and time (frequency and Nyquist theorem)

The first practical problem that sampling is faced with is establishing how many times in a given period of time the signal must be measured for the sampling to be accurate, and the resulting digital signal can be converted back into an analog signal without losing or changing certain characteristics of the original signal.

Take as an example the classic elementary sinusoid, like the one in the figure.

Let’s say we have a device that takes, over a certain period of time, a certain number of samples of the signal: for example, 14 samples per period of the sinusoid.
We will obtain a series of samples like the one in the figure:

We see that the original sinusoid is still intuitive, so it is possible to reconstruct it and reverse the procedure.
But imagine halving the sample rate, that is, doubling the time between one measurement and another.
We will obtain a different series of samples, less dense than the previous one:

The sine wave can still be guessed, but it is clear that we have lost some of the original information.
Halving again, the situation becomes almost critical:

Here it is already very difficult to trace the original signal.
By reducing more by half, all traces of the sine wave are lost:

Therefore, we understood that there is a critical point, below which the sampling frequency cannot fall, under penalty of total loss of information.