The digital capture and reproduction of sound for human consumption has been going on for decades. Lossy compression technology - a technology that reduces the size of the file and makes the music more portable, makes the younger generation better able to accept the MP3 "degraded sound" that grows with them. The compact disc (CD) has a higher sound quality than the MP3. The other side of audio development is high-resolution, audio with higher sound quality than CD. This new sound quality paradigm is clearer than CDs (standard definition files) and offers more music space. Regardless of whether high-resolution audio has become mainstream, as it evolves as easily as MP3, more and more people can quickly move to the "middle zone" of CD-quality or standard-definition music.
Although the sound quality of MP3 has been accepted by the public, musicians, audio engineers and hi-fi enthusiasts have a higher demand for sound quality. Since the early 1990s, when CDs began to replace the vinyl record and tape takeover market, the audience once had a controversy about whether digital media can accurately capture the important quality of live music performances. Most of the critics point their finger at serious and detrimental portable files, although these files are heavily compressed and downloaded faster. Musicians and producers tend to release high-resolution audio files for portable consumption. This is a big improvement over the way the music is stored in a compressed file format, but it also goes beyond standard definition files (CD files). CD sound quality does not limit audio resolution, but the resolution (HD) better than CD is expensive and poorly improved, which is a problem, especially if people think that it is not necessary to purchase standard definition audio.
Sound quality related considerationsTo understand the quality of audio, you must first understand two main considerations. The first is the sample rate and bit depth (see the definition of the term bar at the end of the article). Both specifications are determined when recording a song. The current CD quality standard is a sampling rate of 44.1 kHz and a bit depth of 16 bits.
Figure 1: Audio Sampling: The blue point is a sample of the red analog signal. The bit depth is displayed vertically and the sampling rate is displayed horizontally. Image source: Wikipedia.org
Another factor to consider is file compression. The native bit rate of an audio file is the product of the sample rate and bit depth for each audio channel (stereo is two channels). However, the bit rate of a file depends on how it is compressed and encoded. Most audio files are compressed onto a portable device. Typically, an audio file is compressed and converted from a huge waveform audio file (WAVE) (bit rate 1411.4 kbits per second) to a smaller file like MPS, Vorbis or Lossless Audio Decoder (FLAC). Format (maximum bit rate is 320 kbps). The software encoder compresses each time using a different algorithm to determine which data can be deleted without major changes to the audio. For example, a 128 kbps Vorbis file is better than an MP3 sound of the same bit rate because the Vorbis encoder uses a different algorithm to compress the file. The FLAC format is known for its effective lossless compression and unlicensed cost constraints, so it has become more or less synonymous with the right size and high quality audio. Apple has its own format: lossy compression advanced audio encoding (AAC) for iPod (comparable to MP3), lossless compression for Mac, lossless audio codec for Mac (comparable to FLAC), and audio The Exchange File Format (AIFF), an uncompressed file format comparable to WAVE.
The problem of poor sound quality has made many enthusiasts dislike any digital or portable products, while others have been advocating re-sampling old audio and releasing it with higher sound quality. Neil Young's company Pono charges for the first time high-definition, lossless-compressed music. The Pono music player plays a 24-bit 192 kHz FLAC file with a bit rate ranging from 1411 kbps to 9216 kbps. The CD is usually 16 bits 44.1 kHz. Today, most of the music is recorded at high resolution, but digital recording is still a new field, and the “Digital Master†records with CD quality. The “simulation master†can convert from tape to digital in the required high-resolution audio specifications, but the sound quality recorded at 16-bit 44.1 kHz does not meet the “Pono quality†standard. If the high resolution meets the wishes of young people, then more content will need to be recorded at high resolution. The music industry has begun to set standards for what is considered high resolution, but will music lovers recognize it?
Figure 2ono marketing film Pono specifications and other music formats
Better quality content is produced only when consumers believe that the quality improvement is worth the extra cost. Higher quality requires more storage space. The 64g (GB) memory of the iPhone can hold a lot of 256kbps MP3 music, if users can download more content on the player, they seem to be happy to listen to compressed music. The Pono player also has 64 GB of memory, but an average of 192 kHz 24-bit FLAC (Pono quality) files, about 195 megabytes (MB). In contrast, the 44.1 kHz 16-bit FLAC is only 6.7 MB. "Pono Sound" audio occupies nearly 30 spaces as a lossless CD sound file. Of course, the data storage cost is cheaper and the footprint is getting smaller and smaller, so the worry about the size of the audio file is only temporary. But for now, this small boost in perceived improvement requires expensive space and is not practical for most music players or smartphones.
Players like Pono also have specialized hardware and claim that "any file will have better sound quality." But this has greatly increased the cost of the player. The Pono player is currently priced at $399, with an additional $300 for a premium headset and $200 for a headphone amplifier, so you can hear HD-quality albums from the Pono store ($20). But time has proven that enthusiasts are willing to pay more for high-quality sound systems. But if they spend extra money but can't hear the difference in sound quality, it's a different matter.
Is high sound quality better than CD?For high-definition video, the difference in resolution becomes especially noticeable when displayed on a large screen, which is not the case with HD audio. The more bits per sample, the smaller the quantization error. The advantages of 24-bit audio are highlighted in the work of audio engineers. During the recording process, they can use 24-bit audio to combat the noise, thus making the music creation more "space." Although the audience hardly notices the increase in bit depth, the advantage of high sampling rate is barely noticeable. Applying some engineering principles, Nyquist's theorem states that for accurate sampling of signals, the sample frequency must be more than twice the source signal. The limit of human hearing is 20 kHz, so 44.1 kHz is twice the human hearing limit. So, in theory, it captures the highest tones humans can hear. This is why the standard becomes a CD sound quality, and a higher sampling rate can only capture inaudible frequencies.
Audio engineers can use higher sampling rates for a variety of reasons. Tone adjustment and speed adjustment are examples. However, they usually remove the inaudible sound during the control process. Therefore, for the final audience, the improvement in bit rate and sampling rate on the sound is minimal. What is the cost of the extra “space†gained by lowering the background noise at a higher bit rate between the instrument and those frequencies that are inaudible? Neil Young's high-resolution album costs an extra $10.
The discussion here is of course not limited to the Pono player. As storage costs get lower and lower, more people may move to lossless files. At the heart of the problem is that consumers choose convenience rather than quality. People compress music to carry it with you. Consumers have not noticed that their compressed music sounds worse than CD music. Compared to bringing high-definition audio files to consumers, will Neil Young try to persuade people to use lossless compressed CD files on their mobile phones to provide higher services to the music industry? Many consumers no longer buy CDs because it is more convenient to download music from their mobile phones. In the future, with better compression technology and faster network speeds, music lovers can download FLAC more quickly, and the lossy compression business will withdraw from the historical stage. Consumers can have better music on their phones without paying extra. In addition to better file quality, high-quality hardware will also reflect value. It is said that on portable devices, Pono's CD sound quality files are better than CD players due to custom data converters. Putting aside the scientific issues of high resolution, Pono has given the opportunity to audio quality. It's a great experience to play the same number of songs on a portable device in CD quality, making it sound like a stereo system.
When it comes to music, we already have the best music. Buying a high-resolution file can be a waste because the device itself is not enough to match a higher-definition file, and the human ear can't tell the difference in sound quality. Many players are "golden ears" for those who think it's worth paying for high-resolution documents. The best part of digital audio is that everyone can choose the sound quality they want to pay for, and now, for those who want to fill their pockets with better fidelity music, there are more choices.
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