Re: Audio recording bitdepth
Re: Audio recording bitdepth
- Subject: Re: Audio recording bitdepth
- From: Brian Willoughby <email@hidden>
- Date: Wed, 9 Dec 2009 18:02:52 -0800
The problem with this whole thread is that there is no downgrade in
fidelity with the conversion method used by CoreAudio. All the rest
of the comments assume that there is a superior method when there
really isn't one.
Bjorn proposes in his blog that there are two good choices for
conversion methods. I'll call them A and B. Method A is used by
Apple in CoreAudio. Method B is the 'asymmetrical' option. Bjorn
claims that they are both good, with each method having specific
benefits and drawbacks. The problem is that Bjorn's hypothesis has
not been peer-reviewed, and does not stand up to basic mathematical
principles. Bjorn's own tests do not reveal the flaws in method B
because his tests are incomplete and do not have a solid basis.
In a nutshell, Bjorn's asymmetrical conversion introduces non-linear
distortion by processing positive values differently than negative
values. Ross' comments about CPU efficiency are a diversion from the
fact that all processing on the distorted waveforms would make this
distortion irreversible. Bjorn's tests only happen to reverse this
non-linear distortion for the one special case where no processing is
done on the audio, which is clearly not an option for someone using
Logic, or even for someone combining music and system sounds on the
same interface. Thus, asymmetrical conversion would not work for
most application, and since you can't use different conversions for
different applications you much use the CoreAudio conversion (or
equivalent). That's the trouble with designing your own tests,
because your assumptions are masked by the implementation of your tests.
Method B, the asymmetrical conversion, has no advantage - neither
hypothetical nor actual. The only valid conversion method is the one
used by Apple in CoreAudio. Actually, there is a larger set of valid
conversions: Basically, any conversion factor which is a pure power
of two, and is applied identically to all input values, is valid.
Apple has chosen +/-1 for the normalization in the float format,
which is a very common choice. Other ranges would be equally valid
so long as every process involved is aware of the standard.
The only reason I'm taking the trouble to point this out on the
CoreAudio mailing list is that I would hate to see this debate raised
again. Bjorn's blog puts unsubstantiated misinformation out onto the
web which is going to unnecessarily raise questions about why Apple
chose option A, why they didn't choose the hypothetically higher-
fidelity option (false dilemma), and why they don't offer user and/or
programmer configuration options for different conversion factors.
The fact is that there are solid mathematical reasons for Apple's
choices, and there really are no tradeoffs or lost fidelity as a
result. Suggestions to the contrary will not survive peer review.
For anyone interested in the other flaws in Bjorn's blog entries:
* Bjorn claims that when A/D converters clip around -.5 dBFS, that
it's equivalent to (2^n)-.5, which is completely false. This
clipping happens entirely in the analog domain, before quantization
to digital codes, so it is not equivalent to (2^n)-.5 because the
converter is still based on 2^n. What happens before the A/D
conversion cannot be precisely equated to binary math. These
comments show a lack of understanding of the A/D process as well as
mathematics.
* Bjorn claims that +1 occurs in the real world, but that's not
true. The only real world is the analog world, and no A/D converter
allows the +1 value. In the virtual world of VST synths, +1 is
certainly possible, but only a problem for developers who try to get
closer to the 24-bit maximum than the 16-bit maximum. In contrast,
hardware DSP chips have embedded sine wave ROM tables which e.g. only
span +/- 32766. No attempt is made to reach +32767, and certainly
not -32768, because 2 LSBs of headroom is immaterial. 32766 is only
0.00053 dB below full scale, and nobody really cares to risk clipping
for such a miniscule gain in signal level. A 24-bit variant would
just synthesize waveforms without getting so close to clipping. 24-
bit codes could be a tiny fraction louder than 16-bit codes, but not
enough to warrant the risk of clipping with 16-bit audio interfaces.
In other words, Bjorn is actually looking at a real issue worthy of
discussion, but the suggested solution is entirely wrong.
* Bjorn synthesizes sine waves and then tests distortion outputs, all
without specifying the source for the sine data. The standard C math
library sin() and cos() functions use linear interpolation to produce
the values, and so Bjorn's original data has distortion from the
start. In other words, those are not pure sine waves! Thus, the
tests that are cited are nothing more than fun and pretty pictures,
and they are certainly not mathematical proofs of the bad assumptions
made about asymmetrical conversions.
Brian Willoughby
Sound Consulting
On Dec 9, 2009, at 17:00, Ross Bencina wrote:
I am a bit confused by your comments, though: I think in this case
you aren't going to deal with cache misses. The likely performance
issue is branch prediction failures.
And clipping should be able to be handled with conditional moves,
which shouldn't (in theory) create instruction pipeline issues. But
in terms of performance you are doubling the number of tests if
there are two different thresholds. Anyway, without seeing a
profile this is moot.
In a world where people spend more on ADC/DAC hardware than on
their computer I can't imagine they're going to be keen to
downgrade fidelity (even if theoretical, cf other discussions here)
for the benefit of a few extra CPU cycles.
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