GIBBLED AUDIO IN THE
DIGITAL DOMAIN!
First of all, the
good news: the ubiquitous Compact Disc was developed before we knew enough
about bit-reduction, digital compression, and general screwing around with data
to come up with something really terrible.
Sixteen bits per channel, 44.1 kHz sampling rate, and
no compression. Life was simpler
back then, but we didn't realize how lucky we were. Digital chaos was just around the corner.
Now the bad: even
with the relatively pristine CD to work with, record companies have managed to
come up with several ways to make our lives miserable, in both the analogue and
digital domains. Today's CD's are often
mastered with predistortion and clipping built-in, in (what to my ears is) a
misguided effort to make CDs "louder." Given a dynamic range of 96 dB, there's far
too much effort to keep the peak audio within a hair's breadth of the digital
ceiling. As broadcasters, we should all
be screaming out "Hey, that's our job!" (Tongue firmly in cheek).
I remember when CDs
first appeared in radio stations: we were mostly concerned with that huge
available dynamic range, and how to process the audio effectively for
broadcast. Little did we know, the
reality has turned out to be very different: more often, it's "how do we
mask the clipping and distortion and generally crappy audio we're given to work
with?" Highly compressed and
clipped CDs are just the beginning… it is a very rare radio station that is
able to resist the constant flow of MP3 files on to their local server, both
for commercials and produced content, and sometimes even for music. Like all the new bit-reduction algorithms,
MP3 isn't a single standard so much as it's a suite of standards, applied at
various bit-rates in varying degrees by diverse operators with different goals
and very different sets of ears. To say
that the quality is variable is a dramatic understatement -- it's all over the
map!
Compounding the
problem, most stations still have bit-reduction techniques somewhere along
their programme chain. These techniques
are optimized and intended to work with what has become a very rare bird
indeed, "unprocessed" audio.
Whether the bit-reduction is MPEG for the storage system,
or apt-X for the STL, it's not really meant to work on audio that has already
been compressed and limited, let alone clipped or bit-reduced. The result, to a varying degree, is the
creation of artifacts: new, unexpected alterations to the audio, whether it's a
flanging effect, a distorted drumbeat, or even a weird
spatial effect. Even without additional
bit-reduction, however, our analogue and digital processors are also meant to
work on "unprocessed" audio, and can react surprisingly when
presented with bit-reduced waveforms.
The digital frontier
has taken away our old headaches and, hydra-like, replaced them with a whole
host of new ones. We no longer have to
worry about tape head alignment, cleaning and wear, and turntable stylus
damage. High frequency rolloff is no
longer a worry. What we have to grapple
with, is inconsistent quality between sources, and artifacts that come and go
as programme files change. To make
matters worse, the old problems were measurable with test instruments; the new
ones are "psychoacoustic," and hard to
measure in a meaningful way.
In the analogue era,
part of the solution to the consistency problem was the multiband processor,
which gave us controls that tended to draw diverse sources together for a more
uniform sound. It is ironic that the
same processor is now a big part of the problem.
What can be
done? Distressingly,
very little. The makers of Orban
and Omnia processors have lately been aggressively meeting with the folks that
master CD recordings, trying to educate them to the problems that heavily
processed music will present to the broadcaster. Good luck with that!
In the same vein, you
can try and talk your music department in to not accepting MP3 files as source
material. I don't know that we can stem
the tide of MP3s in commercial production, but maybe you can have a talk with
your production department too, about vetting the files as they come in, and
asking for better copies of the worst offenders.
Most of us thought
that digital audio was going to take essential quality issues off of the
table. Surprisingly, a set of critical
listening ears has never been more important to the broadcast engineer.