Dither - My Ears can't hear it

Status
Not open for further replies.
Just wanted to add again that dithering is not saving anybody's recordings, nor is the lack of it ruining them, but I do believe it is a sound engineering practice. Also, anybody that thinks 16 bit recordings are ruining your work, go grab a copy of Joshua Judges Ruth by Lyle Lovett. A fantastic album in every respect, and it was recorded straight to digital with 16 bit converters - I believe at 44 or 48khz too! If you are at a point where the worst thing that is happening to your work is the 24-16 bit change, or dithering, well, you probably have several platinum albums to your credit.......

Anyway, I am out of this thread, as I don't see the point. I have even given up on the whole hi sampling rate debate too. At least in that debate, there is a point to it. :D
 
Just wanted to add again that dithering is not saving anybody's recordings, nor is the lack of it ruining them, but I do believe it is a sound engineering practice.
I do not disagree with that.

anybody that thinks 16 bit recordings are ruining your work, go grab a copy of Joshua Judges Ruth by Lyle Lovett. A fantastic album in every respect, and it was recorded straight to digital with 16 bit converters - I believe at 44 or 48khz too!
This is exactly my point. Whether dither is just barely audible in certain situations or not is irrelevant. The real problem is too many people focus on minutiae like dither and jitter and 192 KHz sample rates, while ignoring what really affects their work. Like microphone placement, a good monitoring environment, and all the other stuff I harp on day after day.

Folks, you do not need a $4,500 toob compressor or $3,000 converter to make good recordings! Rather, you need talent, and experience, and a solid understanding of audio basics.

--Ethan
 
What would you say if I told you the files were in fact identical?

i'd say you haven't listened to them with attention.

Whether dither is just barely audible in certain situations or not is irrelevant. The real problem is too many people focus on minutiae like dither and jitter and 192 KHz sample rates, while ignoring what really affects their work. Like microphone placement, a good monitoring environment, and all the other stuff I harp on day after day.

Folks, you do not need a $4,500 toob compressor or $3,000 converter to make good recordings! Rather, you need talent, and experience, and a solid understanding of audio basics.

this time, i totally agree. dither is a pretty small contribution and won't save or break anything. it isn't your sample rate what makes your sound great. but this is no reason to discard a tool that only helps (even if this help is minimal).
 
Folks, you do not need a $4,500 toob compressor or $3,000 converter to make good recordings, until you have talent, and experience, and a solid understanding of audio basics.


Fixed! :D

Even George Massenburg used a TON of expensive gear on Joshua Judges Ruith - I also believe they were pretty high end converters for their day, and would probably play back a CD file better than 95% of peoples soundcards on this board.

Like I have said, the gear absolutely makes a difference - the proportion of time MOST people spend fussing over which mic, which pre, what converters, or dither, 24 bits, high sampling rates, or whatever, seems to take up about 85% of the questions on this board, while room acoustics, mic placement, instrument sound, songwriting, etc take up about 15%. In all reality, that is probably just about perfectly ass-backwards. :D

dither is a pretty small contribution and won't save or break anything. it isn't your sample rate what makes your sound great. but this is no reason to discard a tool that only helps (even if this help is minimal).

Excellent point! :D

the low frequencies because they are slower than the high ones

LOL. I have actually argued over this point before as well. However, in my studio at least, the laws of physics are still 100% intact - well, except for that one night when we were "experimenting" with paper...... :D
 
Last edited:
You probably have no idea how right you are. Not so much the dither, but jitter. Analog tape has huge amounts of jitter, and unlike digital the jitter is not the same for both channels. This is probably why some people report analog tape as sounding wider than digital. Which shows that the conventional wisdom about jitter is wrong too. Usually the jitter believers say you need low jitter to avoid a small sound, when in fact it's the other way around. Time shifts add width, especially if it's not the same for both channels.

--Ethan

Holy crap. There is so much incorrect information here Ethan I don't know where to start.

I think that I'm going to start a new thread on bass traps:

You can create a good bass trap by taking a vacuum cleaner hose and attaching one end to a hole in the wall. It sucks up all of the low frequencies because they are slower than the high ones which escape due to their higher energy levels than low frequencies. The Helmholtz resonance of the hole in the wall is very important as well. A bigger hole will increase the amount of absorption of lower frequencies. Obviously the best bass trap would be a huge black hole in outer space since it is a very large hole that exists in a vacuum, but it's not practical for most studios. I recommend taking plastic garbage bags and hanging them in the studio. They capture all of air pressure from the bass frequencies and are very inexpensive to implement for even the home studio. You can even use lunch bags or dime bags to capture the mid and higher frequencies if needed to create a flatter frequency response.
 
You probably have no idea how right you are. Not so much the dither, but jitter. Analog tape has huge amounts of jitter, and unlike digital the jitter is not the same for both channels. This is probably why some people report analog tape as sounding wider than digital. Which shows that the conventional wisdom about jitter is wrong too. Usually the jitter believers say you need low jitter to avoid a small sound, when in fact it's the other way around. Time shifts add width, especially if it's not the same for both channels.
You know, I missed this post because it was buried at the bottom of the last page. I saw Tom quote this and I refused to believe it was a real quote from Ethan; it *had* to be a joke, it had to be actually stolen from The Onion, or at least have a datestamp on it of April 1st.

It's not from The Onion or the Weekly World News, and it's not an April Fools joke.

I am stunned. I am flabbergasted.

That one paragraph is probably the most unbelieveable thing I have ever seen without first eating mushrooms or licking a toad.

*blebleblebleblebleblebleb* <-- The sound one makes when one purses their lips together, hums, and then flaps their lips rapidly up and down with their index finger.

G.
 
I still think it is a joke. Ethan wants to be a shock jock and take over for Howard Stern or Imus. That's the only rational explanation I have anymore.
 
Either that or poor ol' Ethan is the one sucking on the shrooms and toads tonight :).

I feel like I've just spent the past few days trying to explain to someone the role gravity has to play in how stars work and only just now discovered that the person I was talking to believes that the reason that Australians don't fall off the planet is because the world is flat.

It's like being mentally raped. :(

G.
 
Guys,

Holy crap. There is so much incorrect information here Ethan I don't know where to start.

I refused to believe it was a real quote from Ethan; it *had* to be a joke

I'm not joking. What's amazing is both of you go on about how my statements are preposterous, and sound like The Onion, and maybe I'm trolling to imitate Howard Stern - yet neither of you said one word to refute what I said!

So let's discuss. My position is that jitter is even sillier than dither because it's typically 120+ dB down (far softer than 16-bit dither). Moreover, analog tape decks have far worse jitter than even a cheap laptop's on-board sound card. Have you never calibrated an analog tape with 10 KHz test tones and seen the output on an oscilloscope? :eek:

--Ethan
 
Ethan -

I REALLY don't have time to continually de-bunk your de-bunking. Yes I have calibrated tape machines, there is wow and flutter on analog tape, but jitter is a digital phenomenon at least as defined by most in the audio field. Additionally if timing is off too far you will hear click and pops in digital, not just a shrinking of the stereo field.

So how was my post on bass traps? :)
 
yet neither of you said one word to refute what I said!
Ethan,

I apologize for any overly strong tone in my last post, but it was fankly an honest reaction. You have no idea how much I wrote and deleted and rewrote and deleted and... well you get the point :) ... before I finally posted it.

The source of my shock and awe was the fact that I have known you to be a very knowledgable and intelligent guy when it comes to stuff like acoustics and analog theory and such. I assumed in your continued attempts to debate digital minutia such as dither and jitter and such that you actually had a somewhat equal grounding in digital information theory as well. That post hit me like an IED that your fundamental understanding of how digital actually operates is frankly no where near your understanding of the analog world.

One thing I have come to slowly get through my admittedly thick skull in my time on this BBS is just how difficult it is for people who are not well-grounded in digital information theory to understand just how it actually works. It is so completly different from - and in many cases, counterintuitive to - the clasical analog ideas we have grown up with that it can at times be next to impossible to explain without having to teach the whole field from the very beginning. As long as my posts are, there is no way that those basics can be covered outside of an entire semester or two of explanation.

We see it everywhere from complete misinterpretations of just what Nyquist actually means, to the design mechanics of A/D conversion, to (as is ovbious by this thread :) ) what dither actually is and how it actually works. People keep trying to see it all in analog terms, and that just does not work.

I said it not to long ago in another thread, and I meant it seriously: people who try to understand digital mechanics in an analog mechanics kind of way wind up being just as confused and reaching just as wrong conclusions as people who try to understand quantum mechanics in a classical mechanics kind of way. They are entirely different worlds.

"Noise" in the digital context is an entirely different concept than "noise" in an analog context. They have the same name, and yes on a superficial level they have some related properties, but they are are really entirely different entities altogether. I have been trying to explain this over and over in this thread; I now understand why the relevance of that point has not gotten through; I can't get you past the "analog prejudice" in your mental picture of dither and how it works because you havent yet understood the fundamentals of the digital world. You keep trying to picture the inside of the digital atom in classical analog terms.

"Jitter" in the digital context is related to any kind of "flutter" in an analog context only extremely superficially; they are not anywhere near the same thing at all in their actual manifestations.

When I read that post where you're referring to "analog jitter", I have no idea how to respond. "Analog jitter" is an oxymoron, right up there with "colorless blue", "one hand clapping" or "scientific creationism". It demonstrates a complete disconnect between your concept of "jitter" and how digital jitter actually relates to the whole D/A process, because you're still picturing digital signal reconstruction from within an analog framework instead of a true understanding of digital information theory.

There are other problems with that paragraph; the idea of "analog dither" and the inside-out description of the "jitter/image focus" debate, for example. But just like with the rest, I hae no idea of how to even *debate* such points, let alone explain what is actually being debated unless or until many much more fundamental concepts of how digital works are covered and stipulated to first. That could take months. I'm not up for that.

G.
 
Last edited:
Wow - If that does work, that could be excellent for many home studio's.

I would tend to doubt. The character of how sound changes in a room (given everything else being constant) is time dependent. Possibly they take this into consideration, but it would annoy me if a plugin was changing EQ and phase constantly while I was listening. Also, how would a plugin correct reverberation times?

I'll leave it for Ethan to respond.
 
I REALLY don't have time to continually de-bunk your de-bunking.
Well, you can't just keep saying I'm wrong but without backing it up and saying why you think I'm wrong!

Yes I have calibrated tape machines, there is wow and flutter on analog tape, but jitter is a digital phenomenon
They are both timing errors! Except with analog tape the time shifts are large and happen at a lower repetition rate (frequency). Flutter and jitter are more alike than different. One big difference is flutter can be audible, where jitter is so small it's never audible. :D

So how was my post on bass traps? :)
Well, uh, totally unrelated to the topic at hand. :eek:

No, it doesn't work. I actually tested the Audyssey device the ARC is based on. Lookie here:

http://www.realtraps.com/art_audyssey.htm

--Ethan
 
I apologize for any overly strong tone in my last post, but it was fankly an honest reaction.
No problem, and I'm used to see people get angry when they have no logical or scientific basis to rebut my statements. :D

Seriously, I understand that its very difficult to deal with someone who comes along and says many of the things we all know are true in fact are not true. Again, I blame ignorant magazine writers the most for this. Them, and marketing departments who for years made an issue out of nothing just to sell us newer models of the same products again and again. BTW, next up is outboard summing boxes. :D

I assumed in your continued attempts to debate digital minutia such as dither and jitter and such that you actually had a somewhat equal grounding in digital information theory as well.
I'm not a math guy, but I understand the basic concepts well enough.

"Jitter" in the digital context is related to any kind of "flutter" in an analog context only extremely superficially; they are not anywhere near the same thing at all in their actual manifestations.
Again, saying this means nothing. First, I never said anything about flutter, though that's not unrelated except flutter is cyclical rather than random. In addition to flutter from a bad capstan, the tape alternately sticks and slips, so it jumps in tiny increments rather than play smoothly. This is functionally equivalent to jitter. Well, it would be equivalent if jitter were about 10,000 times more severe than it really is in practice.

There are other problems with that paragraph; the idea of "analog dither" and the inside-out description of the "jitter/image focus" debate, for example.
Dither can be done using normal noise. The only reason for using noise shaping is to get the benefit with less added hiss. But the concept is the same using normal "analog" noise. Either way you cause the LSB to toggle randomly.

And I stand by my claim that large amounts of jitter can make a stereo track sound wider, rather than narrower. If you disagree, stop wasting paragraphs accusing me of not understanding how digital audio works, and instead explain why specifically you think I'm wrong and, better, what you think is correct - and why.

I hae no idea of how to even *debate* such points
If you hope to ever convince anyone of anything you'll need to work on that! :D

--Ethan
 
Ehtan: http://en.wikipedia.org/wiki/Dither especially the Digital audio part. Maybe then you will understand what dither is and how it helps when re-quantizing.
I understand dither perfectly well and don't need a primer. However, I liked the photo example. In that case dither is plainly beneficial for all to see. Versus the application of dither to 16 bit audio that nobody can hear outside of sine waves recorded at -80 dB.

--Ethan
 
Status
Not open for further replies.
Back
Top