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Digital Sampling

Digital audio represents sound as discrete binary numbers rather than a continuous waveform. It is sampled at regular intervals and each sample is assigned a finite bit value. For faithful reproduction, the sampling rate must be at least twice the maximum frequency per the Nyquist theorem. Common rates are 44.1 kHz for CD audio. Quantization assigns each sample a resolution like 16 bits, but introduces error that can cause distortion, especially at low levels. Dither adds noise to randomize the error.

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64 views

Digital Sampling

Digital audio represents sound as discrete binary numbers rather than a continuous waveform. It is sampled at regular intervals and each sample is assigned a finite bit value. For faithful reproduction, the sampling rate must be at least twice the maximum frequency per the Nyquist theorem. Common rates are 44.1 kHz for CD audio. Quantization assigns each sample a resolution like 16 bits, but introduces error that can cause distortion, especially at low levels. Dither adds noise to randomize the error.

Uploaded by

koustubhthorat
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Download as PDF, TXT or read online on Scribd
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Principles of Digital Audio

ANALOG AUDIO SPECS

• Analog Audio is:


– Continuous
– Infinite
– Represented using Voltage
DIGITAL AUDIO SPECS

• Digital Audio is:


– Discrete
– Finite
– Represented using binary numbers
• Binary System
– 0 and 1
– Binary Digit = BIT
– 8 bits = 1 Byte
DIGITAL CONVERSION

• To digitize a continuous wave, it must be


measured regularly. This measurement is called:

SAMPLING
• SAMPLING:
– Taking a measurement of something at regular time
intervals
SAMPLING
CHARACTERISTICS OF DIGITAL AUDIO

• Two measurements characterize digital audio


signals:
– Sampling rate/sampling frequency
– Quantization - AKA
• Bit Depth
• Word Size
• Sampling Rate is:
– How often an audio signal is sampled
– Measured in samples per second
– The more samples per second, the better representation
of the original wave
SAMPLING TYPES

• Oversampling
– Audio frequency is below Nyquist frequency
• Critical Sampling
– Audio frequency is sampled at precisely the Nyquist
frequency
NYQUIST THEOREM

• AKA: Sampling Theorem


• Definition of “sampling rate”
– To digitally represent a signal containing frequency
components up to x Hz, the sampling rate must be at
least 2x Hz
• Definition of “maximum frequency”
– The maximum frequency in a signal sampled at rate
SR Hz is SR/2 Hz
– This Frequency is also known as:
• NYQUIST FREQUENCY
SAMPLING TYPES

• Undersampling
– Audio frequency is greater than Nyquist frequency
– Results in ALIASING
– Frequency sampled at F at rate of SR exceeding
Nyquist, the frequency will alias to a frequency of
-(SR-F)
where minus indicates inverted frequency
CD AUDIO SAMPLING RATE

• 44,100 Hz -AKA- 44.1 kHz


– Other rates: 48kHz, 96kHz
QUANTIZATION

• The resolution with which each sample is recorded


• Directly dependent on how many bits are available
to represent the data
• In CD audio:
– 16 bits
• Quantization error can never be completely
eliminated!
QUANTIZATION
MARGIN OF ERROR

• Signal-to-error ratio depends on the nature of the


audio contents
• Error is less noticeable for high level signals
• Low level signals don’t use all available bits!
– Signal-to-error level is greater
– Quantization error can become audible
• Problems with quantization error results in:
– DIGITAL DISTORTION
DITHER

• Low-level noise added to the audio signal before


it’s sampled
• Adds random error to the signal, transforming the
quantization distortion into added noise
• Noise is therefore a constant factor

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