{"id":1910,"date":"2021-09-01T10:25:47","date_gmt":"2021-09-01T10:25:47","guid":{"rendered":"https:\/\/mixxed.com\/blog\/?p=1910"},"modified":"2022-09-22T11:38:37","modified_gmt":"2022-09-22T11:38:37","slug":"what-is-dithering-audio","status":"publish","type":"post","link":"http:\/\/create.routenote.com\/blog\/what-is-dithering-audio\/","title":{"rendered":"What is Dithering Audio?"},"content":{"rendered":"\n

Dithering<\/strong> is the process <\/strong>of masking quantisation errors when mapping digital bits to an analog wave. We prevent noise patterns b<\/strong>y randomising <\/strong>how the final digital bit <\/strong>gets rounded to 1 or 0, and mask them it with uncorrelated noise <\/strong>(randomised noise<\/strong>).<\/h4>\n\n\n\n

We use dithering <\/strong>to add noise <\/strong>to our audio signal<\/strong>. This allows us, audio engineers<\/strong>, to make quantization noise <\/strong>far less perceivable<\/strong>. Quantisation noise occurs <\/strong>when we are reducing <\/strong>the bit depth <\/strong>of an audio signal<\/strong>.<\/p>\n\n\n\n

By using analog to digital converters<\/strong>, we undergo the process <\/strong>of quantisation<\/strong>. This process is where sample rate<\/a><\/strong> & bit depth<\/a><\/strong> hold important places <\/strong>in the digital audio world<\/strong>. We recommend reading <\/strong>our bit depth article <\/strong>if you’re unfamiliar <\/strong>with what quantisation <\/strong>is!<\/p>\n\n\n\n

\"\"
Bit depth resolution, Source: iZotope<\/figcaption><\/figure><\/div>\n\n\n\n

What is Bit Depth, Quantization Noise and Distortion?<\/h2>\n\n\n\n

To summarise, when recording an analog source into a system, bit depth<\/strong> sets out the number <\/strong>of potential amplitude values <\/strong>for your recorded sound. This determines the total dynamic range <\/strong>of the recorded digital audio<\/strong>.<\/p>\n\n\n\n

However, the acoustic wave doesn’t always line up <\/strong>with a digital value<\/strong>. By rounding up or down to 1 or 0 the final bit that represents amplitude, we are quantizing and totally randomising a part of the signal.<\/p>\n\n\n\n

Therefore, quantization noise <\/strong>is the difference between <\/strong>your original signal <\/strong>and your quantized signal<\/strong>.<\/p>\n\n\n\n

By rounding <\/strong>your analog wave <\/strong>to a bit depth <\/strong>that doesn’t accurately represent <\/strong>its amplitude<\/strong>, quantization distortion occurs <\/strong>at lower bit depths <\/strong>because of the limited number <\/strong>of digital bits <\/strong>available.<\/p>\n\n\n\n

The quantization process can create certain patterns<\/strong>, and we call this correlated noise. Correlated noise is particular resonances <\/strong>in the noise floor <\/strong>at certain frequencies <\/strong>in definitive parts <\/strong>of the audio<\/strong>. In these parts, our noise floor <\/strong>is higher <\/strong>than elsewhere <\/strong>and is taking up <\/strong>more amplitude values <\/strong>that the recorded signal cannot get access<\/strong> to.<\/p>\n\n\n\n

Quantization noise sounds <\/strong>just like noise <\/strong>because it is. However, it sounds like distortion <\/strong>when you severely lower <\/strong>the bit depth <\/strong>of the signal<\/strong>. This rounds off <\/strong>the signal <\/strong>in a fashion not so different from a square wave<\/strong>.<\/p>\n\n\n\n

With this in mind, distortion only happens when bit depth reduction is severe<\/strong> enough to produce a square wave.<\/p>\n\n\n\n

What Does Dithering Do?<\/h2>\n\n\n\n

Dithering<\/strong> is the noise <\/strong>we introduce <\/strong>to an audio signal <\/strong>that masks <\/strong>the noise generated <\/strong>from random quantization<\/strong>.  <\/p>\n\n\n\n

Dithering<\/strong> is the process <\/strong>of masking quantisation errors <\/strong>by randomising <\/strong>how the final digital bit <\/strong>gets rounded<\/strong>. This creates uncorrelated noise <\/strong>(randomised noise<\/strong>), rather than correlated noise<\/strong>, and leaves room <\/strong>for more amplitude values<\/strong>, and this puts the amplitude <\/strong>of the noise floor <\/strong>at the bottom <\/strong>of our dynamic range<\/strong>.<\/p>\n\n\n\n

Now that we’ve randomised <\/strong>the noise <\/strong>that quantisation has created<\/strong>, it\u2019s now more difficult <\/strong>to hear them <\/strong>in the audio<\/strong>. They’re still there, but our ears can’t hear them <\/strong>so well because there are no definitive patterns <\/strong>anymore.<\/p>\n\n\n\n

We know what you’re thinking. “Are we just swapping the harmonic distortion that quantisation has created… for more noise?”<\/p>\n\n\n\n

Yes, we are.<\/strong><\/p>\n\n\n\n

\"\"
Noise added to lower resolution audio, Source: Sage Audio<\/figcaption><\/figure><\/div>\n\n\n\n

When Should I Use Dithering?<\/h2>\n\n\n\n

As we mentioned, quantization noise<\/strong>\/distortion <\/strong>is far more noticeable <\/strong>when we reduce <\/strong>a higher bit depth <\/strong>file to a lower bit depth<\/strong>. <\/p>\n\n\n\n

Therefore, use dithering <\/strong>to mask <\/strong>the effects <\/strong>of quantization noise <\/strong>when you reduce <\/strong>a higher bit depth file <\/strong>to a lower bit depth file<\/strong>.<\/p>\n\n\n\n

But only use dithering <\/strong>in the mastering process<\/strong>, and it only <\/strong>when quantization noise <\/strong>is noticeable<\/strong>.<\/p>\n\n\n\n

Because 16-bit files <\/strong>are the standard <\/strong>for music streaming<\/strong>, it isn\u2019t uncommon <\/strong>to reduce 32-bit <\/strong>or 24-bit file <\/strong>to 16-bit depth<\/strong>. This happens during the mastering process and is probably the only time this reduction will happen<\/strong>.<\/p>\n\n\n\n

As you\u2019re reducing your bit depth <\/strong>from a 32-bit <\/strong>or 24-bit file <\/strong>to a 16-bit file<\/strong>, you\u2019re not creating quantization distortion<\/strong>. This is because the reduction <\/strong>in bit depth <\/strong>is not severe enough<\/strong>, so you’re creating quantization noise<\/strong>.<\/p>\n\n\n\n

You may have noticed <\/strong>that some limiter plugins feature <\/strong>a dithering function<\/strong>. This is because dithering <\/strong>is only implemented <\/strong>at the very end of a signal chain<\/strong>, right before you bounce <\/strong>the audio <\/strong>out to a file<\/a><\/strong>.<\/p>\n\n\n\n

So, the next time <\/strong>you need to lower <\/strong>the bit depth <\/strong>of your killer track <\/strong>that you conjured using Mixxed<\/a><\/strong> samples, you have full knowledge <\/strong>of what’s happening<\/strong>!<\/p>\n\n\n\n

What Are the Different Types of Dithering?<\/h2>\n\n\n\n

There are 3 types <\/strong>of dithering <\/strong>that are commonly known<\/strong>, and these are POW-r 1<\/strong>, 2<\/strong>, and 3<\/strong>. The difference between them <\/strong>is minimal <\/strong>and even arguable<\/strong>. But each <\/strong>has its own use<\/strong>, so it’s worth being aware <\/strong>of them. <\/p>\n\n\n\n

POW-r = Psychoacoustically Optimized Wordlength Reduction<\/h4>\n\n\n\n

We would use Type 1 POW-r<\/strong> when working <\/strong>with mixes <\/strong>that have a low dynamic range<\/strong>, like very compressed<\/a><\/strong> tracks<\/strong>. Type 1 POW-r <\/strong>is noise <\/strong>with a flat frequency noise<\/strong>. This means there is no noise shaping <\/strong>in type 1 <\/strong>because no EQ <\/strong>has shaped <\/strong>the introduced noise<\/strong>.<\/p>\n\n\n\n

Type 2 POW-r<\/strong> dithering <\/strong>is what we would use <\/strong>for speech<\/strong>\/dialogue audio<\/strong>. It features noise shaping <\/strong>(an EQ has shaped the noise<\/strong>) that attenuates <\/strong>the noise <\/strong>at 2kHz<\/strong>. It also amplifies <\/strong>it at 14kHz <\/strong>and upward<\/strong>. This ensures <\/strong>the added noise <\/strong>is effective <\/strong>in masking quantization distortion<\/strong>, but not itself perceivable<\/strong>.<\/p>\n\n\n\n

Finally, we would use Type 3 POW-r dithering <\/strong>for recordings <\/strong>that have large dynamic ranges<\/strong>, such as orchestral music<\/strong>. Noise shaping <\/strong>has shaped <\/strong>the noise<\/strong> but is different <\/strong>to type 2 <\/strong>because the attenuated <\/strong>& amplified<\/strong> frequencies <\/strong>are greater<\/strong>. The EQ applied <\/strong>to the noise <\/strong>is much greater than in type 2<\/strong>.<\/p>\n\n\n\n

What is Noise Shaping<\/strong>?<\/h4>\n\n\n\n

Noise shaping<\/strong> is a technique <\/strong>we use with dithering <\/strong>to increase <\/strong>the audible signal-to-noise ratio<\/a><\/strong>. We use noise shaping <\/strong>to accurately attenuate <\/strong>or amplify specific frequency bands <\/strong>in our noise signal <\/strong>where we need <\/strong>either more <\/strong>or less noise<\/strong>.<\/p>\n\n\n\n

What is Rectangular Probability Density Function<\/strong> (RPDF)?<\/h4>\n\n\n\n

RPDF<\/strong> dither noise <\/strong>has an equal distribution<\/strong>. This means that any value <\/strong>of noise <\/strong>that you specify inside a range <\/strong>has an equal probability <\/strong>of occurring<\/strong>.<\/p>\n\n\n\n

What is Triangular Probability Density Function<\/strong> (TPDF)?<\/h4>\n\n\n\n

TPDF<\/strong> dither noise <\/strong>has a triangular-shaped distribution<\/strong>. This means that any specified noise values <\/strong>in the centre of your range <\/strong>have a much higher probability of occurring<\/strong>. By adding two sources <\/strong>of TPDF<\/strong>, you can create RPDF dithering<\/strong>.<\/p>\n\n\n\n

What is Gaussian PDF<\/strong>?<\/h4>\n\n\n\n

Gaussian PDF<\/strong> has what we call a “normal distribution<\/strong>“. The relationship between probabilities <\/strong>of results follows <\/strong>a Gaussian curve <\/strong>which is bell-shaped<\/strong>. This is the common dither created <\/strong>by analog sources <\/strong>like mic preamps<\/strong>. If you have a digital audio recording <\/strong>with a high bit depth<\/strong>, the preamp noise <\/strong>will introduce any needed dither<\/strong>.<\/p>\n\n\n\n

\"\"
Gaussian Curve, Source: Hyperphysics <\/figcaption><\/figure><\/div>\n\n\n\n

What is Coloured Dither<\/strong>?<\/h4>\n\n\n\n

Coloured dither<\/strong> is dither that’s filtered <\/strong>to be distinguishable <\/strong>from white noise<\/strong>. <\/p>\n\n\n\n

Coloured dither <\/strong>has more energy <\/strong>in the higher frequency bands <\/strong>so that the critical frequency band <\/strong>has less energy <\/strong>and is less perceivable<\/strong>.<\/p>\n\n\n\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Dithering is the process of masking quantisation errors when mapping digital bits to an analog wave. We prevent noise patterns by randomising how the final digital bit gets rounded to 1 or 0, and mask them it with uncorrelated noise (randomised noise). We use dithering to add noise to our audio signal. This allows us, audio engineers, to make quantization noise far less perceivable. Quantisation noise occurs when we are reducing the bit depth of an audio signal. By using analog to digital converters, we undergo the process of quantisation. This process is where sample rate & bit depth hold important…<\/p>\n","protected":false},"author":3,"featured_media":1916,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[20,19,17],"tags":[538,539,261,537,535],"class_list":["post-1910","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-community","category-music-creation-tools","category-music-sampling","tag-dither-in-music-production","tag-how-to-dither-audio","tag-mixxed-com","tag-what-is-dither-in-music","tag-what-is-dithering-in-music-production"],"acf":[],"yoast_head":"\nWhat is Dithering Audio? - RouteNote Create Blog<\/title>\n<meta name=\"description\" content=\"How does bit depth quantization cause noise & distortion? How are these two different things? 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