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| 73 | <h1>Ogg Vorbis: Fidelity measurement and terminology discussion</h1>
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| 74 |
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| 75 | <p>Terminology discussed in this document is based on common terminology
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| 76 | associated with contemporary codecs such as MPEG I audio layer 3
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| 77 | (mp3). However, some differences in terminology are useful in the
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| 78 | context of Vorbis as Vorbis functions somewhat differently than most
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| 79 | current formats. For clarity, then, we describe a common terminology
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| 80 | for discussion of Vorbis's and other formats' audio quality.</p>
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| 81 |
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| 82 | <h2>Subjective and Objective</h2>
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| 83 |
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| 84 | <p><em>Objective</em> fidelity is a measure, based on a computable,
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| 85 | mechanical metric, of how carefully an output matches an input. For
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| 86 | example, a stereo amplifier may claim to introduce less that .01%
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| 87 | total harmonic distortion when amplifying an input signal; this claim
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| 88 | is easy to verify given proper equipment, and any number of testers are
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| 89 | likely to arrive at the same, exact results. One need not listen to
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| 90 | the equipment to make this measurement.</p>
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| 91 |
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| 92 | <p>However, given two amplifiers with identical, verifiable objective
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| 93 | specifications, listeners may strongly prefer the sound quality of one
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| 94 | over the other. This is actually the case in the decades old debate
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| 95 | [some would say jihad] among audiophiles involving vacuum tube versus
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| 96 | solid state amplifiers. There are people who can tell the difference,
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| 97 | and strongly prefer one over the other despite seemingly identical,
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| 98 | measurable quality. This preference is <em>subjective</em> and
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| 99 | difficult to measure but nonetheless real.</p>
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| 100 |
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| 101 | <p>Individual elements of subjective differences often can be qualified,
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| 102 | but overall subjective quality generally is not measurable. Different
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| 103 | observers are likely to disagree on the exact results of a subjective
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| 104 | test as each observer's perspective differs. When measuring
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| 105 | subjective qualities, the best one can hope for is average, empirical
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| 106 | results that show statistical significance across a group.</p>
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| 107 |
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| 108 | <p>Perceptual codecs are most concerned with subjective, not objective,
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| 109 | quality. This is why evaluating a perceptual codec via distortion
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| 110 | measures and sonograms alone is useless; these objective measures may
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| 111 | provide insight into the quality or functioning of a codec, but cannot
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| 112 | answer the much squishier subjective question, "Does it sound
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| 113 | good?". The tube amplifier example is perhaps not the best as very few
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| 114 | people can hear, or care to hear, the minute differences between tubes
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| 115 | and transistors, whereas the subjective differences in perceptual
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| 116 | codecs tend to be quite large even when objective differences are
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| 117 | not.</p>
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| 118 |
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| 119 | <h2>Fidelity, Artifacts and Differences</h2>
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| 120 |
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| 121 | <p>Audio <em>artifacts</em> and loss of fidelity or more simply
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| 122 | put, audio <em>differences</em> are not the same thing.</p>
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| 123 |
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| 124 | <p>A loss of fidelity implies differences between the perceived input and
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| 125 | output signal; it does not necessarily imply that the differences in
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| 126 | output are displeasing or that the output sounds poor (although this
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| 127 | is often the case). Tube amplifiers are <em>not</em> higher fidelity
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| 128 | than modern solid state and digital systems. They simply produce a
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| 129 | form of distortion and coloring that is either unnoticeable or actually
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| 130 | pleasing to many ears.</p>
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| 131 |
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| 132 | <p>As compared to an original signal using hard metrics, all perceptual
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| 133 | codecs [ASPEC, ATRAC, MP3, WMA, AAC, TwinVQ, AC3 and Vorbis included]
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| 134 | lose objective fidelity in order to reduce bitrate. This is fact. The
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| 135 | idea is to lose fidelity in ways that cannot be perceived. However,
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| 136 | most current streaming applications demand bitrates lower than what
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| 137 | can be achieved by sacrificing only objective fidelity; this is also
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| 138 | fact, despite whatever various company press releases might claim.
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| 139 | Subjective fidelity eventually must suffer in one way or another.</p>
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| 140 |
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| 141 | <p>The goal is to choose the best possible tradeoff such that the
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| 142 | fidelity loss is graceful and not obviously noticeable. Most listeners
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| 143 | of FM radio do not realize how much lower fidelity that medium is as
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| 144 | compared to compact discs or DAT. However, when compared directly to
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| 145 | source material, the difference is obvious. A cassette tape is lower
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| 146 | fidelity still, and yet the degradation, relatively speaking, is
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| 147 | graceful and generally easy not to notice. Compare this graceful loss
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| 148 | of quality to an average 44.1kHz stereo mp3 encoded at 80 or 96kbps.
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| 149 | The mp3 might actually be higher objective fidelity but subjectively
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| 150 | sounds much worse.</p>
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| 151 |
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| 152 | <p>Thus, when a CODEC <em>must</em> sacrifice subjective quality in order
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| 153 | to satisfy a user's requirements, the result should be a
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| 154 | <em>difference</em> that is generally either difficult to notice
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| 155 | without comparison, or easy to ignore. An <em>artifact</em>, on the
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| 156 | other hand, is an element introduced into the output that is
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| 157 | immediately noticeable, obviously foreign, and undesired. The famous
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| 158 | 'underwater' or 'twinkling' effect synonymous with low bitrate (or
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| 159 | poorly encoded) mp3 is an example of an <em>artifact</em>. This
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| 160 | working definition differs slightly from common usage, but the coined
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| 161 | distinction between differences and artifacts is useful for our
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| 162 | discussion.</p>
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| 163 |
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| 164 | <p>The goal, when it is absolutely necessary to sacrifice subjective
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| 165 | fidelity, is obviously to strive for differences and not artifacts.
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| 166 | The vast majority of codecs today fail at this task miserably,
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| 167 | predictably, and regularly in one way or another. Avoiding such
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| 168 | failures when it is necessary to sacrifice subjective quality is a
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| 169 | fundamental design objective of Vorbis and that objective is reflected
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| 170 | in Vorbis's design and tuning.</p>
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