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Section Two: Analog vs. Digital Signal Processing
Section Two: Analog vs. Digital Signal Processing
Theongoingdebatecontinues:whatsoundsbetter,digitaloranalogsignalprocessing?Audioengineers
ALL have an opinion on this, but the lack of documented research on the topic makes all conclusions
tentative. Nonetheless, the audio industry is slowly moving to digital as circuit designs continuously
improveandtechnologyadvancesintotherealmof24-bitresolution—whichprovidesfineraudiodetail,
particularlyatlowlevelsofdynamicrange. Thetentativeconclusionwewouldsuggestisthatthesound
of digital circuits is widely variable, encompassing the capacity to sound remarkably like analog
circuits…andmuchmore. Beyondtheseconsiderations,however,thereareundeniableadvantagesto
digital signal processing…and one disadvantage that we believe we have solved with the Sabine
GRAPHI-Q.
THEADVANTAGES:
1. GREATERPRECISIONANDREPEATABLEACCURACY. Analogcircuitryproduceslessexact
andrepeatableadjustment. Identicalanalogcircuitsmayproducedifferentresultswhenprocessing
anidenticalaudiosignal,duetothetoleranceofcomponentscomprisingtheanalogcircuit. Digital
circuitsrelyonrepeatablemathematicalcalculationsandthusaremoreconsistent. Forequalizers,
thismeans that theslope, shape, andsymmetryof digital EQsareconsistent acrossfrequencies,
and from one application to the next.
2. LESSPHASEDISTORTION. Allequalizerscausesomedegreeofphaseshifting. Inanalogfilters,
thisphaseshiftexceedsthewidthofthefilter—oftenbyaconsiderablemargin. Inotherwords,the
phaseshiftencompassesfrequenciesbeyondtheboostorcutrangeofthefilter. Withdigitalfilters,
this phase shift can be restricted to within the filter width.
3. LESS FILTER DRIFT. Analog circuits rely on components that vary as they age and/or are
subjectedto different ambienttemperatures. Thisvariation can in turncauseanalog filters todrift
fromtheiroriginal settings. In contrast, digital filters are based on mathematical formulas and will
remainconstantovertimeandchangingtemperatures.
4. LESSNOISE. Asanalogpartswear,getdirty,orcorrode,readjustingthemcanintroducenoiseinto
thesignalpath. Allaudioengineersarefamiliarwiththesoundofa“scratchyfader.”Digitalcontrols
affect the signal, but are not actually in the audio path and thus cannot introduce noise.
5. RECALLANDSTORAGEOFSETTINGS. Becausedigitalfilterscanberepresentedmathemati-
cally,settingsareeasilystored, recalled, and copied to other channels or units. Analog filters are
dependentonthephysicalpositionofpotentiometersandsliders,andstoringandrecallingsettings
requiresservomotorsandautomatedrepositioningofcontrols. Thisisbothmoreexpensivetobuild
and produces less accurate results.
6. COST. Astechnologyimproves,featuresincreaseandpricesplummet. Nowhereisthistrendmore
apparentthaninthedigitalworld. DSPcircuitryisgenerallysmaller,lesscostly,andmorepowerful
than comparable analog circuitry, which means you get a lot more bang for your buck (or
DeutschMark, pound, or peso) with a digital box. Compare the price of the GRAPHI-Q to a high
quality analog graphic equalizer, and you’ll see what we mean—especially when you add a
compressor, delay, FBX and parametric EQ, and software interface to the comparison.
THEDISADVANTAGES.
1. FAMILIARITY AND EASE OF USE. The sole disadvantage of digital processors that few if any
soundengineers will arguehas to dowiththe familiarityanduser-friendliness ofthedigital control
interface. Many powerful DSP products are menu-driven and difficult to use. One very special
featureoftheGraphiQ3102and3101modelsisthefamiliaranalog-styleinterfaceofthefrontpanel.
The control surface looks, feels, and operates like a graphic equalizer from the 1970’s—with the
power and features of 21st century technology. If you’re a 21st century technophile who loves
computersandknobs,thenyouwon’tbedisappointedeither—justpluginaserialcable,loadupthe
software, and you’ll find a whole new world of hacker-pleasing software control waiting for your
command.
The GRAPHI-Q truly offers the best of both worlds —or maybe even the best of three worlds and five
dimensions.