Audio Media, May 2011

38
Y
o u can excuse so-called experts on TV
gadget and technology shows for calling an
iPod an mp player, or employing sweeping
generalisations about quality in codecs – ignoring
the various incarnations, advances, and quality variants
in the main AAC and mp codec families. After all, gadget
programme presenter vetting procedures seem to stretch
only to making sure they know which side of the telly they
need to look at when the little light comes on, and that
they are fl uent in Clarkson-speak.
However, there’s no excuse for audio production
professionals to ignore one of the most significant
revolutions in audio delivery since Darwin invented the
ear. We can create as many cliques and head-shaking
committees to dismiss lossy (and
lossless) audio compression
as we like, but in the end the
responsibility for the quality of
your production lies with you,
and if the production will be
heard mostly on an iPod (other
compressed audio file players
are available), then it’s your job
to make sure it sounds good on
an iPod. After all, if you check and
modify mixes according to soffi ts,
nearfi elds, NSs, Auratones, headphones,
and hacked radios in surround, stereo,
and mono – why wouldn’t you mix and
master with the aid of popular audio
codecs as well?
Hands up who, when doing anything
to mp or AAC, simply throws the file
through iTunes and accepts the result
without question or comparison?
Maybe it’s because, up until now, we
haven’t had the tools available to fully
come to terms with this medium?
Well, this might change, because Sonnox
and Fraunhofer hope their new joint
development effort will allow you to
conveniently take the proper time, eff ort,
and corrective measures to ensure and
prove codec compatibility... And a few
other things as well.
Overview
The Sonnox Fraunhofer Pro Codec plug-in, for Pro Tools,
VST, and AU, is nicely laid out, and packs a lot into one
plug-in window. Like most, if not all, of the Sonnox plug-
ins there is a careful balance struck between a clear,
attractive, ergonomic interface, and the need to tell the
whole truth – no patronising and no hidden numbers.
The plug-in is split into several distinct areas, with the
main central area defaulting to its online encoder state.
You can also choose offl ine encode and decode modes
with two tabs at the top of the window, for direct file
processing rather than the realtime processing.
I’d already been to a couple of demos of this plug-in
before sitting down to review it, so I was at an advantage
in terms of operation. I don’t think it’s particularly tricky
though, and the help ‘fl youts’ that can be user-disabled or
enabled are very helpful. Once you understand the basic
layout of the central section, I think everything else falls
into place nicely.
Basically, you can load up to five different codec
variations into slots below the main metering area.
Each of these codecs can be set-up via a fl oating ‘Codecs
and settings’ box that pops up when you select that slot.
The full range of Fraunhofer IIS co-developed codecs
is available here, complete with helpful parenthesis:
HD-AAC (lossless), AAC LC (low complexity), HE-AAC
(high efficiency), HE-AAC v (parametric stereo),
mp, mp Surround, and mp HD (lossless to  bits).
Available settings vary according to the codec type,
but bit-rate, mode (constant
or variable bit rate selections),
and quality (processing speed)
are the full set of options for the
lossy codecs.
Each loaded codec has a
record-arm button, a Mon button
(direct audition selection), and an
over-range indicator for streams
that will contain overs when
decoded – that way you can do
something about this before the
encode with the useful trim adjustments.
Above the codec selections is the
metering area. The main view is a basic
FFT (dBr) graph, switchable between
logarithmic and linear scales. In-meter,
the main lines are the input signal and
difference views, and you can select
individual channels or a sum of them,
plus the NMR (Noise to Mask ratio), which
shows how well hidden the codec noise is
below the perceptual mask. Helpfully, the
meter shades vertical red areas when the
noise and mask switch places and might
cause audible artefact issues.
There’s also an alternative meter
screen with three lissajous views – Input
& Output, Output & Diff , and Diff x .
Differently Facilitated
One of the most used buttons on this plug-in I suspect
will be the Diff button. Instead of auditioning the result
of the encode-decode, you get to listen to the diff erence
between the input signal and the codec – the bits that
will be thrown away. What use is this? Well, I found that
the diff erence signal helps to focus your ears on potential
areas for interest. For example, I had one mix running
through a couple of extremes – a reasonably high bit rate
AAC and a pretty basic mp. The diff erences in this mix
were not as stark I was admittedly expecting, but a quick
reference check with the diff erence signal focused me
onto the low-mid region where the mp codec seemed
to be most heavy handed. Sure enough, the diff erences
between the two became clearer.
But what if it’s not clear – what if you end up doubting
your own judgment because you’ve been jumping
THE REVIEWER
PAUL MAC is the Editor of Audio
Media magazine.
audio codec
plug-in
>
“One of the most
used buttons on this
plug-in I suspect will
be the Diff button…
you get to listen
to the difference
between the input
signal and the codec
– the bits that will
be thrown away.”
Sonnox
Fraunhofer Pro Codec
PAUL MAC gets tuned into
the oft-ignored world of
quality control in audio codec
compression. It seems Sonnox
has the right tool for the job.
AUDIO MEDIA MAY 2011