immersion audio

If you are reading this, then you probably are aware that we are fans of immersive audio…after all, we named our company after the concept. Frequently, we see claims of immersive audio venues, studios, and even loudspeakers touting the adjective; but what is immersive audio?

When I think about great audio – the word immersive comes to mind. The auditory experience should be like floating in water, [nearly]effortless, enveloping, refreshing, powerful, yet serene – relaxing. Audio should be relaxing and logical to your BRAIN. What does that mean? Well, your brain likes to process audio on a spatial level. The birds are chirping up in the trees….the wind is blowing from the west…..the grass is crunching beneath my feet……the lion is roaring at me from over there. This applies to audio from speech, music, and performance as well. Have you ever experienced the relaxing and soothing nature of a jazz quartet in an intimate environment? The drums sound like they are coming from the middle, because they are in the middle. The saxophone is being heard house right, because the sax player is standing house right, and the piano on the left, because…..well, you get it…..

So what happens when we mash all of the complex sounds of an orchestra into two bookshelf speakers 15 feet across the room? Your brain doesn’t really like this because it doesn’t make all that much sense spatially – it’s just not organic. Audio reproduction is RARELY truly immersive, and often times it’s really not very good at all.

In search of “real” audio immersion, notably in the reproduction and reinforcement of music and artistic performance, some actual real standards have emerged and I though it would be interesting to share two of my favorites.

The first place I came across a concept that seemed far more legitimate than generic buzzword usage, was at the CEDIA Expo. CEDIA, as an organization, encompasses a wide range of technology integration in the residential space (everything from motorized roller shades to hide from your neighbors, to security cameras to spy on your neighbors), and the crown jewel of this industry is Cinema Home Theater. The governing body of CEDIA took it upon themselves to create an exhaustive standard that I can confidently say is worthy of the title ‘immersive audio.’ In fact, they published the entire standard, known as RP22 which you yourself can download here(it is a very long document, but a worthwhile read).

RP22 defines, describes, and prescribes RP22 immersive audio standards in great detail. They define the purpose of RP22 as a standard:

to deliver the artistic intent of content creators by making the audio experience more realistic and engaging. When delivered well, even monaural audio can provide an immersive experience. However, immersive audio most commonly refers to the use of multichannel reproduction, especially with the addition of an upper layer of speakers to augment the traditional surround sound layer for greater spatial awareness and improved localization of sounds.

I agree with CEDIA’s purpose – and I’ve been lucky enough to experience immersive audio from just one or two speakers like the incredible fidelity from a pair of OMA‘s ‘Imperia’ loudspeakers, or in multichannel reproduction, like the mind-blowing Demo theater created by Perlisten, Trinnov Audio, and others at this year’s CEDIA Expo. RP22 is entirely focused on multichannel audio and dives into great detail on the definitions, approach, and standards that they have collectively set.

As seen above, RP22’s immersive audio standard begins by extending audio from two to three dimensions. A surround system of five or more loudspeakers forms the listener level, with additional speakers added in the height dimension, also known as the upper layer. Five is a memorable number because five is the basis for 5.1 Dolby Surround which is a probably something your Dad bragged about to his work buddies 15 years ago. Now that RP22 is here, a new codex is upon us – ‘X.Y.Z’.

Let’s break this down.

1. X = Listener Level
2. Y = LFE or ‘Low Frequency Enclosure’ a.k.a. Subwoofers
3. Z = Height Level or above the listener

What we now see in practice are systems like Dolby Atmos 7.1.4. Fun fact, Dolby Atmos extends up to 34(!!!) discrete speaker feeds in a 24.1.10 configuration. That means there are a total of 34 loudspeakers, plus one or more subwoofers in your home theater.

Reading through RP22, the takeaway is that sound should be spatial, object oriented, and extremely consistent across every seat in the home theater. This is a major departure from the old school ‘listening position’ in front of two channel audio, where if you move your head by two inches, you will lose the perfect tonal balance and the sound field will stop making sense. Having experienced a Level 4 RP22 certified theater first hand, I must say it is a technology marvel, but one that very, very few can afford or experience outside of ballers, friends of ballers, or industry insiders that attend CEDIA.

So how about a more readily and commercially available version of immersive audio?

Enter example two – L-Acoustics L-ISA. Coincidentally, L-Acoustics, Trinnov Audio, and Storm Audio are all French and seem to be pioneering in the immersive audio realm with advanced processing technology. Back to L-Acoustics. L-ISA is a proprietary system processor used to mix audio in a spatialized, object oriented manner to greatly enhance the audience experience. This processor allows sound engineers to move a sound across a spatial arrangement of loudspeakers only possible with…you guessed it….a whole bunch of loudspeakers.

L-Acoustics’ L-ISA processor is meant for deployments that fit into two categories, Hyperreal, and Immersive Hyperreal(and now a third known as HYRISS). Hyperreal dictates a wide speaker arrangement in a frontal scene (musicals, concerts, performances, etc.) and the goal is to accomplish what we discussed at the start of this blog – place the drums in the center, the sax on the right, and the piano on the left. Immersive Hyperreal aims to accomplish what RP22 is trying to accomplish, and that is to add the third ‘Height layer’ dimension, or the upper layer as pictured above.

From their website:

Deployed around the audience (left, right and behind), surround systems provide a complete sense of being in the sound rather facing the sound.

Surround systems are qualified in Soundvision using specific Sound Pressure Level requirements (relative to the frontal system).

Surround systems can be interesting in a wide spectrum of applications. An electronic music production could immerse the audience in pads and synths panned all around them. A classical orchestra could use surround systems to create the natural perception of “being in a Great Room” by using the L‑ISA Processor room engine capabilities.

What’s really cool is that L-Acoustics offers spatialization features in their Soundvision platform – a platform that we use every day at immersion audio to design sound experiences for our clients. What is less cool, is that you have to become certified to access these features which means attending a training course for a few hundred euros.

Why is this accessible? Well, this technology is being used all over the world with recording artists like Adele, art installations like Artechouse here in NYC, and broadway musicals like Here Lies Love. For a full list of active Hyperreal and Immersive Hyperreal installations, visit this link.

Between CEDIA and L-Acoustics, it’s clear that a standard of immersive audio is emerging – so the next time a quadraphonic (4 point) dance floor claims to be an immersive audio experience – you can be that annoying person that says…”well actually there are no speakers in the ceiling so it’s actually not.”

— immersion audio —

Achieving STC Ratings Over 60 for Unmatched Guest Experience

In the hospitality and nightlife industries, delivering an immersive, enjoyable experience is essential. Whether it’s a hotel in a bustling city center, a high-energy nightclub, or a serene wellness resort, managing noise is crucial for creating an ideal environment. Soundproofing has become a key component in maintaining the delicate balance between vibrant entertainment and peaceful, quiet spaces. Sound Transmission Class (STC) ratings, which measure how well structures like walls, doors, and floors block airborne sound, are an important benchmark for soundproofing success. Achieving STC ratings over 60—and even pushing toward 80—ensures that noise stays contained, leading to satisfied guests, fewer complaints, and a strong reputation for quality.

Soundproofing needs in the hospitality sector are vast. For hotels located in lively districts, soundproofing is essential to create a buffer from outside noise. Rooms with STC ratings below 50 may struggle to shield guests from the hustle and bustle of nightlife, leading to complaints and less-than-stellar reviews. High STC ratings are also crucial for venues with nightlife spaces adjacent to quieter areas, such as a nightclub next to a lounge or a hotel lobby. Here, an STC rating above 60 provides sufficient sound isolation, keeping loud music from disturbing quieter areas while also ensuring compliance with noise regulations. In multi-purpose venues, soundproofing can be a valuable tool for managing overlapping events, allowing activities like a private dinner and a live concert to occur simultaneously without interference.

Achieving high STC ratings brings several key benefits to the hospitality and nightlife industries. For guests, soundproofing directly contributes to a positive experience. Guests who can sleep without interruption are more likely to leave positive reviews, recommend the venue to others, and return for future stays. Additionally, by reducing the spread of noise, high STC ratings also help reduce noise-related complaints from both guests and neighboring businesses or residences. This is particularly beneficial for venues located near residential areas, where noise ordinances are strict and penalties can be significant. Effective soundproofing also contributes to staff well-being by creating a more comfortable working environment, which helps reduce stress, improve morale, and boost productivity.

Achieving an STC rating of 60 or higher requires a strategic approach to construction and material selection. For walls and partitions, which are often the primary barriers to sound transmission, building a multi-layered wall structure with soundproof drywall, insulation (Rockwool is our favorite or a cheaper alternative is R13), and resilient channels can significantly improve sound isolation. Traditional walls typically provide STC ratings of around 35-45, but these enhancements can elevate the STC rating to 60 or beyond. Adding materials like mass-loaded vinyl (MLV) can further enhance soundproofing, providing the density needed to absorb sound without adding excessive bulk. For venues that need to push soundproofing boundaries, these layers can sometimes achieve ratings up to 80, creating almost total sound isolation.

Doors and windows are also crucial elements in soundproofing, but they can sometimes be overlooked. Standard doors and windows generally have lower STC ratings, sometimes as low as 25-30. In spaces where sound isolation is essential, upgrading to solid-core doors or acoustic doors and installing double-glazed or laminated windows can significantly reduce noise transfer. In particularly loud environments, sound locks—double-door vestibules that trap sound between two sets of doors—can be especially effective, creating an additional layer of isolation. These adjustments can raise the STC of doors and windows to above 50, which is essential for achieving a cohesive, soundproofed environment.

Floors and ceilings are often major contributors to noise transmission, especially in nightlife settings where bass frequencies are prominent. Floating floors, where the subfloor is decoupled from the structural floor with resilient underlayment, can prevent vibrations from traveling to adjacent spaces. This technique is particularly useful in venues with high-volume bass music, where low-frequency sounds are otherwise difficult to contain. Similarly, installing resilient channels and acoustic insulation in ceilings can enhance soundproofing, helping to contain music and other sounds within a designated area.

The choice of soundproofing materials plays a significant role in achieving high STC ratings. Soundproof drywall, such as QuietRock, is much more effective than standard drywall and is often used in hospitality spaces to create a barrier against sound transmission. Mass-loaded vinyl, a dense, flexible material that can be added to walls, floors, and ceilings, is another effective option. Its density makes it highly effective for blocking sound, especially in spaces near nightlife venues. Resilient channels are another valuable tool; these metal strips are installed between drywall and studs, allowing the wall to “float” and preventing sound from traveling through the structure. Acoustic panels and baffles don’t directly increase STC ratings but are valuable for controlling reflections and improving acoustics within a space, creating a more pleasant sound environment for guests.

Soundproofing is most effective when considered early in the design phase, as it allows for a cohesive approach that integrates soundproofing needs with structural design. When architects and engineers account for noise control from the outset, the budget can be managed more effectively, and the right construction techniques can be used to create high STC ratings without sacrificing aesthetic or functional design elements. Analyzing potential noise sources also helps ensure soundproofing success. By identifying problematic areas and understanding how noise will travel through a space, designers can create a targeted soundproofing plan that balances different materials and methods for maximum effectiveness.

In hospitality, soundproofing can’t be a one-size-fits-all approach. Achieving an STC rating of 60-80 generally requires layering multiple types of soundproofing materials. This may involve soundproof drywall, insulation, and acoustic panels, along with high-performance doors and windows to create a continuous sound barrier. Each material brings unique properties that contribute to the overall soundproofing effectiveness, whether it’s the density of MLV or the flexibility of resilient channels. Once the soundproofing is in place, testing can confirm its effectiveness. Sound tests can reveal areas where sound may still be leaking through, allowing for adjustments to be made to improve overall performance.

For the hospitality and nightlife industry, soundproofing is not just a technical detail; it’s an essential investment in guest satisfaction. Achieving an STC rating of 60 or more, and even up to 80, can mean the difference between guests having an unforgettable experience or a disruptive one. High STC ratings provide a peaceful environment for guests to unwind after a long day, while also keeping energy contained in nightlife areas. This balance creates harmony within a property, allowing different types of activities to coexist without interference. For any hospitality property looking to stand out, soundproofing is more than just an operational consideration—it’s a commitment to quality that guests notice and appreciate, and it’s an investment in a future of positive experiences and enduring guest loyalty.

At immersion audio – we can help you with your soundproofing approach – we want our client’s projects to sound their best – this begins with a strategic construction plan, followed by adequate absorption and diffusion once construction has been completed. With the holistic approach – a sound system will create an energetic experience rather than one that is disruptive to neighbors and fatiguing to the guests. Ask us about how we can support your current or new project.

–immersion audio–

Let’s get the answer out of the way….

Generally, vinyl is going to have more detail and better reproduce the frequency range of human hearing (20Hz – 20kHz) than many digital formats.  I would say one of the most important aspects to vinyl isn’t just the record itself, but the culture and the ‘intention’ surrounding the practice of collecting (or cratedigging), hauling, playing, and just generally going through the pain of vinyl vs. a silly USB attached to your keychain.  Vinyl’s advantages itself are oftentimes coupled with a quality turntable(ahem* Technics SL-1200MK2), a discerning music selector, a hi–fidelity or high quality amplifier coupled with strong 2-channel or distributed Audio.  It’s the first choice in a larger, grander, detailed ecosystem of people who generally give a s**t…..so that’s why vinyl sounds so good.

Despite the convenience and ubiquity of digital formats, many argue that vinyl offers a listening experience that’s unparalleled in its warmth, depth, and authenticity. This article delves into the reasons behind vinyl’s enduring appeal, exploring both the subjective experience and the technical factors that contribute to its unique sound quality.

Whether it’s right or wrong, I find myself associating vinyl and DJs that play vinyl with certain venues here in Brookly and further abroad.

I think of Public Records in Gowanus, I think of Heideglühen and Club der Visionaere in Berlin, I think of my pal Armando’s overly complicated mixing setup in his apartment in Williamsburg.  I don’t think of Berghain, or Basement, or Unter.  While I’m certain that MP3s have snuck their way into Public Records, I’m also certain that Freddy K has played a heck of a lot of vinyl at Berghain….but it’s just something about these places that sticks with me in this way. 

So, my musings aside, let’s review some of the components of the Vinyl listening experience and the comparison to the digital and also Live formats.

Vinyl Records: The Analog Alternative

In our discussion of digital audio compression, lossless compression, and live music, vinyl records present an interesting middle ground. As an analog format, vinyl offers a distinct listening experience that differs from both MP3s and live performances.

Key Characteristics of Vinyl Sound:

Frequency Response:

   – Theoretical range of 20 Hz to 20 kHz, similar to human hearing

   – Practically, many records have a usable range of about 30 Hz to 18 kHz

Dynamic Range:

   – Typically around 60-70 dB, which is less than digital formats but more than many MP3s

Harmonic Distortion:

   – Introduces subtle distortions that many listeners find pleasing

   – Can add a perceived “warmth” to the sound

No Digital Compression:

   – Avoids the data loss associated with lossy digital formats like MP3. We review Digital Compression in our post on Audio File format ranking

How Vinyl Compares:

Vs. MP3:

   – Generally offers fuller frequency response and dynamics

   – Provides a more “open” sound with better stereo imaging

   – Lacks the digital artifacts sometimes present in MP3s and other downsides to MP3s

Vs. Live Music:

   – Cannot capture the full dynamic range of live performances

   – Misses some of the spatial cues and physical sensations of live sound

   – Playback is affected by the quality of the turntable and audio system

Neurological and Cognitive Effects:

Engagement and Intention:

   – The ritual of playing a record (selecting it, placing it on the turntable, etc.) can increase listener engagement

   – This heightened engagement may lead to more focused listening and potentially stronger emotional responses

Brain Activity:

   – The analog nature of vinyl may stimulate the brain differently than digital formats

   – Some studies suggest that analog sound activates more areas of the brain compared to heavily compressed digital audio

Nostalgia Factor:

   – For some listeners, vinyl can trigger nostalgic responses, potentially enhancing emotional connection to the music

Cognitive Load:

   – The presence of subtle background noise (surface noise, crackles) might actually enhance attention for some listeners

   – This is based on the concept of stochastic resonance, where a certain level of noise can enhance signal detection

Fatigue:

   – Some listeners report less fatigue when listening to vinyl compared to digital formats, possibly due to the absence of certain types of distortion present in digital audio

Practical Considerations:

Variability:

   – Each playback of a vinyl record is slightly different due to factors like dust, wear, and stylus placement

   – This variability can make each listening session unique, potentially increasing engagement

Limited Portability:

   – Unlike MP3s, vinyl can’t be easily transported or played in various environments

   – This often results in more deliberate, focused listening sessions

Quality Dependencies:

   – The listening experience is highly dependent on the quality of the pressing, playback equipment, and maintenance

   – High-end vinyl setups can provide exceptional audio quality, rivaling or surpassing high-resolution digital formats

Conclusion:

Vinyl records occupy a unique space in the audio landscape. While they can’t replicate the full experience of live music, they offer a different kind of listening experience compared to digital formats like MP3. The analog nature of vinyl, combined with its ritual aspect and unique sound characteristics, can provide a rich, engaging listening experience that many find cognitively and emotionally satisfying.

For the brain, vinyl might represent a middle ground – offering more detail and dynamics than typical MP3s, while still being a reproducible, home-listening format. The specific effects on mood, energy, and cognition likely vary between individuals, influenced by factors like personal preference, nostalgia, and the quality of the listening setup.

As with all audio formats, the key is variety. Experiencing music through different mediums – be it live, vinyl, or digital – can provide our brains with a rich tapestry of auditory stimuli, potentially enhancing our overall relationship with music.

— immersion audio —

The Science of Sound: MP3s vs. Live Music and Their Impact on Your Brain

From our last post on audio file format tiers – you might have noticed the poor MP3, relegated to the C tier. MP3s are one of the most popular ways to consume music – more on that below. But have you ever wondered how an MP3 file differs from live music, and how these differences affect your brain? Let’s dive into the science behind digital audio compression and its cognitive implications.

Understanding MP3 Files

MP3, short for MPEG-1 Audio Layer 3, is a compressed audio file format designed to reduce file size while maintaining reasonable sound quality. Here’s how it works:

First, MP3s make use of “lossy” compression, meaning it discards some audio data deemed less important. It employs perceptual coding, removing frequencies that are generally inaudible to human ears.

Second, the bit rate is established and not all MP3s are alike in this way. The file ranges from 128 to 320 kbps (kilobits per second). When the bit rates are higher, the file has typically retained more audio information (while increasing the file size), and it generally sounds a bit better.

Lastly, MP3s have little love for the far reaches of the frequency curve – they don’t let anything above 16kHz ‘into the club’, while human hearing extends to about 20 kHz.

MP3 vs. Live Music: The Auditory Experience

Live music provides a richer, more complex auditory experience compared to MP3s. The dynamic range of Live music is often much greater, typically 120 dB or more, whereas with MP3, files are often compressed to 96 dB or less. MP3s also fall short in frequency range, while Live music typically experiences the full range. Finally, MP3s register reduced spatial information – the sounstage is flattened and unnatural, unlike Live Music which has a three-dimensional soundstage.

How the Brain Processes Sound

To understand the impact of MP3s vs. live music, let’s examine how the brain processes sound.

THE AUDITORY PATHWAY = Sound waves → Ear canal → Eardrum → Cochlea → Auditory nerve → Brain stem → Auditory cortex

In this path, the bulk of the spectral analysis is performed by the cochlea, breaking down complex sounds into component frequencies. Once broken down, different neurons fire in response to certain frequencies and amplitudes. This information is integrated with other sensory inputs and memories – such as tapping your foot!

MP3s and the Brain

When listening to MP3s, the brain encounters several challenges. Your brain has to work hard to reconstruct missing frequencies and dynamic range. This process is known as auditory in painting, and it actually leads to increased cognitive load – that means you are thinking hard without realizing it. Additionally, you won’t get as many feels – compressed audio may not trigger the same level of emotional response as the full-range sound. High-resolution audio activates the reward centers of the brain more effectively. Conversely, extended listening to lower-quality audio can lead to mental fatigue and reduced attention span.

Live Music and the Brain

Live music offers a more holistic and engaging experience for the brain. The brain processes not just sound, but also visual cues and physical vibrations. This rich sensory input from a Live music performance enhances cognitive engagement and memory formation. Think about….what do you remember more – your first concert of your lifetime, or the first song that played in your headphones at the gym yesterday.

Live music triggers that emotional response, releasing neurotransmitters like dopamine and serotonin – leading to improved mood and reduced stress levels.

On a social level – live performances actually induce a type of neural synchronization between audience members, enhancing the chances of social bonding.

Impact on Mood, Energy, and Cognition

The differences between MP3s and live music can significantly affect our mental state:

1. Mood:

   – Live music: More potent in eliciting positive emotions and reducing anxiety

   – MP3: Can still improve mood, but typically to a lesser extent

2. Energy Levels:

   – Live music: Often more invigorating due to its immersive nature and social context

   – MP3: Can boost energy, but may require higher volume levels to achieve similar effects

3. Cognition:

   – Live music: Enhances cognitive flexibility and creativity due to its unpredictable nature

   – MP3: Can improve focus and productivity, especially when used as background music

4. Long-term Effects:

   – Regular exposure to live music has been linked to improved cognitive function in older adults

   – While MP3s offer convenience, they may not provide the same level of cognitive stimulation

MP3s are everywhere

It’s worth noting just how pervasive this technology and similar compressed audio formats have become in our daily lives. Here are some common encounters with MP3-like audio compression:

1. Streaming Services:

   – Popular platforms like Spotify, Apple Music, and YouTube Music use variable bitrate compression similar to MP3.

   – Most streaming services use bitrates between 96 kbps and 320 kbps, depending on the user’s subscription level and internet connection.

2. Social Media:

   – Platforms like Instagram, TikTok, and Facebook compress audio in videos to save bandwidth.

   – This compression can be quite aggressive, often resulting in lower quality than standalone MP3 files.

3. Television and Online Video:

   – TV broadcasts, especially digital broadcasts, use audio compression to fit more channels into limited bandwidth.

   – Streaming services like Netflix and Hulu compress audio along with video to ensure smooth playback.

4. Radio:

   – Digital radio stations often use compressed audio formats similar to MP3.

   – Even traditional FM radio has limitations in frequency range compared to uncompressed audio.

5. Video Games:

   – Many games, especially mobile games, use compressed audio to reduce file size.

   – However, high-end games often use less compressed or uncompressed audio for better immersion.

6. Public Spaces:

   – Background music in stores, restaurants, and elevators is often played from compressed digital files.

   – Public address systems in airports, train stations, and other large venues typically use compressed audio.

7. Podcasts:

   – Most podcasts are distributed as compressed audio files, often using MP3 or similar formats.

8. Audiobooks:

   – Digital audiobooks are typically delivered in compressed formats to keep file sizes manageable.

9. Personal Devices:

   – Smartphones, tablets, and personal music players predominantly use compressed audio formats.

   – Even when playing “high-resolution” audio, the device’s DAC (Digital-to-Analog Converter) and amplifier can be limiting factors.

10. Telephony:

    – Modern phone calls, whether cellular or VoIP (Voice over Internet Protocol), use heavy audio compression.

    – This is why phone calls have a distinct sound quality compared to in-person conversations.

The prevalence of compressed audio means that our brains are constantly adapting to and processing this type of sound. While this has allowed for unprecedented access to a wide variety of audio content, it also means that many people, especially younger generations, may have limited exposure to full-fidelity, uncompressed audio.

This ubiquity of compressed audio underscores the importance of occasionally experiencing high-quality or live audio. It can be a revelatory experience for those accustomed to heavily compressed sounds, potentially leading to a greater appreciation for audio quality and its effects on our cognitive and emotional responses.

As audio technology continues to evolve, we may see a shift towards higher quality streaming and playback becoming more common. However, the convenience and efficiency of compressed audio formats ensure their continued presence in our daily lives for the foreseeable future.

Conclusion

While MP3s have revolutionized how we consume music, offering unprecedented accessibility and portability, they cannot fully replicate the rich, multisensory experience of live music. The compression techniques used in MP3 encoding, while efficient, inevitably result in some loss of audio information that our brains must work to compensate for.

Live music, with its full dynamic range and frequency spectrum, provides a more natural and engaging auditory experience. It stimulates our brains more holistically, potentially leading to stronger emotional responses, improved mood, and enhanced cognitive function.

This doesn’t mean we should abandon MP3s – they serve a valuable purpose in our daily lives. However, understanding the differences can help us appreciate the unique benefits of live music and perhaps encourage us to seek out more live performances for their cognitive and emotional benefits.

As technology advances, we may see new digital formats that bridge this gap, offering higher fidelity in compact file sizes. Until then, consider treating your brain to the full spectral and emotional range of live music when you can – your neurons will thank you!

Up next, we are going to talk about other types of Digital music files that may address these concerns, and…… ***drumroll*** vinyl!

– immersion audio –

“What’s wrong with the sound system?” Maybe it’s not the sound system, but what’s being played on the sound system. You have a gig coming up at a club you’ve always dreamed of playing at – their sound system top notch, the mixing team is ready to go, the crowd is dialed in and warmed up……but you brought a USB full of MP3s. Friends don’t let friends play MP3s. The file format of your music is critical to the sound experience and to your performance reception – let’s breakdown those letters at the end of the file format, what they mean, and how they compare.

The Ultimate Audio File Format Tier List: From Lossless to Lossy

Not all file formats are created equal. Today, we’re breaking down the most common audio file formats into a tier list, considering factors like sound quality, compression, frequency range, file size, and cost-effectiveness. Let’s dive in!

S Tier: The Cream of the Crop – Use these!

1. FLAC (Free Lossless Audio Codec)

   – Lossless compression

   – Supports up to 32-bit/192kHz

   – Excellent for archiving

   – Open-source and free

2. ALAC (Apple Lossless Audio Codec)

   – Apple’s answer to FLAC

   – Lossless compression

   – Great compatibility with Apple devices

3. WAV (Waveform Audio File Format)

   – Uncompressed, highest quality

   – Large file size

   – Industry standard for professional audio (i.e. Beatport, Bandcamp, etc.)

A Tier: Almost Perfect

1. AIFF (Audio Interchange File Format)

   – Uncompressed, similar to WAV

   – Developed by Apple, great for macOS

   – Large file size

2. DSD (Direct Stream Digital)

   – Used in Super Audio CDs

   – Very high sampling rate (2.8224 MHz)

   – Limited compatibility

B Tier: Great for Most Users

1. AAC (Advanced Audio Coding)

   – Better sound quality than MP3 at same bit rate

   – Efficient compression

   – Widely supported

2. Ogg Vorbis

   – Open-source alternative to MP3

   – Good quality-to-size ratio

   – Less common, may have compatibility issues

C Tier: Acceptable for Casual Listening

1. MP3 (MPEG-1 Audio Layer 3) MP3s find themselves in C tier mostly for their ubiquity when their performance and quality should rank them lower.

   – Ubiquitous

   – Good compression, smaller file sizes

   – Quality loss, especially at lower bit rates

2. WMA (Windows Media Audio)

   – Developed by Microsoft

   – Good compression

   – Less common than MP3

D Tier: Functional but Flawed

1. RA/RM (RealAudio)

   – Designed for streaming

   – Heavy compression

   – Poor quality compared to modern formats

2. MQA (Master Quality Authenticated)

   – Controversial “lossless” format

   – Requires special hardware/software

   – Debated audio benefits

F Tier: Avoid If Possible

1. 8-bit WAV

   – Extremely low quality

   – Used in very old systems

   – Nostalgic value only

2. MIDI (Musical Instrument Digital Interface)

   – Not an audio file, but instructions for sound reproduction

   – Quality entirely dependent on playback device

   – Useful for certain applications, but not for high-quality audio playback

Factors Considered in Ranking:

1. Sound Quality:

   – S and A tier formats offer lossless or near-lossless quality

   – Lower tiers involve increasing levels of compression and quality loss

2. Compression:

   – S tier includes both uncompressed (WAV) and losslessly compressed (FLAC, ALAC) formats

   – Lower tiers generally involve more aggressive, lossy compression

3. Frequency Range:

   – Higher tiers support wider frequency ranges, often beyond human hearing (up to 192kHz)

   – Lower tiers may cut off high frequencies (e.g., MP3 typically limited to 16kHz)

4. File Size:

   – Uncompressed formats (WAV, AIFF) offer best quality but largest size

   – Lossless compressed formats (FLAC, ALAC) balance quality and size

   – Lossy formats (MP3, AAC) offer smallest size at the cost of quality

5. Cost and Accessibility:

   – Open-source formats (FLAC, Ogg Vorbis) are free to use

   – Some formats may require licensing fees for commercial use

   – Compatibility varies, with MP3 being the most universally supported

Conclusion:

DJs that play in our projects – please give the people what they need…..S/A tier Digital Formats!  Thank you!  Our ears and brains greatly appreciate it!

When choosing an audio format, consider your specific needs. For archiving or critical listening, stick to the S and A tiers. For everyday listening on portable devices, B and C tier formats offer a good balance of quality and convenience. D and F tier formats are generally best avoided unless you have specific compatibility requirements.

Remember, the audio chain is only as strong as its weakest link. Even S tier audio files won’t sound their best through low-quality playback equipment. Conversely, most listeners won’t notice the difference between high A tier and S tier formats on average consumer audio systems.

Ultimately, the best format is the one that sounds good to you and fits your storage and compatibility needs. Happy listening!

When we thought about our Customers’ needs and how that is reflected in a loud-speaker manufacturer, we thought about the variety of use cases and requirements we are fortunate to offer solutions for. From rooftop bars exposed to the New York weather, to metropolitan cocktail bars, to gritty warehouse nightclubs, to luxury penthouses – each requires a different sound profile, material selection, aesthetic, and acoustic performance characteristic.

With such variety comes challenges – but we are incredibly lucky that Void Acoustics exists and that they have shown their trust in immersion audio as an authorized dealer of their products. This is a celebratory moment for us, but more than anything, this is a celebration of Void Acoustics product breadth and their rapidly growing legacy amongst the global music community.

To quote directly from Void:

Void Acoustic’s Creative Director, Rog Mogale, and Managing Director Alex Skan, originally met in the 90’s. Both avid music fans with a passion for sound system design, their paths had crossed at numerous music events of the years. In 2002, the pair decided to join forces and set out to form a manufacturing company that would create a unique catalogue of high-end products like nothing else available in the audio market. While great sound loudspeakers already existed, they all looked the same. Rog and Alex saw a gap in the market to design loudspeakers with a distinctive aesthetic appeal that equally matched the highest quality of sound.

From humble beginnings, Void has come to be a globally recognized professional audio brand. The signature high-gloss red fiberglass products are distinctly recognizable as Void and sought-after by iconic venue owners and event organizers worldwide. Customers also benefit from the option to request any RAL color of their choosing to match their interior. The result is a sound system that can atmospherically and visually enhance any venue.

Void’s products aren’t just more interesting looking than a standard black box loudspeaker, they also have very strong performance characteristics. immersion audio’s Customers are always surprised and taken aback by the power that their products have and the clarity with which music is reproduced. Our Customers feel confidence in sharing their new prized sound system with their guests and attracting local artists, live performers, and DJs to come and play their ‘Void System.’ On a recent project, I was urgently requested to ‘#fillthevoid‘ and the Customer was so excited about their new sound system that they visited the Void equipped nightclub in Dallas, TX called Vice Park (recently completed by Diavolo Integration), during which I received many videos of said customer running around the club recording its patrons repeating the moniker….#fillthevoid.

While Void presence is heavily felt in the UK, Germany, and nightlife destinations like Ibiza. North America, and particularly NYC, are a less mature market for the brand. Our aspirations are to help an ambitious local team build a high performance nightclub with leading Incubus System. immersion audio recently took a trip to Germany specifically for the purpose of visiting Blitz nightclub with one of the original Incubus installs from 2017. Having spent a lot of time in German nightclubs over the years – they have a certain characteristic that NYC nightclubs have lacked – and that is about 10x the power that they need for the space. Blitz was no different, its bass capabilities feel like the power of the ocean, it’s amazing.

Not to be outdone by the Void Acoustics system, the true gem of Blitz is the acoustic design by Vorhammer industries which is absolutely breathtaking and at a level of sophistication typically reserved for major orchestral concert halls.

Void is a gamechanger for our business and our Customers. If you have interest in how this brands products can enhance your business or home, please let us know.