Behind X-Fi, Creative\u2019s popular sound blaster, is the 24-Bit Crystalizer. It is among the brand new generation of processors that became a subject of heavy controversy. Because the manufacturer introduced it as one of the only two revolutionary soundcards, it received severe criticisms. [no_toc]<\/p>\n
In a way, these criticisms, as well as the negative feedback, are informative. They address particular issues with the sound processor. These issues, when given attention, can contribute to the significant improvement of the product.<\/p>\n
X-Fi\u2019s 24-Bit Crystalizer works by addressing the concerns of the listener who desires to take the listening experience to the next level. The goal is to determine ways to modify particular settings to make audio tracks sound livelier and fuller. The goal is to take into account the limitations of the typical 16-bit quantification and make particular corrections.<\/p>\n
The Crystalizer follows particular concepts. Among these concepts is frequency analysis. It says that to produce music of a desirable quality, the thorough assessment of the audio is best.<\/p>\n
Other vital concepts:<\/p>\n
One of the fundamental aspects of X-Fi, as a sound processor, is the size of the amplitude\u2019s linear zone.<\/p>\n
The size should be equal or somewhere along the desirable dynamic range. For example, a large linear zone comes with a large dynamic range. Conversely, with a small linear zone is a small dynamic range.<\/p>\n
Consideration for the size of the amplitude\u2019s linear zone is important if you prefer high-quality recordings. Typically, you should select one with a relatively small size. By selecting a small size or reducing the dynamic range, you can create a desirable recording. Particularly, this is because the speakers find it easier to produce sounds that are more pleasant.<\/p>\n
This is where re-mastering enters the picture. While many FM stations use maximizers, it is a must that sound recordings should be mastered with dynamic range in a studio.<\/p>\n
In this case, compression is also involved. It is how any user can improve a recording by selecting various modes. The instruments that are affected the most by compression are transients.<\/p>\n
The most practical solution is a typical sound engineer\u2019s approach. This solution goes as follows:<\/p>\n
Take for example a previously re-mastered track. How can a reasonably priced soundcard compete with a high-priced mastering station? And, let\u2019s say that this mastering station can analyze and peruse a costly 64-bit process and multi-pass record.<\/p>\n
When understanding the 24-Bit Crystalizer, you should also understand distortion. Because it is often unwanted (save for special cases), a goal of sound engineers is to minimize or eliminate distortion.<\/p>\n
After sound processing, the amount of distortion should be noted. In the case of two mastering processes (aggressive processes), how much is the distortion used after consecutively performing these two mastering processes?<\/p>\n
While it is said that it usually expands (from 16 bit to 24 bit), you should always be mindful of the figures of X-Fi\u2019s Crystalizer. For example, take into account experimentation performed in RMAA 5.5.<\/p>\n
After playing both 16-bit .wav and 24-bit .wav on the X-Fi, conclusions have been drawn. If a recording is performed via another 24-bit sound interface, you should always take note of the comparison.<\/p>\n
The goal of the 24-Bit Crystalizer is to improve a playback\u2019s quality. Particularly, it improves a playback\u2019s quality by modifying dynamic range limitations. It offsets the gap of the 16-bit content to produce high-quality audio.<\/p>\n
While it is quite forceful, the goal of the 24-Bit Crystalizer is achievable. This is a great solution because a 16-bit audio content can come with issues (such as low quality and incompatibility) when used in a 24-bit sound processor. Granted adequate components are in place, it can compensate for the limitations.<\/p>\n
Let\u2019s take into account a mix of audio tracks \u2013 individual audio tracks. The audio tracks in this mix is each subject to unique dynamic range compression before mixing.<\/p>\n
It follows that the audio (found on the CD) does not contain usable information. More importantly, the audio does not reveal compression-related information. Alongside, it does not reveal the volume levels of the individual audio tracks.<\/p>\n
Therefore, the lack of information is conclusive. It is conclusive in two aspects:<\/p>\n
Nevertheless, designing post-processing is possible. It is possible to produce a recording of a similar quality to an ideal recording. This post-processing goal should focus on these modifications:<\/p>\n
Because it is signal-dependent, the 24-Bit Crystalizer is a dynamic EQ (or equalizer). It is a smart product that analyzes front-end values. Among the important values it calculates are:<\/p>\n
The calculation of these signals are based on input audio streams (non-linear processing). To improve quality, these signals are weighed proportionally. Then, they are designed to apply transient boosts.<\/p>\n
There are critical elements to the dynamic EQ. One is the EQ\u2019s proportional response. The other is the EQ\u2019s analytical design (particularly, the front-end analysis). Somehow, the EQ\u2019s static component also contributes to the change. These elements allow the alteration of audio signals without objectionable artifacts coming into play.<\/p>\n
It is advantageous for the majority of the actual listener response in the general user market to be positive. While there are few complaints, many are highly satisfied with Creative\u2019s X-Fi \u2013 particularly with the 24-Bit Crystalizer. This is suggestive of an average actual listener\u2019s complacency with the product.<\/p>\n
While it cannot reach extravagant goals (such as transforming CD or MP3 audio into DVD), the 24-Bit Crystalizer re-defines the standards of sound processing. For one, it improves the legacy of audio via proprietary signal processing. With the goal to make major improvements, MP3 music sounds better than audio in a CD \u2013 especially when combined with CMSS-3D.<\/p>\n","protected":false},"excerpt":{"rendered":"
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