Digital technology has improved tremendously since the advent of the Compact Disc. However, the CD itself is limited in resolution, both in the time domain, and the volume domain. The resoultion of a CD is defined by its sample rate, which is the number of times per second that the volume (loudness) of the sound is recorded. Resolution is also determined by the number of digits in the number which is used to record that loudness. On a CD, a 16-bit binary number is recorded. (If you went to school in the 1970's or earlier, you would say: On a CD, a 16-digit Base Two number is recorded.) All CDs have this same, fixed resolution. 
 

When this standard was created, it was thought that this resolution completely exceeded all musical requirements. As a practical matter, most 44.1k/16 recordings have much less resolution due to the use of inferior analog-to-digital converters and their associated circuits. The lack of available dynamic range in the recording process, where engineers must reserve a certain amount of gain to avoid overloads, also reduces the effective bit rate, resulting in recordings that are actually have only 12 or 13 bit resolution. 

In addition, the need for digital filters to prevent supersonic frequencies from interfering with those in the audible band also creates sonic problems. The low resolution of the CD standard makes design of these filters difficult, as their audible effects are worse with low-resolution digital bandwidths than with high resolution.
 

The most significant improvement in the past few years has been the development of analog-to-digital converters that record 24-bit samples of the sound, rather than the 16-bit samples which is standard for CDs and Digital Audio Tape (DAT). These converters can measure volume changes using 16,777,216 increments (2 to the 24th power), compared to a CD's 16-bit resolution of 65,536 increments. E. Power Productions, the recording and technology studio of Loft Recordings and Gothic Records, was among the first to employ this technology in its recordings. This substantial improvement in resolution is especially audible in recordings of organs and choirs, particularly those made in reverberant rooms. Reverberation tails, vocal presence, image depth and openess are all affected. 

 

The use of higher sample rates, such as 88,200 or 96,000 samples per second (or higher), also improve recorded sound, but the effect of these improvements are not nearly as great as the improvement in bit rates.

Quality of low level detail is the most difficult challenge for all digital recordings, and we choose all our equipment primarily by using this criteria. The choice of microphones, cables and other factors are all part of the 24-bit technology platform used by E. Power Productions. 

When the editing is complete, the task of CD mastering determines the final resolution of the compact disc that you buy. In this process, the 24-bit original recording is transcribed into a 16-bit track that is compatible with CD players. There are many tricks and technologies that can be applied at this stage -- at E. Power Productions, we use minimal processing, if any at all.  We also employ the highest quality digital algorithms to produce a result that is as wonderful as the original live sound. Only when all of these elements come together to produce the desired result, does a recording earn the 24-bit technology logo.

E. Power Productions makes a limited number of recordings every year.  Contact us for more information if you would like this technology applied to your next recording project!

Below is a list of CDs that employ our technology.