Disproving cable claims?

A while back I wrote to the Australian Skeptics regarding its $100,000 prize. It offers this to anyone who can prove capable, under agreed protocols, to perform some actual paranormal task. For example, divining water, moving stuff through the power of the mind alone (telekinesis), reading minds, correctly reading the contents of sealed envelopes and such.

My hope was that this prize might be on offer for claims with regard to cables used with home entertainment equipment. There is a strong subset of the audiophile and videophile community who maintain that significant changes in equipment performance can be detected simply by using a different interconnect or speaker cable. In recent years this has been extended beyond analogue cables to those carrying digital signals. Consequently some vendors sell cables for hundreds, even thousands, of dollars to replace regular cables that cost dollars or tens of dollars. There seems to be no end to the categories of high-priced cables which are alleged to improve a system in some way: analogue audio and video, digital audio and video including HDMI, and even USB cables and, most incredibly of all, power cables*.

I belong to another strong subset who more or less deny that. However I do admit that I might be incorrect. It seems unlikely that I am incorrect, though. Proof of this would be easy enough: simply conduct a scientifically valid experiment to see whether some people can actually tell the difference between these cables.

To that end, as I wrote to the Australian Skeptics, I’d find it useful to be able to say to people who make big claims about cables: ‘Hey, if that’s right you can earn a hundred thousand dollars free and clear! Why don’t we put it to the test?’ James Randi has taken this approach in the past (except his prize is a million dollars), but it has fallen through for various reasons.

The Australian Skeptics have considered my suggestion, and have rightly come back with a number of questions, largely to do with testing practicalities, which I will address directly back to them. But these questions got me to thinking not about the practicalities, but about the principles involved here.

There are, it seems to me, at least two categories of seemingly dubious claim upon which skepticism may cast its doubts. In one category are claims which are, in principle, false, while in the other are claims that deal with matters of degree.

Category one: homoeopathy, telekinesis, (blinded) mind reading, water divining. The kind of thing, in other words, in which there is no even vaguely plausible mechanism to make the claimed power work.

Category two: the obvious one is anthropogenic climate change. This subject is to do with degrees of effect, positive and negative feedbacks and the like. The mechanisms why it might or might not be a real problem are all actually existing and scientifically well-established. The controversy is largely to do with how their complex interactions are to be untangled. But nowhere in any of that is there any suggestions of some strange magical link unknown to science.

Most cable claims fall, I suspect, into category two. Obviously no cable can carry an electrical signal without imposing upon the signal some effect or other. The most common effect even has an engineering name: ‘impedance’. So what we are talking about is a matter of degree.

Sticking with analogue interconnects and speaker cables for the moment, it would be easy enough to whip up a cable that sounds significantly different to a regular cable. Just slip a resistor in at the appropriate rating to lop, say, two tenths of a decibel from the signal strength. On a relatively resistive role like as an interconnect between a CD player and an amplifier, the sound would appear to many listeners to be vaguely inferior in direct testing (it is well established that such small volume changes can’t be detected by humans as volume increases or decreases, but the slightly louder volume sounds ‘better’). With the uneven impedance of loudspeakers, there could also be subtle tonal changes.

If every cable affects the signal, then it seems almost certain that each individual cable would affect it differently to other cables. ‘Affect’, in this case, must always mean ‘degrade’, since a cable cannot ‘improve’ a signal. The question is then one of levels of degradation and perceptibility.

With sufficiently finely tuned and calibrated testing equipment one would be able to measure and quantify these almost infinitesimally small changes. But are they audible in the real world?

If the cables are not broken, are of reasonable quality, are not of a length well beyond sensible run lengths, and have not been specifically engineered to degrade the sound, then I say no. Nonetheless, in principle a person of sufficiently refined hearing could, perhaps, tell the difference because, as I said, there is an actual difference.

With digital cables things are harder because a digital signal is more robust than an analogue one. With only 1s and 0s as valid values in the signal, slight variations are corrected by the receiving device turning 0.9s into 1s, and 0.1s into 0s, restoring the signal to perfection.

So, all cables running properly, there would appear to be no way that a person could tell two digital cables apart, even in principle. Except that one mechanism is sometimes posited. It’s a bit like the memory effect of water molecules claimed in homoeopathy, in the sense of it being something — anything! — that can be offered as an explanation. Except that unlike the memory effect, this is indeed something that might exist. If a cable causes greater errors in data, then the receiving device has to do more work correcting them, and thereby draws more power, perhaps more variably, which might result in power supply ripples and fluctuations. True enough, but unless things are going insanely wrong, these are likely several orders of magnitude too small to rise above the level of any random noise in a system.

So, where am I going with this? Well, on reflection, it seems to me that the Australian Skeptics should reserve its prize to category one issues, those in which there is no possible mechanism. It would be kind of sad to give a hundred grand away to someone on the basis of them detecting something which actually exists, even though in the real world it is almost certainly far too low in level to be capable of actual detection by a human being.

* A quick google for ‘audioquest power cable’ will reveal many, but Audio Quest uses a flash format so that you can’t link directly to its products. As I write, though, plenty of people sell them. Here’s one: a six foot Audioquest NRG WEL Signature Series AC Power Cord available for a mere $US6,899.99. No, that is not a typo, it is nearly seven thousand dollars. Claim: ‘The astonishingly smooth and pure Perfect-Surface eliminates harshness and greatly increases clarity compared to OFHC, OCC, 8N and other coppers. Extremely high-purity PSS minimizes distortion caused by grain boundaries, which exist within any metal conductor … Sound appears from a surprisingly black background with unexpected detail and dynamic contrast.’

Posted in Cables, Imperfect perception, Mysticism | 2 Comments

How 3D TV Works

[This was published in Sound and Image magazine last year]

In one sense, the developers of Blu-ray 3D had it easy. They were allowed invent a new video standard, essentially doubling the amount of video data compared to standard Blu-ray. Sure, it meant new hardware, and therefore new Blu-ray player technology, but Blu-ray still hasn’t achieved mass consumer penetration, so the time was ripe to get it done. Only the Playstation 3, with millions installed around the world, could have led to problems, but Sony Computer Entertainment reckons that its platform is versatile enough for a firmware upgrade to permit Blu-ray 3D playback.

So those developers could change the rules.

But they couldn’t change the rules for digital TV. Any increase in the amount of data transmitted means the subtraction of an equivalent amount from other services. People with access to 3D TVs are likely to remain a small minority for the next few years, so there was no way that the bandwidth devoted to large audiences would be redirected for this purpose.

So they had to work out some way of stuffing 3D video into an existing 2D format?

To find out how, I drilled down a bit into the SBS World Cup 3D broadcast of the drubbing of Australia by Germany. I also looked at the Channel 9 3D broadcast of the drubbing of NSW by Queensland in the Game 2 of the 2010 State of Origin League match, and this gave the same results.

The first thing to note with these is that they were broadcast using the MPEG4 format rather than the DVD-like MPEG2 which has been the standard since digital TV was introduced into Australia. This allows higher picture quality at any given bitrate, since it is a later codec than MPEG2 and rather more highly developed. In fact, the MPEG4 AVC, or H.264 standard, was formally specified in 2003, some eight years after MPEG2.

All Freeview equipment should cope with the MPEG4 codec without difficulty, and a great deal more equipment beside. For example, most Strong HD boxes over the past couple of years support this, as do Beyonwiz.

These football matches received pretty decent treatment. The average video bitrate for both matches was around 13.4 megabits per second. That’s low compared to Blu-ray (only a few discs have an even lower average video bitrate), but very solid for HDTV.

And, indeed, HDTV is what these are. The broadcast frames have a resolution of 1,920 by 1,080 pixels. And the audio in both cases was Dolby Digital 5.0 (ie. no LFE) at 384kbps.

I chose my words carefully in the last paragraph. I said that the ‘broadcast frames’ have full high definition resolution, but what you see is actually only half that resolution. That’s because in order to stuff two eyes’ worth of images into one frame, each frame is divided in half. Here is a frame from the World Cup:

Original broadcast frame

As you can see, the left side and the right side of the frame have what appears at first glance to be identical content. In fact, they are slightly different angles of view at the same action. (I must confess to simplifying a little here. The original frame is actually heavily interlaced, but for clarity I have already deinterlaced it.)

If you watched this match tuned into the 3D broadcast, but with a regular TV, that’s precisely what you would have seen: two nearly identical images, side by side, with the content of each distorted so that things are unnaturally tall and thin.

A 3D TV has quite a bit of work to do to turn that into a 3D presentation. 3D TVs work by presenting the left and right images one after the other, not side by side, and using glasses that flash rapidly transparent and opaque to control which eye sees what.

So the TV first splits the picture into two, and then it horizontally scales the two frames by 100%. The result is two regularly proportioned frames, but each with an effective resolution of 960 by 1080 pixels, rather than 1920 by 1080. That reduced horizontal resolution is the price we pay for having to work within the confines of an existing transmission system. Here are the two halves, suitably processed (left, top; right, bottom):

Left frame, processed

Right frame, processed

They still look pretty much the same, so let’s look at a clear difference: the score banner. Just to its left you will spot a small yellow rectangle. On close examination, it looks like it might be an illuminated ‘Exit’ sign on the stand. Zooming in on them, here they are side by side:

Score board banner, left and right eye views, cropped

You can see how the banner and the sign are much closer to each other on the right side than the left.

Now let’s merge the two frames together so that they overlay one another:

The original frames, combined

This is what you’d see if you had a 3D TV, but weren’t wearing the 3D eyewear (the left and right eye images are flashing so rapidly, that the mege into a single image). Here is how that banner and the ‘Exit’ sign look combined:

Score banner, left and right frames combined, cropped

Note how both the banner itself and the ‘Exit’ sign now both have ghosts, so that the left and right eyes would receive very different visual cues about them both. In fact, their ghosts are reversed. The right eye sees the banner more to the left, and the Exit sign more to the right. The left eye sees the banner more to the right, and the Exit sign more to the left. On a 3D TV, the banner looks close, and it floats in front of everything else. The Exit sign looks distant.

Look again at the total combined frame. There is very little ghosting on player number 13. He appears to be at some kind of ‘standard’ distance. Things further away are doubled in one lateral direction, things closer (especially the score banner) the other way.

So there you go. You get 3D over a 2D communications medium simply by surrendering half the resolution. Fortunately, since full HDTV is used as the carrier, you still end up getting 2.5 times the total resolution of SDTV.

Posted in 3D, DTV, HDTV, How Things Work, Page | Leave a comment

Kogan repeating its HDMI cable giveaway in UK

Earlier this year Kogan was giving away HDMI cables to people who had purchased a TV from JB HiFi. Looks like it’s repeating the trick in the UK.

Posted in Cables, HDMI | Leave a comment

Thank you Microsoft

For sucking six hours of productivity out of my life.

It turns out that if you install a smaller MS Office package over a larger one, using the default settings, the extra bits of your old installation get zapped.

Oh, without a by-your-leave. They just disappear.

Bye-bye Outlook!

Fortunately the *.pst file was left behind, so I figured I could reinstall.

Uh, no. Well I could, but Outlook would open up and then apologetically fail, offering the opportunity to send a message to Mr Microsoft. Okay, well maybe I ought to move up to the current Outlook then? That installed, but then failed in an identical way on startup. I tried uninstalling Outlook and reinstalling. The behaviour was the same. I couldn’t even get the thing to open up as a fresh installation.

Reluctantly, I thought, I’d go over to Outlook Express 6. It imported all my messages, but not my contacts. I had to import them using Windows Address Book, which made them available to that. Then I set up my account information. Email receiving worked fine, but email sending … unable to contact server.

I went to do other stuff for a couple of hours. Then I came back and uninstalled every bit of both versions of Office. Rebooted. Installed an even older version of Outlook that I new would act as a totally new installation. I set it up properly, imported all my emails and contacts, and made sure it worked in all respects. Then I installed the Office that was there this morning over the top of that, so I’m back where I was before I started this whole thing.

And that’s where I’m leaving it.

But, seriously, is it good software design to have it delete applications which are not part of it without any warning whatsoever? This is Office 2010 we’re talking about, not some fly-by-night primitive piece of software!

Posted in Computer | 10 Comments

Metropolis … Reconstructed … Restored … Blu-ray

Metropolis is one of those movies the absence of which necessarily renders any movie collection incomplete. It may not be all that enjoyable, but it is important, and should be familiar to any film buff. Especially in the most complete version which has now become available, on Blu-ray, from Madman Entertainment.

This adds a good half hour of material previously thought lost, albeit at significantly reduced quality.

What I found interesting is that the footage common to the Blu-ray and the previous restored DVD version looks so very much better on the Blu-ray. This is shown by my Blu-ray vs DVD comparison. I thought that the resolution of the source would be insufficient to support a higher quality picture in Blu-ray. It seems that I was wrong:

Metropolis comparison

Meanwhile, another movie which is an essential for any collection is The Sound of Music. I have a test Blu-ray here. Crappy label, no box, no Disc 2, but otherwise identical to the commercial release. See The Hills are Alive in 7.1 sound and restored 70mm footage.

Ask in comments, Australian postal addresses only.

Posted in Blu-ray, Disc details, DVD, Giveaway | 3 Comments

The Sharp Edge of the Gladiator

Do you have Gladiator on Blu-ray? You should, but only if you get the correct one.

The original release was deeply unimpressive. The remastered version, gorgeous. Why the difference? Here’s a clue (original left, remaster right):

Original vs remastered Gladiator Blu-ray

How do you tell the remastered release apart from the original in the store? Are there practical differences in picture quality? Is either or both superior to the SuperBit DVD version?

I have answered all of these in my newest comparison.

Posted in Blu-ray, Disc details, DVD | 2 Comments

Some more Blu-ray vs DVD comparisons, plus a review

I’ve added two more Blu-ray vs DVD comparisons. One is for the vastly underrated Denzel Washington movie The Siege, while the other is for another movie from 1998, Shakespeare in Love, which unaccountably won the Best Picture Academy Award (plus six more Oscars). The DVD version is the SuperBit one, which gives a surprisingly good account of itself, although of course the Blu-ray is noticeably better.

I’ve also put up my review of the Blu-ray of Donnie Darko to accompany the Blu-ray vs DVD comparison that was already there. This is one of those rare beasts were there simply isn’t much difference between the Blu-ray and DVD, due primarily to soft photography in the first place.

Anyway, here’s one of the comparison shots from The Siege:

The Siege, comparison screen shots

Posted in Blu-ray, Disc details, DVD | Leave a comment

Dithering again

Years ago I put up a piece I had published in Australian HI-FI on ‘dither’, the technique which, theoretically at least, can reduce objectionable distortion in digital audio recordings.

Long since forgotten, I imagine, but just in case anyone is still interested, I thought I’d link to it again.

Posted in Audio, How Things Work | Leave a comment

On a more positive note …

I’ve put up a couple more Blu-ray vs DVD comparisons: Cool Hand Luke and Falling Down.

You will use neither as demo material for the wonder of Blu-ray. Nonetheless, both movies are nicely watchable on Blu-ray — far more so than DVD. Here’s a shot from the latter:

Falling Down comparison
Continue reading

Posted in Blu-ray, Disc details, DVD, Giveaway | 3 Comments

And we have a mechanism!

I have been asked whether Mr Hughes, author of the loopy pamphlet ‘A Decade of Tuning Tips (Part 2)’, has given any explanation as to why putting a piece of paper under one leg of a couch, or snipping the corner from one page in each book in your library, will improve the sound of your stereo system.

And, indeed he has! He actually opens the pamphlet with a mechanism. Those of a skeptical inclination might see a certain similarity with the concepts behind Chiropractic (‘innate intelligence’), Acupuncture (‘chi’), Homeopathy, Naturopathy and the like. These tweaks don’t actually change our stereo systems, they change us, the listeners. Here, let Mr Hughes, channelling Peter Belt, explain:

During the past two or so years nothing has caused greater controversy in hi-fi circles than the ideas put forward by Peter Belt regarding electromagnetic charge fields, and the adverse effects these have on us. PWB’s discoveries probably show their greatest potential in the area of health care and medicine, and in improving our everyday health and well-being at home and at work. Almost every week it seems, we read or hear of fresh evidence that suggests electromagnetic fields can be harmful to the body. Yet our exposure to such fields is increasing constantly, in all areas of life.

What has all this to do with hi-fi? Well, the body’s nervous system functions electrically, and evidence increasingly suggests that surrounding electromagnetic charge fields can interfere with its operation. Hearing is by far the most critical of our five senses, and our ears seem to be capable of detecting the tiniest changes in the environment. Peter Belt believes that hearing sensitivity can be manipulated electrically, and can demonstrate how the perceived sound of a piece of music–be it performed live or reproduced–can be altered substantially by nearby electrical charge.

Perhaps most worrying in this context is the way in which objects placed in the listening room can worsen the adverse effects of this charge because their surfaces are polarised by it. At present we might not know exactly how the presence of charge fields and polarised objects within these fields (which include our bodies and the clothes we wear, as well as the food and drink we have consumed) affects our ability to hear. But those willing to approach the subject with open ears and open mind will discover that some very srange things indeed can manipulate the sound in a room.

Just about every word in this is utter crap. Peter Belt has made no discoveries. He has come up with a whacky idea that he may, perhaps, have subjected to a cursory subjective examination. A discovery would follow controlled experiments to determine whether the hypothesised effect exists. There is not now, and was not then, ‘fresh evidence that suggests electromagnetic fields can be harmful to the body’. Occasionally by dint of extreme statistical manipulation some groups can extract from innocuous data a hint of an association between some electrical thing and some health thing. But what we have here is simply an assumption.

Hughes continues with an astoundingly thoughtless application of history:

If you contrast the average household of, say, forty years ago with a typical modern home in terms of electrical items, you can easily appreciate that our use of electricity has increased considerably. Quite apart from colour television sets and computers the sheer range of appliances found in the average kitchen today is quite remarkable. Add to this the large number of battery operated devices now in common use–remote control handsets, clocks and watches, portable radio and cassette players etc–and you begin to see the extent of the difference between a typical modern home and one in the late 1940s or early 1950s. The presence of this large number of electrical appliances in the home has an adverse effect on our well-being. It also adversely influences the sound we hear from our hi-fi systems, to a greater or lesser degree according to the circumstances.

Now here’s an interesting question: did music systems sound better in the late 1940s, early 1950s, or in the late 1980s when he wrote this? Here’s another: do music systems sound better now, in 2011, than they did in late 1980s? Despite the massive increase in all those devices he was bemoaning. Despite the many more radio and TV transmissions, and the satellite transmissions, and the near-saturation 2.4 and 5.8GHz bands used by WiFi and wireless phones and intercoms and Bluetooth and countless other gadgets.

Somehow, despite all this, stuff continues to sound better.

Posted in Audio, Imperfect perception, Mysticism | 1 Comment