Analog's strengths:

• If terms like sampling rate and bit depth applied to analog recording, we would say that analog's sampling rate is infinite, and its bit depth is also infinite. That is, samples are not taken at set intervals. Samples of the sound are being taken continuously in the analog world, not every 1/44,100 of a second (or any other set fraction which would represent sampling rate). Also, any instantaneous representation has infinite levels of detail; it is not restricted to stair step, set stopping points. If we use a number line as an analogy for bit depth, analog can represent 1.1384773, 1.1384223382, 1.1324, etc. - it is not restricted to a certain number of decimal places, and is therefore infinitely variable. Digital, by comparison, could only represent 1.1, 1.2, 1.3, etc. - it is restricted to a certain number of decimal places, its bit depth gives it a set number of stopping points, and quantization error is an issue. The bottom line is analog represents sound through a truer analogy to the original sound, a continuously variable wave. Digital plots only set points on that wave, then draws lines between its points to recreate the wave as best it can.
• Tape saturation is a much-desired effect that can not be emulated with any other format or processing, regardless of what the ad agencies may tell you. Remember, electricity does not respond like magnetism, raw magnetism does not respond like remanent magnetism on tape, etc. - which may be a weakness in representational systems, but in this case represents a strength. The pleasingly distorted sound of analog tape saturation is known, loved, and used to great effect by engineers worldwide. It is the result of the quirky response of the analog tape medium, and therefore can only be produced by the same. Analog tape saturation tames peaks (a compression effect - lowering the volume of the peaks only, making the level of the remaining material seem louder), smoothes cutting highs, beefs up the low end or bass frequencies, and generally makes harsh sounds pleasing to the ear (Hong 60). Tape saturation is most commonly used when recording the drum set in rock music. It represents the quintessential rock snare sound, and is used heavily on the toms also. Many engineers like the sound on bass guitar and as an effect for other instruments as well.

Digital's strengths:

• There is no playback noise, such as tape hiss, inherent to digital. Because the representation of sound is handled by discrete numbers, which are stored in a way that is relatively detached from the media, noise is not a factor. To clarify, as long as the two individual pulses that represent the one and the zero can be made out from the storage device, all other noise is irrelevant. The ones and the zeros are all that is required for the reconstruction of the sound.
• Theoretically, there is the possibility for absolutely no loss of audio quality when making copies of the data. Because the representational system uses discrete numbers, a direct copying of only these discrete numbers - representing an exact copy - is possible.
• It is much easier and more accurate to edit and assemble audio in a digital format. It is common for Digital Audio Workstation (DAW) software (such as Pro Tools, Cubase, Sound Forge, or Cakewalk) to allow editing at the sample level, which may represent editing accuracy from 1/44,100 of a second to 1/96,000 of a second or more (Wilkinson 18).

The weaknesses of analog and digital are mostly opposite to the strengths of their counterpart: analog is prone to generational loss (losing quality as more copies are made) and playback noise, and many criticize digital for a pixellated, incomplete sound.

A friend in the consumer audio world has an excellent analogy for digital sound. Digital sound is like a Seurat painting - made up of many little dots that from afar look like continuous lines and tones. Closer inspection, however, reveals the true granular quality. I would draw another analogy to digital photography, where there are no continuous, gradient tones as on film - only point x, y being represented with RGB value zzzzzz. In the digital photography world, there is great debate as to how much resolution is required for 35mm equivalent pictures. In the digital audio world, there is debate as to how great the sampling rate and bit depth need to be for realistic sound. In both worlds it is generally accepted that more is better - you can definitely have too little resolution, but not too much. So digital recordists are going through the same period of doubt that digital photographers are: when you're digitizing the very source of your art, how much resolution is enough?

People who listen for a living, such as professional engineers and producers, have held tighter to analog than is commonly advertised, especially in the initial tracking of projects. They obviously hear a difference. On the other hand, these professionals almost unanimously agree that the 96-192 kHz, 24-bit audio in the pipe for the new DVD-Audio format is vastly superior to the 44.1 kHz, 16-bit CD. Neil Young, once a die-hard analog guy who was quoted heavily about his disdain for the CD in the early 90s, has come full circle to embrace the new DVD-Audio format.

As mentioned earlier, the final test is at the listener's subjective hearing system. If digital sounds incomplete or pixellated to you at 44.1 kHz, 16-bit - then it is inadequate. If you believe that the market is consumer-driven, then obviously the 44.1 kHz, 16-bit CD has at least approached realistic sound - or the consumer wouldn't have bought in. It is safe to say that most consumers do not hear anything wrong with the CD format, but they do notice the lack of playback noise. Again, only your ears are the proper judge for you. When recording digitally, however, it is in your best interest to keep sampling rates and bit depths as high as possible - most agree that a higher quality recording that is dithered down to 16 bits for CD sounds better than a 16-bit recording, and you also leave the door open for the 96 kHz, 24-bit DVD-Audio 'remix and remaster' down the line ;-).

Coming in PART 2 : Where the Two Formats Meet: The Modern Recording Studio, and My Least Favorite Myths Dispelled

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