The outline of this chapter is as follows. Section 2 reviews various types of existing finite impulse response (FIR) and infinite impulse response (IIR) two-channel filter banks. The basic operations of these filter banks are considered and the requirements are stated for alias-free, perfect-reconstruction (PR), and nearly perfect-reconstruction (NPR) filter banks. Also some efficient synthesis techniques are referred to. Furthermore, examples are included to compare various two-channel filter banks with each other. Section 3 concentrates on the design of multi-channel (M-channel) uniform filter banks. The main emphasis is laid on designing these banks using tree-structured filter banks with the aid of two-channel filter banks and on generating the overall bank with the aid of a single prototype filter and a proper cosine-modulation or MDFT technique. In Section 4, it is shown how octave filter banks can be generated using a single two-channel filter bank as the basic building block. Also, the relations between the frequency-selective octave filter banks and discrete-time wavelet banks are briefly discussed. Finally, concluding remarks are given in Section 5.

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Multirate Systems and Filter Banks

This chapter introduces the subject of statistical pattern recognition (SPR). It starts by considering how features are defined and emphasizes that the nearest neighbor algorithm achieves error rates comparable with those of an ideal Bayes’ classifier. The concepts of an optimal number of features, representativeness of the training data, and the need to avoid overfitting to the training data are stressed. The chapter shows that methods such as the support vector machine and artificial neural networks are subject to these same training limitations, although each has its advantages. For neural networks, the multilayer perceptron architecture and back-propagation algorithm are described. The chapter distinguishes between supervised and unsupervised learning, demonstrating the advantages of the latter and showing how methods such as clustering and principal components analysis fit into the SPR framework. The chapter also defines the receiver operating characteristic, which allows an optimum balance between false positives and false negatives to be achieved.

Statistical Pattern Recognition

Digital Coding of Waveforms

During the last decade, CD-quality digital audio has essentially replaced analog audio. Emerging digital audio applications for network, wireless, and multimedia computing systems face a series of constraints such as reduced channel bandwidth, limited storage capacity, and low cost. These new applications have created a demand for high-quality digital audio delivery at low bit rates. In response to this need, considerable research has been devoted to the development of algorithms for perceptually transparent coding of high-fidelity (CD-quality) digital audio. As a result, many algorithms have been proposed, and several have now become international and/or commercial product standards. This paper reviews algorithms for perceptually transparent coding of CD-quality digital audio, including both research and standardization activities. This paper is organized as follows. First, psychoacoustic principles are described, with the MPEG psychoacoustic signal analysis model 1 discussed in some detail. Next, filter bank design issues and algorithms are addressed, with a particular emphasis placed on the modified discrete cosine transform, a perfect reconstruction cosine-modulated filter bank that has become of central importance in perceptual audio coding. Then, we review methodologies that achieve perceptually transparent coding of FM- and CD-quality audio signals, including algorithms that manipulate transform components, subband signal decompositions, sinusoidal signal components, and linear prediction parameters, as well as hybrid algorithms that make use of more than one signal model. These discussions concentrate on architectures and applications of those techniques that utilize psychoacoustic models to exploit efficiently masking characteristics of the human receiver. Several algorithms that have become international and/or commercial standards receive in-depth treatment, including the ISO/IEC MPEG family (-1, -2, -4), the Lucent Technologies PAC/EPAC/MPAC, the Dolby AC-2/AC-3, and the Sony ATRAC/SDDS algorithms. Then, we describe subjective evaluation methodologies in some detail, including the ITU-R BS.1116 recommendation on subjective measurements of small impairments. This paper concludes with a discussion of future research directions.

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Perceptual coding of digital audio

The auditory system encodes sound by decomposing the amplitude signal arriving at the ear into multiple frequency bands whose center frequencies and bandwidths are approximately exponential functions of the distance from the stapes. This organization is thought to result from the adaptation of cochlear mechanisms to the animal's auditory environment. Here we report that several basic auditory nerve fiber tuning properties can be accounted for by adapting a population of filter shapes to encode natural sounds efficiently. The form of the code depends on sound class, resembling a Fourier transformation when optimized for animal vocalizations and a wavelet transformation when optimized for non-biological environmental sounds. Only for the combined set does the optimal code follow scaling characteristics of physiological data. These results suggest that auditory nerve fibers encode a broad set of natural sounds in a manner consistent with information theoretic principles.

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Efficient coding of natural sounds.

This paper proposes a versatile perceptual audio coding method that achieves high compression ratios and is capable of low encoding/decoding delay. It accommodates a variety of source signals (including both music and speech) with different sampling rates. It is based on separating irrelevance and redundancy reductions into independent functional units. This contrasts traditional audio coding where both are integrated within the same subband decomposition. The separation allows for the independent optimization of the irrelevance and redundancy reduction units. For both reductions, we rely on adaptive filtering and predictive coding as much as possible to minimize the delay. A psycho-acoustically controlled adaptive linear filter is used for the irrelevance reduction, and the redundancy reduction is carried out by a predictive lossless coding scheme, which is termed weighted cascaded least mean squared (WCLMS) method. Experiments are carried out on a database of moderate size which contains mono-signals of different sampling rates and varying nature (music, speech, or mixed). They show that the proposed WCLMS lossless coder outperforms other competing lossless coders in terms of compression ratios and delay, as applied to the pre-filtered signal. Moreover, a subjective listening test of the combined pre-filter/lossless coder and a state-of-the-art perceptual audio coder (PAC) shows that the new method achieves a comparable compression ratio and audio quality with a lower delay.

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Perceptual audio coding using adaptive pre- and post-filters and lossless compression

Traditionally, speech coding and audio coding were separate worlds. Based on different technical approaches and different assumptions about the source signal, neither of the two coding schemes could efficiently represent both speech and music at low bitrates. This paper presents a unified speech and audio codec, which efficiently combines techniques from both worlds. This results in a codec that exhibits consistently high quality for speech, music and mixed audio content. The paper gives an overview of the codec architecture and presents results of formal listening tests comparing this new codec with HE-AAC(v2) and AMR-WB+. This new codec forms the basis of the reference model in the ongoing MPEG standardization activity for Unified Speech and Audio Coding.

Unified speech and audio coding scheme for high quality at low bitrates

An apparatus for scalable encoding a spectrum of a signal including audio and/or video information, with the spectrum comprising binary spectral values, includes a means for generating a first sub-scaling layer and a second sub-scaling layer in addition to a means for forming the encoded signal, with the means for forming being implemented so as to include the first sub-scaling layer and the second sub-scaling layer into the encoded signal that the first and the second sub-scaling layer are separately decodable from each other. In contrast to a full-scaling layer, a sub-scaling layer includes only the bits of a certain order of a part of the binary spectral values in the band, so that, by additionally decoding a sub-scaling layer, a more finely controllable and a more finely scalable precision gain may be achieved.

Method and apparatus for scalable encoding and method and apparatus for scalable decoding

An audio encoder, an audio decoder or an audio processor includes a filter for generating a filtered audio signal, the filter having a variable warping characteristic, the characteristic being controllable in response to a time-varying control signal, the control signal indicating a small or no warping characteristic or a comparatively high warping characteristic. Furthermore, a controller is connected for providing the time-varying control signal, which depends on the audio signal. The filtered audio signal can be introduced to an encoding processor having different encoding algorithms, one of which is a coding algorithm adapted to a specific signal pattern. Alternatively, the filter is a post-filter receiving a decoded audio signal.

Gerald Schuller

Papers

Perceptual audio coding using adaptive pre- and post-filters and lossless compression

Unified speech and audio coding scheme for high quality at low bitrates

Method and apparatus for scalable encoding and method and apparatus for scalable decoding

Audio encoder, audio decoder and audio processor having a dynamically variable warping characteristic

The discrete Fourier transforms