First published in 1995, Wavelets and Subband Coding offered a unified view of the exciting field of wavelets and their discrete-time cousins, filter banks, or subband coding. The book developed the theory in both continuous and discrete time, and presented important applications. During the past decade, it filled a useful need in explaining a new view of signal processing based on flexible time-frequency analysis and its applications. Since 2007, the authors now retain the copyright and allow open access to the book.

Wavelets and Subband Coding

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

With the advent of `multimedia', digital signal processing (DSP) of sound has emerged from the shadow of bandwidth limited speech processing to become a research field of its own. To date, most research in DSP applied to sound has been concentrated on speech, which is bandwidth limited to about 4 kilohertz. Speech processing is also limited by the low fidelity typically expected in the telephone network. Today, the main applications of audio DSP are high quality audio coding and the digital generation and manipulation of music signals. They share common research topics including perceptual measurement techniques and analysis/synthesis methods. Additional important topics are hearing aids using signal processing technology and hardware architectures for digital signal processing of audio. In all these areas the last decade has seen a significant amount of application-oriented research. The frequency range of wideband audio has an upper limit of 20 kilohertz and the resulting difference in frequency range and Signal to Noise Ratio (SNR) due to sample size must be taken into account when designing DSP algorithms. There are whole classes of algorithms that the speech community is not interested in pursuing or using. These algorithms and techniques are revealed in this book. This book is suitable for advanced level courses and serves as a valuable reference for researchers in the field. Interested and informed engineers will also find the book useful in their work.

Applications of digital signal processing to audio and acoustics

A subband audio coder employs perfect/non-perfect reconstruction filters, predictive/non-predictive subband encoding, transient analysis, and psycho-acoustic/minimum mean-square-error (mmse) bit allocation over time, frequency and the multiple audio channels to encode/decode a data stream to generate high fidelity reconstructed audio. The audio coder windows the multi-channel audio signal such that the frame size, i.e. number of bytes, is constrained to lie in a desired range, and formats the encoded data so that the individual subframes can be played back as they are received thereby reducing latency. Furthermore, the audio coder processes the baseband portion (0-24 kHz) of the audio bandwidth for sampling frequencies of 48 kHz and higher with the same encoding/decoding algorithm so that audio coder architecture is future compatible.

Multi-channel predictive subband audio coder using psychoacoustic adaptive bit allocation in frequency, time and over the multiple channels

Speech and audio compression has advanced rapidly in recent years spurred on by cost-effective digital technology and diverse commercial applications. Recent activity in speech compression is dominated by research and development of a family of techniques commonly described as code-excited linear prediction (CELP) coding. These algorithms exploit models of speech production and auditory perception and offer a quality versus bit rate tradeoff that significantly exceeds most prior compression techniques for rates in the range of 4 to 16 kb/s. Techniques have also been emerging in recent years that offer enhanced quality in the neighborhood of 2.4 kb/s over traditional vocoder methods. Wideband audio compression is generally aimed at a quality that is nearly indistinguishable from consumer compact-disc audio. Subband and transform coding methods combined with sophisticated perceptual coding techniques dominate in this arena with nearly transparent quality achieved at bit rates in the neighborhood of 128 kb/s per channel. >

Advances in speech and audio compression

Dolby AC-3 is a flexible audio data compression technology capable of encoding a range of audio channel formats into a low rate bit stream. Channel formats range from monophonic to 5.1 channels, and may include a number of associated audio services. Based on a transform filter bank and psychoacoustics, AC-3 includes the novel features of transmission of a variable frequency resolution spectral envelope and hybrid backward/forward adaptive bit allocation.

http://web.diegm.uniud.it/pierluca/public_html/teaching/fpac/documentazione_tecnica/tecniche_di_compressione/AC3/ac3.pdf

Steve Vernon

Papers

AC-3: Flexible Perceptual Coding for Audio Transmission and Storage

AC-2 and AC-3: Low-Complexity Transform-Based Audio Coding

Professional Audio Coder Optimized for Use with Video

A Single-Chip DSP Implementation of a High-Quality Low Bit-Rate Multichannel Audio Coder

An Integrated Multichannel Audio Coding System for Digital Television Distribution and Emission