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An in-depth treatment of algorithms and standards for perceptual coding of high-fidelity audio, this self-contained reference surveys and addresses all aspects of the field. Coverage includes signal processing and perceptual (psychoacoustic) fundamentals, details on relevant research and signal models, details on standardization and applications, and details on performance measures and perceptual measurement systems. It includes a comprehensive bibliography with over 600 references, computer exercises, and MATLAB-based projects for use in EE multimedia, computer science, and DSP courses. An ftp site containing supplementary material such as wave files, MATLAB programs and workspaces for the students to solve some of the numerical problems and computer exercises in the book can be found at ftp://ftp.wiley.com/public/sci_tech_med/audio_signal
- Sales Rank: #3248994 in Books
- Published on: 2007-02-09
- Original language: English
- Number of items: 1
- Dimensions: 9.45" h x 1.14" w x 6.48" l, 1.77 pounds
- Binding: Hardcover
- 464 pages
From the Back Cover
Master algorithms and standards for transparent coding of high-fidelity audio
Here is an in-depth treatment of algorithms and standards for transparent coding of high-fidelity audio. Readers learn how algorithms for high-quality digital audio deliver transparent signal reproduction with a minimum number of bits. The unique features of the book include detailed coverage of topics such as filter banks, transform coding, sinusoidal analysis, linear prediction, hybrid algorithms, perceptual evaluation methods, scalable algorithms, Internet applications, MP3 and MP4 stereo systems, and current international and commercial audio standards.
Following a general introduction, the authors present fundamental signal processing concepts relevant to audio coding and then introduce waveform and entropy quantization schemes. Next are thorough treatments of the following topics:
- Linear prediction, ADPCM, and CELP algorithms for narrowband and wideband coding
- Cellular telephony vocoders versus CD-quality audio coders
- Perceptual modules including the ISO/IEC 11172-3 (MPEG-1) psychoacoustic analysis model
- Detailed descriptions of the MPEG-1 Layer III (MP3) and the AAC (MP4) algorithms
- Descriptions of the algorithms behind successful products such as the Apple iPod
- Filter bank design and algorithms and the Modified Discrete Cosine Transform (MDCT)
- Established and emerging standards for transparent coding of CD-quality stereo audio signals
- Standardization activities in high-fidelity audio coding, including DVD-Audio, Super Audio CD (SACD), Dolby AC3, Digital, Digital Theater Systems (DTS), and Sony SDDS surround sound
- Lossless audio coding and digital audio watermarking techniques, including SHORTEN, DVD-algorithm, MUSICompress, AudioPaK, C-LPAC, LTAC, and IntMDCT lossless coding schemes
- Surround sound compression algorithms for cinema and super audio CD applications
- Digital audio watermarking, content protection, and copyright issues
- Complexity, delay, error control, and subjective quality in perceptual audio coding
Computer exercises and MATLAB® hands-on projects complement the algorithm theory and reinforce concept learning. A comprehensive bibliography with more than 600 references to additional sources of information to explore individual topics in greater depth.
This textbook includes all the right elements and topics for a senior and/or graduate-level course in speech/audio processing and multimedia. Moreover, it is highly recommended for practitioners, scientists, and audio engineers who want to master coding algorithms for high-fidelity audio.
About the Author
ANDREAS SPANIAS, PhD, is Professor in Electrical Engineering at Arizona State University (ASU). He has led the development of the award-winning online software Java-DSP. His research interests include adaptive filters, speech/audio processing, multimedia, and sensor arrays. He is an IEEE Fellow and co-recipient of the IEEE Donald Fink Prize Paper Award for his work on audio coding. He was recognized by Intel Corporation for his contributions to the 60172 architecture. He is currently Associate Director of the ASU AME program and Co-Director of the ASU SenSIP Center.
TED PAINTER, PhD, obtained his doctorate at ASU in 2000. He is a multimedia software architect in the Mobility and Wireless Group at Intel Corporation. His work focuses on architectural analysis, high-performance multimedia software design for mobile handsets, and definition of industry standards. He is editor of the Khronos OpenMAX DL specification. His research interests include psychoacoustics and speech and audio processing. He is co-recipient of the IEEE Donald Fink Prize Paper Award for his work on perceptual coding of digital audio.
VENKATRAMAN ATTI, PhD, obtained his doctorate at ASU in 2006. He currently works as a senior engineer at Acoustic Technologies, Inc. While at ASU, he contributed to speech and audio coding, and to the Java-DSP package. His work in integrating perceptual criteria in linear predictive coding was nominated for an award at IEEE ICASSP-2005. At Acoustics Technologies, his work focuses on research and development of acoustic echo cancellation and noise reduction algorithms.
Most helpful customer reviews
14 of 15 people found the following review helpful.
A pretty good overview and a valuable reference
By calvinnme
This book splits the difference between a purely academic and a practical approach. It does talk a great deal about the history of various audio representations, and it has some derivations, but it also has some practical numerical examples inserted into the narrative that help explain some of the audio concepts. The exercises at the end of each chapter are on the practical side, stressing numerical problems and MATLAB computer exercises over pure derivations.
The book spends the first six chapters going over the basics that you need to know to understand or implement audio coding schemes. Chapter two reviews basic signal processing concepts associated with audio coding. Chapter 3 provides introductory material to waveform quantization and entropy coding schemes. Some of the key topics covered in that chapter include scalar quantization, uniform and nonuniform quantization, pulse code modulation, differential PCM, adaptive DPCM, vector quantization, bit allocation schemes, and entropy coding techniques such as Huffman, Rice, and arithmetic methods. Chapter 4 provides information on linear prediction and its application in narrow and wideband coding. In chapter 5, where psychoacoustic principles are described, Johnston's notion of perceptual entropy is presented as a measure of the fundamental limit of transparent compression for audio. Chapter 6, on filter bank design issues and algorithms, places particular emphasis on the modified discrete cosine transform which is widely used in several perceptual audio coding algorithms. The chapter also addresses pre-echo artifacts and control strategies.
Chapters 7,8, and 9 review established and emerging techniques for transparent coding of FM and CD-quality audio signals, including several algorithms that have become international standards. Transform coding methodologies are described in chapter 7, subband algorithms are discussed in chapter 8, and sinusoidal algorithms are presented in chapter 9.
Chapter 10 discusses the standardization activities in audio coding. It describes coding standards and products such as the ISO/IEC MPEG family. Details on popular standards, such as the MP3 and MPEG-4 AAC algorithms, are provided. Chapter 11 focuses on lossless audio coding and digital audio watermarking techniques. In particular, the SHORTEN, the DVD algorithm, the MUSICompress, the AudioPaK, and other such coding schemes are described in detail. Chapter 12 provides information on subjective quality measures for perceptual codecs. The five-point absolute and differential subjective quality scales are addressed. A set of subjective benchmarks is provided for the various standards in both stereophonicand multichannel modes so that algorithms can be more easily compared.
If you've never been exposed to the subjects discussed in chapters one through six, you'll find this book rough going, since there are entire books written on the subjects that this book is covering in just one chapter each. However, I think it is a good review and a good way for those that are accustomed to looking at these problems from a purely mathematical perspective to see them from the viewpoint of audio processing and coding and to see problems solved using MATLAB. Chapters 7 through 9 are very good at presenting the various algorithms and illustrating them, but the quality seems to drop off as far as details go in the final three chapters starting with the sections on the MPEG standards in chapter 10. This book is good for background and reference, but don't expect to be able to decode or encode anything based solely on what's presented here.
0 of 1 people found the following review helpful.
Don't buy this textbook
By Prepaid Gift Card
Very difficult to understand. Content does not flow.
It was easier and faster to find information online than to follow this book.
Save yourself money and time--don't buy this.
1 of 33 people found the following review helpful.
any body knows
By Y. Dai
Now before you buy, you can only see one page of content. You have no sense whether it is usable. I guess the change is because they know 80% of books are garbage and want us to collect more:)
I've not read this book. nor know which one is good, I need one discuss AAC+ in detail, not those talk technology from 36000 miles away.
Coding Technologies implements AAC+ seems to be a sub set of MPEG4 audio, yet the spec. is not like MPEG4, it concentrate on encoder, no decoder syntax, no complete reference source.
Contents link below, looks it covers very wide areas, yet not sure whether it covers 14496-3 AMDx.
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