Abstract
<p>In this paper, audio perceptual compression systems are described, giving special attention to the former one: The MPEG 1, Layer III, in short, the MP3. Other compression technologies are described, especially the technologies evaluated in the present work: OGG Vorbis, WMA (Windows Media Audio) from Microsoft Corporation and AAC (Audio Coding Technologies).</p>
Highlights
The storage and reproduction of sound has evolved since the times of Thomas Alva Edison’s phonograph cylinders
The development of compression technologies, as MPEG (Fraunhofer Institute), Ogg Vorbis and WMA ( Windows Media Audio) among others, initiated. These technologies are based on discarding irrelevancies and redundancies of the audio signal
The irrelevancies of the audio signal can be achieved using psychoacoustic features of the HHS as the masking phenomenon, which was extensively described in the previous chapter
Summary
The storage and reproduction of sound has evolved since the times of Thomas Alva Edison’s phonograph cylinders. The development of compression technologies, as MPEG (Fraunhofer Institute), Ogg Vorbis and WMA ( Windows Media Audio) among others, initiated These technologies are based on discarding irrelevancies and redundancies of the audio signal. These values are compared to masking thresholds, obtained by a psychoacoustic model which has implementations based on the previous chapters. Compression schemes have reached compression ratios till 1:12, and further development is near with the inclusion of other frequency-time transform algorithms, and quantization schemes These compression schemes introduces to the musical audio signal undesirable artifacts. Their evaluation is the main part of this research These high compression ratios are achieved due to the possibility of discarding components from the signal due to irrelevancies (masking) and redundancies (entropic coding).
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