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Nolan Reed
Nolan Reed

Audio Signal Processing And Coding


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.




Audio Signal Processing and Coding



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.


The motivation for audio signal processing began at the beginning of the 20th century with inventions like the telephone, phonograph, and radio that allowed for the transmission and storage of audio signals. Audio processing was necessary for early radio broadcasting, as there were many problems with studio-to-transmitter links.[1] The theory of signal processing and its application to audio was largely developed at Bell Labs in the mid 20th century. Claude Shannon and Harry Nyquist's early work on communication theory, sampling theory and pulse-code modulation (PCM) laid the foundations for the field. In 1957, Max Mathews became the first person to synthesize audio from a computer, giving birth to computer music.


Major developments in digital audio coding and audio data compression include differential pulse-code modulation (DPCM) by C. Chapin Cutler at Bell Labs in 1950,[2] linear predictive coding (LPC) by Fumitada Itakura (Nagoya University) and Shuzo Saito (Nippon Telegraph and Telephone) in 1966,[3] adaptive DPCM (ADPCM) by P. Cummiskey, Nikil S. Jayant and James L. Flanagan at Bell Labs in 1973,[4][5] discrete cosine transform (DCT) coding by Nasir Ahmed, T. Natarajan and K. R. Rao in 1974,[6] and modified discrete cosine transform (MDCT) coding by J. P. Princen, A. W. Johnson and A. B. Bradley at the University of Surrey in 1987.[7] LPC is the basis for perceptual coding and is widely used in speech coding,[8] while MDCT coding is widely used in modern audio coding formats such as MP3[9] and Advanced Audio Coding (AAC).[10]


An analog audio signal is a continuous signal represented by an electrical voltage or current that is analogous to the sound waves in the air. Analog signal processing then involves physically altering the continuous signal by changing the voltage or current or charge via electrical circuits.


Historically, before the advent of widespread digital technology, analog was the only method by which to manipulate a signal. Since that time, as computers and software have become more capable and affordable, digital signal processing has become the method of choice. However, in music applications, analog technology is often still desirable as it often produces nonlinear responses that are difficult to replicate with digital filters.


A digital representation expresses the audio waveform as a sequence of symbols, usually binary numbers. This permits signal processing using digital circuits such as digital signal processors, microprocessors and general-purpose computers. Most modern audio systems use a digital approach as the techniques of digital signal processing are much more powerful and efficient than analog domain signal processing.[11]


Audio signal processing is used when broadcasting audio signals in order to enhance their fidelity or optimize for bandwidth or latency. In this domain, the most important audio processing takes place just before the transmitter. The audio processor here must prevent or minimize overmodulation, compensate for non-linear transmitters (a potential issue with medium wave and shortwave broadcasting), and adjust overall loudness to the desired level.


Audio synthesis is the electronic generation of audio signals. A musical instrument that accomplishes this is called a synthesizer. Synthesizers can either imitate sounds or generate new ones. Audio synthesis is also used to generate human speech using speech synthesis.


Current and future research activities of the Moriya Research Laboratory are introduced. To date, various compression coding technologies for speech and au