Codecs EBU Listening Tests On
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Linux Sound Subsystem Documentation Release 4.13.0-Rc4+
Linux Sound Subsystem Documentation Release 4.13.0-rc4+ The kernel development community Sep 05, 2017 CONTENTS 1 ALSA Kernel API Documentation 1 1.1 The ALSA Driver API ............................................ 1 1.2 Writing an ALSA Driver ........................................... 89 2 Designs and Implementations 145 2.1 Standard ALSA Control Names ...................................... 145 2.2 ALSA PCM channel-mapping API ..................................... 147 2.3 ALSA Compress-Offload API ........................................ 149 2.4 ALSA PCM Timestamping ......................................... 152 2.5 ALSA Jack Controls ............................................. 155 2.6 Tracepoints in ALSA ............................................ 156 2.7 Proc Files of ALSA Drivers ......................................... 158 2.8 Notes on Power-Saving Mode ....................................... 161 2.9 Notes on Kernel OSS-Emulation ..................................... 161 2.10 OSS Sequencer Emulation on ALSA ................................... 165 3 ALSA SoC Layer 171 3.1 ALSA SoC Layer Overview ......................................... 171 3.2 ASoC Codec Class Driver ......................................... 172 3.3 ASoC Digital Audio Interface (DAI) .................................... 174 3.4 Dynamic Audio Power Management for Portable Devices ...................... 175 3.5 ASoC Platform Driver ............................................ 180 3.6 ASoC Machine Driver ............................................ 181 3.7 Audio Pops -
Audio Codecs
Audio Codecs [ AoIP | Leased Line | E1 ] Release date: July 2019 All rights reserved. Permission to reprint or electronically reproduce any document or graphic in whole or in part for any reason is prohibited unless prior written consent is obtained from AVT Audio Video Technolo- gies GmbH. This catalogue has been put together with the utmost digilence. However, no guar- antee for correctness can be given. AVT Audio Video Technologies GmbH cannot be held responsible for any misleading or incorrect information provided throughout this catalogue. AVT Audio Video Technologies GmbH re- serves the right to change specifications at any time without notice. CONTENT General 5 Features & Symbols 6 Overview 8 ISDN + VoIP ● MAGIC D7 XIP & MAGIC DC7 XIP RM Audio Codecs 10 ○ Application: Audio contribution 12 ISDN + AoIP ● MAGIC AC1 XIP & MAGIC AC1 XIP RM Audio Codecs 14 ○ Application: Audio contribution 16 E1 + AoIP ● MAGIC ACip3 & MAGIC ACip3 2M Audio Codecs 18 ○ Application: Audio contribution 20 ○ Application: AoIP distribution 22 ● MAGIC ACip3 (2M) ModNet System 24 ○ Application: Studio-Transmitter-Links 26 Audio Codec Integration ● MAGIC THipPro ACconnect 28 System Manager Upgrade 30 General Audio Codecs are needed for high-quality bitrate, the desired quality and the accept- Audio transmissions over different networks able delay. The EBU names the following Au- like IP, ISDN, 2-Mbit/s (E1) and X.21. Over IP dio algorithms as mandatory to comply with and ISDN, both Leased Line connections as the AoIP standard. G.711, G.722, ISO/MPEG well as temporary dial-up connections can Layer 2 and PCM (for stationary Audio Co- be used. -
Centauri II Multichannel Audio Gateway Codec – a New Generation Conquers the Control-Room
Centauri II Multichannel Audio Gateway Codec conquers the Control-room.– a new generation New! D 6ms Latency D 5.1 / 7.1 Multichannel D Front-panel Hot Keys D Gateway Function D Backup Function D Twin/Quad Codec D ASI Most Audio-Codecs are specialists. The CENTAURI II simply enables you to do everything. An unbeatable range of features makes the CENTAURI II simpler, safer and more cost-effective to use than any other codec. The CENTAURI II is your universal Audio cover the entire range currently in general Considering the extensive system support Codec for every imaginable project. use. Including MPEG, AES Transparent it is clear that the CENTAURI II is an and APT – simultaneously! audio codec for all situations. Whether for There are no networks that can stop a By other manufacturers this would still be Broadcasting, for DVB-H or UMTS trans- CENTAURI II, whether ISDN or Ethernet, a legitimate question but by MAYAH this missions, to name but a few. has long been possible. X.21 or E1. There are no protocols that In light of so much technical sophistica- the CENTAURI II cannot understand. This Combinations of its many and versatile tion, it’s hardly surprising to learn that codec can be simply and easily integrated features permit a wide range of applica- the CENTAURI II is also the first audio into every imaginable IT infrastructure. tions; from Gateway, Backup Codec or codec to offer professional 5.1/7.1 multi- And its more than 15 coding algorithms Streaming-Server to Multichannel Codec. channel transmissions. -
Low Bit-Rate Speech Coding with Vq-Vae and a Wavenet Decoder
ICASSP 2019-2019 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP), pp. 735-739. IEEE, 2019. DOI: 10.1109/ICASSP.2019.8683277. c 2019 IEEE. Personal use of this material is permitted. Permission from IEEE must be obtained for all other uses, in any current or future media, including reprinting/republishing this material for advertising or promotional purposes, creating new collective works, for resale or redistribution to servers or lists, or reuse of any copyrighted component of this work in other works. LOW BIT-RATE SPEECH CODING WITH VQ-VAE AND A WAVENET DECODER Cristina Garbaceaˆ 1,Aaron¨ van den Oord2, Yazhe Li2, Felicia S C Lim3, Alejandro Luebs3, Oriol Vinyals2, Thomas C Walters2 1University of Michigan, Ann Arbor, USA 2DeepMind, London, UK 3Google, San Francisco, USA ABSTRACT compute the true information rate of speech to be less than In order to efficiently transmit and store speech signals, 100 bps, yet current systems typically require a rate roughly speech codecs create a minimally redundant representation two orders of magnitude higher than this to produce good of the input signal which is then decoded at the receiver quality speech, suggesting that there is significant room for with the best possible perceptual quality. In this work we improvement in speech coding. demonstrate that a neural network architecture based on VQ- The WaveNet [8] text-to-speech model shows the power VAE with a WaveNet decoder can be used to perform very of learning from raw data to generate speech. Kleijn et al. [9] low bit-rate speech coding with high reconstruction qual- use a learned WaveNet decoder to produce audio comparable ity. -
International Organisation for Standardisation Organisation Internationale De Normalisation Iso/Iec Jtc1/Sc29/Wg11 Coding of Moving Pictures and Audio
INTERNATIONAL ORGANISATION FOR STANDARDISATION ORGANISATION INTERNATIONALE DE NORMALISATION ISO/IEC JTC1/SC29/WG11 CODING OF MOVING PICTURES AND AUDIO ISO/IEC JTC1/SC29/WG11 MPEG98/N2425 Atlantic City - October 1998 Source: Audio and Test subgroup Status: Approved Title: MPEG-4 Audio verification test results: Audio on Internet Authors: Eric Scheirer, Sang-Wook Kim, Martin Dietz Table of Contents 1. Introduction.....................................................................................................................................2 2. Test motivation................................................................................................................................2 3. Codecs under Test ...........................................................................................................................3 4. Test Material...................................................................................................................................5 5. Test methodology ............................................................................................................................7 6. Test stimuli .....................................................................................................................................7 7. Test sessions ...................................................................................................................................8 8. Data Analysis..................................................................................................................................8 -
UMTS); LTE; Performance Characterization of the Adaptive Multi-Rate Wideband (AMR-WB) Speech Codec (3GPP TR 26.976 Version 10.0.0 Release 10)
ETSI TR 126 976 V10.0.0 (2011-04) Technical Report Digital cellular telecommunications system (Phase 2+); Universal Mobile Telecommunications System (UMTS); LTE; Performance characterization of the Adaptive Multi-Rate Wideband (AMR-WB) speech codec (3GPP TR 26.976 version 10.0.0 Release 10) 3GPP TR 26.976 version 10.0.0 Release 10 1 ETSI TR 126 976 V10.0.0 (2011-04) Reference RTR/TSGS-0426976va00 Keywords GSM, LTE, UMTS ETSI 650 Route des Lucioles F-06921 Sophia Antipolis Cedex - FRANCE Tel.: +33 4 92 94 42 00 Fax: +33 4 93 65 47 16 Siret N° 348 623 562 00017 - NAF 742 C Association à but non lucratif enregistrée à la Sous-Préfecture de Grasse (06) N° 7803/88 Important notice Individual copies of the present document can be downloaded from: http://www.etsi.org The present document may be made available in more than one electronic version or in print. In any case of existing or perceived difference in contents between such versions, the reference version is the Portable Document Format (PDF). In case of dispute, the reference shall be the printing on ETSI printers of the PDF version kept on a specific network drive within ETSI Secretariat. Users of the present document should be aware that the document may be subject to revision or change of status. Information on the current status of this and other ETSI documents is available at http://portal.etsi.org/tb/status/status.asp If you find errors in the present document, please send your comment to one of the following services: http://portal.etsi.org/chaircor/ETSI_support.asp Copyright Notification No part may be reproduced except as authorized by written permission. -
What Is Ogg Vorbis?
Ogg Vorbis Audio Compression Format Norat Rossello Castilla 5/18/2005 Ogg Vorbis 1 What is Ogg Vorbis? z Audio compression format z Comparable to MP3, VQF, AAC, TwinVQ z Free, open and unpatented z Broadcasting, radio station and television by internet ( = Streaming) 5/18/2005 Ogg Vorbis 2 1 About the name… z Ogg = name of Xiph.org container format for audio, video and metadata z Vorbis = name of specific audio compression scheme designed to be contained in Ogg FOR MORE INFO... https://www.xiph.org 5/18/2005 Ogg Vorbis 3 Some comercial characteristics z The official mime type was approved in February 2003 z Posible to encode all music or audio content in Vorbis z Designed to not be proprietary or patented audio format z Patent and licensed-free z Specification in public domain 5/18/2005 Ogg Vorbis 4 2 Audio Compression z Two classes of compression algorithms: - Lossless - Lossy FOR MORE INFO... http://www.firstpr.com.au/audiocomp 5/18/2005 Ogg Vorbis 5 Lossless algorithms z Produce compressed data that can be decoded to output that is identical to the original. z Zip, FLAC for audio 5/18/2005 Ogg Vorbis 6 3 Lossy algorithms z Discard data in order to compress it better than would normally be possible z VORBIS, MP3, JPEG z Throw away parts of the audio waveform that are irrelevant. 5/18/2005 Ogg Vorbis 7 Ogg Vorbis - Compression Factors z Vorbis is an audio codec that generates 16 bit samples at 16KHz to 48KHz, providing variable bit rates from 16 to 128 Kbps per channel FOR MORE INFO.. -
User Manual Contents
Register your product and get support at 8209 www.philips.com/welcome 48PFS8209 48PFS8209 55PFS8209 55PFS8209 User Manual Contents 6.7 Batteries 28 1 TV Tour 4 6.8 Cleaning 28 1.1 Android TV 4 1.2 Apps 4 7 Gesture Control 30 1.3 Movies and Missed Shows 4 7.1 About Gesture Control 30 1.4 Social Networks 4 7.2 Camera 30 1.5 Pause TV and Recordings 4 7.3 Hand Gestures 30 1.6 Gaming 4 7.4 Gesture Overview 30 1.7 Skype 4 7.5 Tips 30 1.8 3D 5 1.9 Smartphones and Tablets 5 8 Home Menu 32 8.1 Open the Home Menu 32 2 Setting Up 6 8.2 Overview 32 2.1 Read Safety 6 8.3 Notifications 32 2.2 TV Stand and Wall Mounting 6 8.4 Search 32 2.3 Tips on Placement 6 2.4 Power Cable 6 9 Now on TV 33 2.5 Antenna Cable 6 9.1 About Now on TV 33 2.6 Satellite Dish 7 9.2 What You Need 33 9.3 Using Now on TV 33 3 Network 8 3.1 Connect to Network 8 10 Apps 34 3.2 Network Settings 9 10.1 About Apps 34 3.3 Network Devices 10 10.2 Install an App 34 3.4 File Sharing 10 10.3 Start an App 34 10.4 Chrome™ 34 4 Connections 11 10.5 App Lock 34 4.1 Tips on Connections 11 10.6 Widgets 35 4.2 EasyLink HDMI CEC 12 10.7 Remove Apps and Widgets 35 4.3 CI+ CAM with Smart Card 13 10.8 Clear Internet Memory 35 4.4 Set-Top Box - STB 14 10.9 Android Settings 35 4.5 Satellite Receiver 14 10.10 Terms of Use - Apps 36 4.6 Home Theatre System - HTS 15 4.7 Blu-ray Disc Player 16 11 Video on Demand 37 4.8 DVD Player 16 11.1 About Video on Demand 37 4.9 Game Console 17 11.2 Rent a Movie 37 4.10 Gamepad 17 11.3 Streaming 37 4.11 USB Hard Drive 18 12 TV on Demand 38 4.12 USB Keyboard or Mouse -
Audio Codec (1)
Audio Codec (1) Sampling Number of Codec bit rate Description frequency channels General (medium to high bit rate) 640 kbps (max.) Belonging to Dolby Digital, 448 kbps (DVD, supporting multi-channel AC-3 Digital cable TV) -Multiaudio, used on DVD 384 kbps (ATSC) Pulse-code modulation, digital representation of an analogue signal by sampling the Varied magnitude of the signal at PCM -Up to 8 64 kbps (DS0) uniform intervals, used in digital telephone systems and digital audio in computers and CDs AAC - 8 – 96 kHz - Advanced Audio Coding, Adaptive Transform Acoustic 48, 64, 66, 132, 256 Coding, developed by Sony, ATRAC -- kbps used to store information on Minidisc, Digital Theatre System, used 768 – 1536 kbps (6- DTS -Multifor in-movie sound on film and channel) on DVD MP1 384 kbps Varied 1, 2 Lowest encoder complexity 256 – 384 kbps More complex encoder and (excellent) decoder, able to remove more 224 – 256 kbps (very of the signal redundancy and MP2 Varied 1, 2 good) to apply the psychoacoustic 192 – 224 kbps threshold more efficiently (good) 224 – 320 kbps More complex, directed (excellent) towards lower bit rate 32, 41.1, 48 MP3 192 – 224 kbps (very 1, 2 applications kHz good) 128 – 192 (good) Known as MPC, MPEGplus, Musepack 160 – 180 kbps - 2 MPEG+ or MP+, a derivative of MP2 Constant bitrate at Developed by Nippon TwinVQ 80, 96, 112, 128, --Telegraph and Telephone 160, 192 kbps Corporation Open and free codec project Vorbis 45 – 500 kbps - - from the Xiph.org Foundation Constant and Developed by Microsoft WMA variable bit rate -Multi -
Ambisonic Coding with Spatial Image Correction Pierre Mahé, Stéphane Ragot, Sylvain Marchand, Jérôme Daniel
Ambisonic Coding with Spatial Image Correction Pierre Mahé, Stéphane Ragot, Sylvain Marchand, Jérôme Daniel To cite this version: Pierre Mahé, Stéphane Ragot, Sylvain Marchand, Jérôme Daniel. Ambisonic Coding with Spatial Image Correction. European Signal Processing Conference (EUSIPCO) 2020, Jan 2021, Amsterdam (virtual ), Netherlands. hal-03042322 HAL Id: hal-03042322 https://hal.archives-ouvertes.fr/hal-03042322 Submitted on 6 Dec 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Ambisonic Coding with Spatial Image Correction Pierre MAHE´ 1;2 Stephane´ RAGOT1 Sylvain MARCHAND2 Jer´ omeˆ DANIEL1 1Orange Labs, Lannion, France 2L3i, Universite´ de La Rochelle, France [email protected], [email protected], [email protected], [email protected] Abstract—We present a new method to enhance multi-mono re-creates the spatial scene based on a mono downmix and coding of ambisonic audio signals. In multi-mono coding, each these spatial parameters. This method has been extended to component is represented independently by a mono core codec, High-Order Ambisonics (HOA) in HO-DirAC [9] where the this may introduce strong spatial artifacts. The proposed method is based on the correction of spatial images derived from the sound field is divided into angular sectors; for each angular sound-field power map of original and degraded ambisonic sig- sector, one source is extracted. -
Overview of the MPEG 4 Standard
).4%2.!4)/.!,/2'!.)3!4)/.&/234!.$!2$)3!4)/. /2'!.)3!4)/.).4%2.!4)/.!,%$%./2-!,)3!4)/. )3/)%#*4#3#7' #/$).'/&-/6).'0)#452%3!.$!5$)/ )3/)%#*4#3#7'. $ECEMBER-AUI 3OURCE 7'-0%' 3TATUS &INAL 4ITLE -0%' /VERVIEW -AUI6ERSION %DITOR 2OB+OENEN /VERVIEWOFTHE-0%' 3TANDARD %XECUTIVE/VERVIEW MPEG-4 is an ISO/IEC standard developed by MPEG (Moving Picture Experts Group), the committee that also developed the Emmy Award winning standards known as MPEG-1 and MPEG-2. These standards made interactive video on CD-ROM and Digital Television possible. MPEG-4 is the result of another international effort involving hundreds of researchers and engineers from all over the world. MPEG-4, whose formal ISO/IEC designation is ISO/IEC 14496, was finalized in October 1998 and became an International Standard in the first months of 1999. The fully backward compatible extensions under the title of MPEG-4 Version 2 were frozen at the end of 1999, to acquire the formal International Standard Status early 2000. Some work, on extensions in specific domains, is still in progress. MPEG-4 builds on the proven success of three fields: • Digital television; • Interactive graphics applications (synthetic content) ; • Interactive multimedia (World Wide Web, distribution of and access to content) MPEG-4 provides the standardized technological elements enabling the integration of the production, distribution and content access paradigms of the three fields. More information about MPEG-4 can be found at MPEG’s home page (case sensitive): http://www.cselt.it/mpeg . This web page contains links to a wealth of information about MPEG, including much about MPEG-4, many publicly available documents, several lists of ‘Frequently Asked Questions’ and links to other MPEG-4 web pages. -
Input Formats & Codecs
Input Formats & Codecs Pivotshare offers upload support to over 99.9% of codecs and container formats. Please note that video container formats are independent codec support. Input Video Container Formats (Independent of codec) 3GP/3GP2 ASF (Windows Media) AVI DNxHD (SMPTE VC-3) DV video Flash Video Matroska MOV (Quicktime) MP4 MPEG-2 TS, MPEG-2 PS, MPEG-1 Ogg PCM VOB (Video Object) WebM Many more... Unsupported Video Codecs Apple Intermediate ProRes 4444 (ProRes 422 Supported) HDV 720p60 Go2Meeting3 (G2M3) Go2Meeting4 (G2M4) ER AAC LD (Error Resiliant, Low-Delay variant of AAC) REDCODE Supported Video Codecs 3ivx 4X Movie Alaris VideoGramPiX Alparysoft lossless codec American Laser Games MM Video AMV Video Apple QuickDraw ASUS V1 ASUS V2 ATI VCR-2 ATI VCR1 Auravision AURA Auravision Aura 2 Autodesk Animator Flic video Autodesk RLE Avid Meridien Uncompressed AVImszh AVIzlib AVS (Audio Video Standard) video Beam Software VB Bethesda VID video Bink video Blackmagic 10-bit Broadway MPEG Capture Codec Brooktree 411 codec Brute Force & Ignorance CamStudio Camtasia Screen Codec Canopus HQ Codec Canopus Lossless Codec CD Graphics video Chinese AVS video (AVS1-P2, JiZhun profile) Cinepak Cirrus Logic AccuPak Creative Labs Video Blaster Webcam Creative YUV (CYUV) Delphine Software International CIN video Deluxe Paint Animation DivX ;-) (MPEG-4) DNxHD (VC3) DV (Digital Video) Feeble Files/ScummVM DXA FFmpeg video codec #1 Flash Screen Video Flash Video (FLV) / Sorenson Spark / Sorenson H.263 Forward Uncompressed Video Codec fox motion video FRAPS: