How MP3 Changed the Music Industry

Total Page:16

File Type:pdf, Size:1020Kb

How MP3 Changed the Music Industry Page !1 of !11 " " " " " " " " " " " " " " " " " How MP3 Changed The Music Industry! DMT412 Case Study" Maximilian Crosby" Performance Sound BA Hons" Friday 13th June 2014" " " " " " " " " " " " " " " " © Page !2 of !11 " " MP3 is a type of digital format. It’s without doubt the most popular and most used digital format on the planet. In this essay I will be talking about why that is and how it’s popularity has changed the way we listen to music. I’ll be talking about how it works, it’s history, why people choose MP3 over other digital formats, how it compares to other digital formats, why MP3 was invented in the first place, the effect MP3 has had on the music industry and how we listen to music. I’ll also be talking about why we need digital formats to begin with. " " What is MP3? MPEG-1 or MPEG-2 Audio Layer 3, more commonly referred to as MP3 is a lossy encoding format for digital audio. MP3 was designed purely for audio and was designed by the Moving Picture Experts Group (MPEG) http://tools.ietf.org/html/rfc3003. In short it’s a lossy digital format. All digital formats fall under either one of two categories. Lossy or lossless. What I’m talking about here is the type of compression the digital format is using. Lossy data compression is a type of data encoding methods that uses inexact approximations for representing the content that has been encoded. Audio formats that fall under this category are MP3, AAC (Advanced Audio Coding), WMA (Windows Media Audio) and Voribs. Lossless data compression is a type of data compression that allows the original data to be perfectly reconstructed by the compressed data. Audio formats the fall under this category are WAV (Waveform Audio File Format or WAVE), AIFF (Audio Interchange File Format) and FLAC (Free Lossless Audio Codec) http:// www.dummies.com/how-to/content/digital-audio-file-formats-lossy-and-lossless-code.html." " What are the Pro’s and Con’s of Lossy or Lossless compression? Well the point of Lossy compression is to make the size of any file as small as possible (reduce the amount of data) whilst preserving as much of the original content as possible. The difference between a WAV file and an MP3 file is incredible http://www.jiscdigitalmedia.ac.uk/guide/file- © Page !3 of !11 formats-and-compression/. A WAV file which uses lossless data compression on average is around 41.3 megabytes (10 megabytes per minuet) http://www.theaudioarchive.com/ TAA_Resources_File_Size.htm where as an MP3 which uses lossy data compression on average would be around 5.6 megabytes (1.4 megabytes per minuet) http:// www.audiomountain.com/tech/calculations/Calculations.html. Having a much smaller file size will defiantly benefit you in a lot of ways. For example if you have 16 Gigabytes worth of storage on a device you’d be able to fit around 387 WAV files on your device. If you were to use MP3 though you’d be able to fit 2,857 files! This is one of the biggest reasons MP3 became so popular when it was released. " " Everybody was now about to fit nearly 10x more songs on there portable devices which made the first iPod and other portable music players viable. Without MP3 files we’d have had to wait at least another couple of years before any digital portable devices were released simply because there wouldn’t have been enough storage space. The first generation iPod was released with 5.10 Gigabytes of space with a very big price tag as it was very high end hardware at the time http://ipod.about.com/od/ understandingipodmodels/g/1st_gen_ipod.htm. That’s only 123 WAV files compared to 910 MP3 files. For the general public using MP3 files was a no-brainer. Steve Jobs, CEO at Apple Computer claimed you could fit more than 1,000 MP3’s on the 5.10 Gigabytes of space https://www.youtube.com/watch?v=SYMTy6fchiQ which was true at the time as MP3’s had even less bits per second than nowadays which means MP3’s had an even smaller file size." " What lossless data compression has on its side is simply the quality of audio it can provide. With lossless audio files the minimal amount of data is lost giving the listener the © Page !4 of !11 best quality of audio possible. Typically only music enthusiast or people in the music industry use lossless file types. " " A good example to compare the two is this. Imagine a digital picture straight from the camera. Everything is crisp, sharp and clear but the file size is huge so you want to compress the file for storage. The more you compress the image the more data you’re taking away from the picture and the more data you take away from the picture the less clear it becomes. Suddenly everything gets a little less sharp and the picture starts to look like it’s pixelated. That’s exactly what’s happening to your audio. It’s still the same picture just not as clear. http://www.pcmag.com/encyclopedia/term/46335/lossy-compression" " How does MP3 compare to other file formats? MP3’s main competition is AAC (Advanced Audio Coding). AAC was released two years later than MP3 in 1997 by AT&T Bell Laboratories, Dolby, Sony and Nokia. AAC was designed to be the successor to MP3 with more sample frequencies. AAC has a range of 8 to 96Khz where as MP3 has 16 to 48Khz. the file format can support up to 48 channels where as MPEG-1 can only support 2 and MPEG-2 can only support up to 5.1 surround sound. AAC contains a much more efficient and simpler filter bank, higher coding efficiency for stationary signals, Higher coding accuracy for transient signals. AAC is also much better at handling/compressing frequencies above 16Khz. It has all these advantages by why is AAC still not as popular at MP3? Well these advantages do have a consequence. The typical file size of an AAC file for a 4 minuet song is around 2 megabytes more than MP3. So a bigger file size but not by much. Also, MP3 is so dominating, widely used and standardised that it’s difficult to implement or introduce a new file type to take its place. To make it even worse, on average the general public don’t really care about that little extra quality so nobody bothers to use AAC and sticks with the standard MP3. One of the biggest reasons AAC is so popular is © Page !5 of !11 that Apple Computer opted to use AAC as there standard file format in there music distribution software iTunes which quickly grew to be a massive asset to the music industry. iTunes became famous and with it, AAC. http://ipod.about.com/u/ua/ advanceditunesuse/acc-mp3-better.htm" " Both MP3 and AAC are lossy file formats. But what of the lossless file formats WAV and AIFF? WAV (Waveform Audio File Format or WAVE) was created and released by Microsoft and IBM in 1991. WAV one of the very first digital audio file formats available on Microsoft’s and IBM’s Computer systems. As Microsoft’s and IBM’s computers were increasing in power and as Apple Computer release their audio file format AIFF it became apparent that the two companies needed to respond to Apple’s audio file format. A massive gap in the market had emerged and it needed to be filled fast. The two companies needed to create a competitive lossless audio file format to compete with Apple Computer. Thus WAV was born. WAV files are huge though. Around 10 megabytes per minuet of audio. At the time of WAV’s release Windows based computers dominated the market and with the computers, so did WAV. It still remains today the most used lossless file format. AIFF (Audio Interchange File Format) was created by Apple Computer in 1988 to complement there new Operating System Mac OS X. AIFF was the first widely known lossless file format and defiantly aided the sails of Apple computers at the time. WAV and AIFF fall under an entirely different category than lossy file formats though. WAV and AIFF are the highest quality file formats but they will take up a lot of space on your hard drive. They have a completely different purpose. Lossy file formats to the opposite to that. They try to make there file size as small as possible whilst try to conserve as much of the original audio as possible. http://wiki.audacityteam.org/wiki/WAV" " © Page !6 of !11 MP3 was released in 1995 by the Moving Picture Experts Group http:// mpeg.chiariglione.org/standards. It was approved as a draft of ISO/IEC standard in 1991, Finalised in 1992, and published in 1993. Backwards compatible with MPEG 2 Audio (MPEG 2 part 3) with additional bit rates and sample rates was published in 1995." " MP3 and other lossy file formats take advantage of perceptual limitation of human hearing called Auditory Masking https://ccrma.stanford.edu/~bosse/proj/node9.html. In 1894 an american physicist called Alfred M. Mayer http://www.nasonline.org/publications/ biographical-memoirs/memoir-pdfs/mayer-alfred.pdf reported that a tone could be rendered inaudible by another tone of lower frequency. In 1959 Richard Ehmer proved this theory and described a complete set of auditory curves regarding this phenomenon. After a short amount of time Ernst Terhardt http://www.mmk.e-technik.tu-muenchen.de/persons/ ter.html created an algorithm describing auditory masking with high accuracy.
Recommended publications
  • Speciale: Trends
    Ora anche WEBZINE www.telecomitalia.com/notiziariotecnico SPECIALE: TRENDS Caro Lettore, da quest’anno il Notiziario Tecnico di Telecom Italia è diventato un nuovo webzine social (www.telecomitalia.com/notiziariotecnico), in cui è possibile discutere in realtime con gli autori i vari temi trattati negli articoli, leggere la rivista ricca di hyperlink multimediali, accedere ai canali social più diffusi; tutto questo continuando ad essere una rivista aumentata, cioè arricchita da contenuti speciali interattivi. Con l’APP in Realtà Aumentata “L’Editoria+” di Telecom Italia, è infatti possibile, sul proprio device mobile, visionare videointerviste ad esperti del settore ICT, ricevere approfondimenti multimediali, consultare photo gallery aggiuntive sui vari articoli della rivista. Per accedere a tutti i contenuti aumentati del Notiziario Tecnico è sufficiente: 1) scaricare gratuitamente sul proprio smartphone l’APP “L’Editoria+” di Telecom Italia, disponibile su Apple Store, Google Play (Android) e TIM Store 2) cercare nella rivista l’icona sottostante presente sia sulla copertina del Notiziario Tecnico, che in molte pagine interne; 3) attivare l’APP “L’Editoria+” e, tenendo il telefonino a circa 20-30 cm di distanza, inquadrare con la fotocamera l’immagine di proprio interesse. Con questi pochi passi puoi così visualizzare varie icone 3D, che, cliccate singolarmente, ti faranno accedere a un mondo tutto da esplorare. 1 EDITORIALE SPECIALE TRENDS l termine “Comunicazione” non è più sufficiente a descrivere il nostro settore. Non è comunicazione la molteplicità di usi, applicazioni e servizi resi possibili dall‘enorme flusso di dati che miliardi di dispositivi ogni secondo generano ed utilizzano, che unità di elaborazione e memoria custodiscono e Itrasformano, che connessioni di tutti i tipi raccolgono e distribuiscono.
    [Show full text]
  • Biographies of Computer Scientists
    1 Charles Babbage 26 December 1791 (London, UK) – 18 October 1871 (London, UK) Life and Times Charles Babbage was born into a wealthy family, and started his mathematics education very early. By . 1811, when he went to Trinity College, Cambridge, he found that he knew more mathematics then his professors. He moved to Peterhouse, Cambridge from where he graduated in 1814. However, rather than come second to his friend Herschel in the final examinations, Babbage decided not to compete for an honors degree. In 1815 he co-founded the Analytical Society dedicated to studying continental reforms of Newton's formulation of “The Calculus”. He was one of the founders of the Astronomical Society in 1820. In 1821 Babbage started work on his Difference Engine designed to accurately compile tables. Babbage received government funding to construct an actual machine, but they stopped the funding in 1832 when it became clear that its construction was running well over-budget George Schuetz completed a machine based on the design of the Difference Engine in 1854. On completing the design of the Difference Engine, Babbage started work on the Analytical Engine capable of more general symbolic manipulations. The design of the Analytical Engine was complete in 1856, but a complete machine would not be constructed for over a century. Babbage's interests were wide. It is claimed that he invented cow-catchers for railway engines, the uniform postal rate, a means of recognizing lighthouses. He was also interested in locks and ciphers. He was politically active and wrote many treatises. One of the more famous proposed the banning of street musicians.
    [Show full text]
  • Convention Program
    AAEESS 112244tthh CCOONNVVEENNTTIIOONN PPRROOGGRRAAMM May 17 – 20, 2008 RAI International Exhibition & Congress Centre, Amsterdam The AES has launched a new opportunity to recognize 1University of Salford, Salford, Greater student members who author technical papers. The Stu- Manchester, UK dent Paper Award Competition is based on the preprint 2ICW, Ltd., Wrexham, Wales, UK manuscripts accepted for the AES convention. Forty-two student-authored papers were nominated. This paper gives an account of work carried out The excellent quality of the submissions has made the to assess the effects of metallized film selection process both challenging and exhilarating. polypropylene crossover capacitors on key sonic The award-winning student paper will be honored dur- attributes of reproduced sound. The capacitors ing the convention, and the student-authored manuscript under investigation were found to be mechani- will be published in a timely manner in the Journal of the cally resonant within the audio frequency band, Audio Engineering Society. and results obtained from subjective listening Nominees for the Student Paper Award were required tests have shown this to have a measurable to meet the following qualifications: effect on audio delivery. The listening test methodology employed in this study evolved (a) The paper was accepted for presentation at the from initial ABX type tests with set program AES 124th Convention. material to the final A/B tests where trained test (b) The first author was a student when the work was subjects used program material that they were conducted and the manuscript prepared. familiar with. The main findings were that (c) The student author’s affiliation listed in the manu- capacitors used in crossover circuitry can exhibit script is an accredited educational institution.
    [Show full text]
  • 4. MPEG Layer-3 Audio Encoding
    MPEG Layer-3 An introduction to MPEG Layer-3 K. Brandenburg and H. Popp Fraunhofer Institut für Integrierte Schaltungen (IIS) MPEG Layer-3, otherwise known as MP3, has generated a phenomenal interest among Internet users, or at least among those who want to download highly-compressed digital audio files at near-CD quality. This article provides an introduction to the work of the MPEG group which was, and still is, responsible for bringing this open (i.e. non-proprietary) compression standard to the forefront of Internet audio downloads. 1. Introduction The audio coding scheme MPEG Layer-3 will soon celebrate its 10th birthday, having been standardized in 1991. In its first years, the scheme was mainly used within DSP- based codecs for studio applications, allowing professionals to use ISDN phone lines as cost-effective music links with high sound quality. In 1995, MPEG Layer-3 was selected as the audio format for the digital satellite broadcasting system developed by World- Space. This was its first step into the mass market. Its second step soon followed, due to the use of the Internet for the electronic distribution of music. Here, the proliferation of audio material – coded with MPEG Layer-3 (aka MP3) – has shown an exponential growth since 1995. By early 1999, “.mp3” had become the most popular search term on the Web (according to http://www.searchterms.com). In 1998, the “MPMAN” (by Saehan Information Systems, South Korea) was the first portable MP3 player, pioneering the road for numerous other manufacturers of consumer electronics. “MP3” has been featured in many articles, mostly on the business pages of newspapers and periodicals, due to its enormous impact on the recording industry.
    [Show full text]
  • Petter Sandvik Formal Modelling for Digital Media Distribution
    Petter Sandvik Formal Modelling for Digital Media Distribution Turku Centre for Computer Science TUCS Dissertations No 206, November 2015 Formal Modelling for Digital Media Distribution Petter Sandvik To be presented, with the permission of the Faculty of Science and Engineering at Åbo Akademi University, for public criticism in Auditorium Gamma on November 13, 2015, at 12 noon. Åbo Akademi University Faculty of Science and Engineering Joukahainengatan 3-5 A, 20520 Åbo, Finland 2015 Supervisors Associate Professor Luigia Petre Faculty of Science and Engineering Åbo Akademi University Joukahainengatan 3-5 A, 20520 Åbo Finland Professor Kaisa Sere Faculty of Science and Engineering Åbo Akademi University Joukahainengatan 3-5 A, 20520 Åbo Finland Reviewers Professor Michael Butler Electronics and Computer Science Faculty of Physical Sciences and Engineering University of Southampton Highfield, Southampton SO17 1BJ United Kingdom Professor Gheorghe S, tefănescu Computer Science Department University of Bucharest 14 Academiei Str., Bucharest, RO-010014 Romania Opponent Professor Michael Butler Electronics and Computer Science Faculty of Physical Sciences and Engineering University of Southampton Highfield, Southampton SO17 1BJ United Kingdom ISBN 978-952-12-3294-7 ISSN 1239-1883 To tose who are no longr wit us, and to tose who wil be here afer we are gone i ii Abstract Human beings have always strived to preserve their memories and spread their ideas. In the beginning this was always done through human interpretations, such as telling stories and creating sculptures. Later, technological progress made it possible to create a recording of a phenomenon; first as an analogue recording onto a physical object, and later digitally, as a sequence of bits to be interpreted by a computer.
    [Show full text]
  • Stephanie Preißner, Christina Raasch, and Tim Schweisfurth
    A Service of Leibniz-Informationszentrum econstor Wirtschaft Leibniz Information Centre Make Your Publications Visible. zbw for Economics Preißner, Stephanie; Raasch, Christina; Schweisfurth, Tim Working Paper Is necessity the mother of disruption? Kiel Working Paper, No. 2097 Provided in Cooperation with: Kiel Institute for the World Economy (IfW) Suggested Citation: Preißner, Stephanie; Raasch, Christina; Schweisfurth, Tim (2017) : Is necessity the mother of disruption?, Kiel Working Paper, No. 2097, Kiel Institute for the World Economy (IfW), Kiel This Version is available at: http://hdl.handle.net/10419/172535 Standard-Nutzungsbedingungen: Terms of use: Die Dokumente auf EconStor dürfen zu eigenen wissenschaftlichen Documents in EconStor may be saved and copied for your Zwecken und zum Privatgebrauch gespeichert und kopiert werden. personal and scholarly purposes. Sie dürfen die Dokumente nicht für öffentliche oder kommerzielle You are not to copy documents for public or commercial Zwecke vervielfältigen, öffentlich ausstellen, öffentlich zugänglich purposes, to exhibit the documents publicly, to make them machen, vertreiben oder anderweitig nutzen. publicly available on the internet, or to distribute or otherwise use the documents in public. Sofern die Verfasser die Dokumente unter Open-Content-Lizenzen (insbesondere CC-Lizenzen) zur Verfügung gestellt haben sollten, If the documents have been made available under an Open gelten abweichend von diesen Nutzungsbedingungen die in der dort Content Licence (especially Creative Commons Licences), you genannten Lizenz gewährten Nutzungsrechte. may exercise further usage rights as specified in the indicated licence. www.econstor.eu KIEL WORKING PAPER Is Necessity the Mother of Disruption? No. 2097 December 2017 Stephanie Preißner, Christina Raasch, and Tim Schweisfurth Kiel Institute for the World Economy ISSN 2195–7525 KIEL WORKING PAPER NO.
    [Show full text]
  • Thursday Morning, 29 June 2017 Room 207, 7:55 A.M
    THURSDAY MORNING, 29 JUNE 2017 ROOM 207, 7:55 A.M. TO 12:20 P.M. Session 5aAAa Architectural Acoustics and ASA Committee on Standards: Uncertainty in Laboratory Building Acoustic Standards Matthew V. Golden, Cochair Pliteq, 616 4th Street, NE, Washington, DC 20002 Daniel Urba´n, Cochair A & Z Acoustics, s.r.o., S. H. Vajanske´ho 43, Nove`Za´mky, 94079, Slovakia Chair’s Introduction—7:55 Invited Papers 8:00 5aAAa1. Remarks on the definition of airborne sound insulation and consequences for uncertainties. Volker Wittstock (Physika- lisch-Technische Bundesanstalt, Bundesallee 100, Braunschweig 38118, Germany, [email protected]) Airborne sound insulation is explicitly defined as the ratio between incident and transmitted sound power. Since sound power cannot be measured directly, field quantities like sound pressure are measured to derive the desired sound power. The relation between sound pressure and sound power depends on the nature of the sound field, i.e., to which extent it is a diffuse sound field. This is the main reason why it is impossible to derive an analytic equation for the measurement uncertainty of a sound power and thus of a sound insulation. The current practice is to define standardized test facilities for the measurement of airborne sound insulation. The uncertainty of meas- ured sound insulations is then approximated by the standard deviation of reproducibility determined by interlaboratory tests. This is equivalent to changing the definition of airborne sound insulation. It is no longer the sound power ratio but the mean value of the sound insulation measured in very many or all thinkable laboratories meeting the required specifications.
    [Show full text]
  • A Rhetorical Criticism of Google's European Identification Strategies
    A Rhetorical Criticism of Google’s European Identification Strategies Kristoffer Nordman Field of study: Rhetoric Level: One Year Master Credits: 30 credits Thesis Defence: Spring 2014 Supervisor: Mika Hietanen Department of Literature Master’s Thesis in Rhetoric Contents 1. Introduction ................................................................................................................................. 3 1.1 Overall topic and motives .................................................................................................... 3 1.2.1 Rhetorics and Humanities and the linkages to Law, Politics and Technology ......... 5 1.2.2 Google speaking at the European Commission Innovation Convention................... 8 1.2.3 Background, The European Union and ideology conflicts in Innovation Policy ...... 8 1.3 Previous research................................................................................................................ 12 1.3.1 Rhetorical Criticism and its application to corporate communication ................... 12 1.3.2 Research on Google .................................................................................................... 16 1.3.3 Adjacent fields of interest ........................................................................................... 17 1.4 Objectives ............................................................................................................................ 19 1.4.1 General topic of inquiry ............................................................................................
    [Show full text]
  • Mp3
    <d.w.o> mp3 book: Table of Contents <david.weekly.org> January 4 2002 mp3 book Table of Contents Table of Contents auf deutsch en español {en français} Chapter 0: Introduction <d.w.o> ● What's In This Book about ● Who This Book Is For ● How To Read This Book books Chapter 1: The Hype code codecs ● What Is Internet Audio and Why Do People Use It? mp3 book ● Some Thoughts on the New Economy ● A Brief History of Internet Audio news ❍ Bell Labs, 1957 - Computer Music Is Born pictures ❍ Compression in Movies & Radio - MP3 is Invented! poems ❍ The Net Circa 1996: RealAudio, MIDI, and .AU projects ● The MP3 Explosion updates ❍ 1996 - The Release ❍ 1997 - The Early Adopters writings ❍ 1998 - The Explosion video ❍ sidebar - The MP3 Summit get my updates ❍ 1999 - Commercial Acceptance ● Why Did It Happen? ❍ Hardware ❍ Open Source -> Free, Convenient Software ❍ Standards ❍ Memes: Idea Viruses ● Conclusion page source http://david.weekly.org/mp3book/toc.php3 (1 of 6) [1/4/2002 10:53:06 AM] <d.w.o> mp3 book: Table of Contents Chapter 2: The Guts of Music Technology ● Digital Audio Basics ● Understanding Fourier ● The Biology of Hearing ● Psychoacoustic Masking ❍ Normal Masking ❍ Tone Masking ❍ Noise Masking ● Critical Bands and Prioritization ● Fixed-Point Quantization ● Conclusion Chapter 3: Modern Audio Codecs ● MPEG Evolves ❍ MP2 ❍ MP3 ❍ AAC / MPEG-4 ● Other Internet Audio Codecs ❍ AC-3 / Dolbynet ❍ RealAudio G2 ❍ VQF ❍ QDesign Music Codec 2 ❍ EPAC ● Summary Chapter 4: The New Pipeline: The New Way To Produce, Distribute, and Listen to Music ● Digital
    [Show full text]
  • Ieee Masaru Ibuka Consumer Electronics Award Recipients
    IEEE MASARU IBUKA CONSUMER ELECTRONICS AWARD RECIPIENTS 2018 - LINUS BENEDICT TORVALDS "For his leadership of the development and Fellow, Linux Foundation, San proliferation of Linux.” Francisco, California, USA 2017 - JOHN O’ SULLIVAN “For pioneering contributions to high-speed Electrical Engineer, Taggle Systems, wireless LAN technology.” Everleigh, Australia AND DAVID SKELLERN Chairman, Capital Markets CRC Limited, Sydney, Australia AND TERENCE PERCIVAL Director (Retired), Broadband and the Digital Economy, NICTA, Northbridge, Australia 2016 – STEVEN J. SASSON “For designing and building the first digital President, Steven J. Sasson still camera.” Consulting LLC, Hilton, New York, USA 2015 - MARTIN COOPER “For pioneering contributions to mobile Chair, Dyna LLC, wireless technology, including the first Del Mar, California, USA handheld cellular telephone.” 2014 – NOT AWARDED 2013 - MARTIN DIETZ “For pioneering innovations in digital audio Vice President, EMEA and Business coding, technology leadership, and Strategy, Dolby Laboratories, contributions to the development of High- Nürnberg, Germany Efficiency AAC (“HE-AAC”).” AND KRISTOFER KJÖRLING Principal Member Technical Staff, Dolby Laboratories, Stockholm, Sweden AND LARS LILJERYD Principal Member Technical Staff and Senior Advisor Research, Dolby Laboratories, Stockholm, Sweden 2012 - GISLE BJØNTEGAARD “For leadership and technical contributions Chief Scientist, Tandberg Telecom, to the development of the globally Lysaker Norway deployed video coding standard AND H.264/MPEG4-AVC.”
    [Show full text]
  • International Organization For
    INTERNATIONAL ORGANIZATION FOR STANDARDIZATION ORGANISATION INTERNATIONALE DE NORMALISATION ISO/IEC/JTC 1/SC 29/WG 11 CODING OF MOVING PICTURES AND AUDIO ISO/IEC JTC 1/SC 29/WG 11 N12456 February 2012 – San Jose, CA, USA Source: Convenor of MPEG Status: Approved by WG11 Subject: MPEG Press Release Date: 10 February 2012 High Efficiency Video Coding Achieves first formal milestone toward completion The 99th MPEG meeting was held in San Jose, California, USA, from the 6th to the 10th of February 2012. HEVC reAches formAl ISO/IEC committee drAft stAtus ISO/IEC’s Moving Picture Experts Group (MPEG) is pleased to announce the completion of the ISO/IEC committee draft of the High Efficiency Video Coding (HEVC) standard developed by the Joint Collaborative Team on Video Coding (JCT-VC), a joint team between MPEG and the ITU-T’s Video Coding Experts Group (VCEG). The committee draft was approved for balloting at the 99th MPEG meeting and is the first formal ISO/IEC milestone in the HEVC project. HEVC is expected to be submitted for final standardization approval in January 2013, and will be delivered as Part 2 of a new suite of standards known as MPEG-H (ISO/IEC 23008). The design of HEVC, the next generation of video compression standards, incorporates the latest state-of- the-art technologies and algorithmic advances to address the persistent demand for broader usage of video content, video migration to broadband networks, diversification of mobile devices, ever-higher resolutions for cameras and displays, and increasingly high video quality.
    [Show full text]
  • PRESS RELEASE PRESS RELEASE October 13, 2015 || Page 1 | 3
    FRAUNHOFER INSTITUTE FOR INTEGRATED CIRCUITS IIS PRESS RELEASE PRESS RELEASE October 13, 2015 || Page 1 | 3 mp3 developers to receive esteemed Eduard Rhein Award Erlangen/Munich, October 13, 2015: The Eduard Rhein Foundation has selected Prof. Dr.-Ing. Dr. h.c. Karlheinz Brandenburg, Dr.-Ing. Bernhard Grill and Prof. Dr.-Ing. Jürgen Herre to receive the 2015 Technology Award of the Eduard Rhein Foundation for their significant contributions to the development and implementation of mp3. The audio coding standard forever changed the world of music with its ability to allow music lovers to save their entire music library on a device as small as a matchbox for the very first time. The Eduard Rhein Foundation will present the award at a festive ceremony to be held in the Hall of Fame at the Deutsche Museum in Munich, Germany, on October 17. The 2015 Technology Award will be handed over to Karlheinz Brandenburg, Bernhard Grill and Jürgen Herre, three members of the mp3 team, to honor their “decisive contributions to the development and practical implementation of the mp3 audio coding technique.” Previous recipients of the foundation’s basic research awards include Shannon and Viterbi, absolute giants in their field of research. Naturally, being awarded ourselves is a great honor to us,” explains Jürgen Herre, chair holder for Perceptual Audio Coding at Friedrich-Alexander University Erlangen-Nürnberg (FAU). Dr. Bernhard Grill, head of the Audio & Multimedia division at the Fraunhofer Institute for Integrated Circuits IIS, adds: ”mp3 is the result of a big team’s hard work and persistency to find a way to reduce the size of audio files without risking loss of quality.
    [Show full text]