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03 Digital Audio

The document discusses digital audio, including how it works with discrete signals using pulse-code modulation (PCM) to sample and encode analogue audio data. It covers standard sampling rates, bit depths, file sizes, bitrates, and common lossless and lossy audio file formats like WAV, FLAC, MP3, AAC, and MIDI. Key aspects of converting analogue audio to digital using parameters like sampling rate, bit depth, bitrate, and file size are also summarized.

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Aitana Puig Blanes
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51 views23 pages

03 Digital Audio

The document discusses digital audio, including how it works with discrete signals using pulse-code modulation (PCM) to sample and encode analogue audio data. It covers standard sampling rates, bit depths, file sizes, bitrates, and common lossless and lossy audio file formats like WAV, FLAC, MP3, AAC, and MIDI. Key aspects of converting analogue audio to digital using parameters like sampling rate, bit depth, bitrate, and file size are also summarized.

Uploaded by

Aitana Puig Blanes
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
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03 Audio

Sound

• Propagation of a wave of pressure through a


medium.
• Converted to mechanical waves in the ear and
transmited to the brain through electric signals.

2 Audio
Sound

Description of a soundwave.

3 Audio
Sound

Representing a soundwave: wave amplitude


versus time.

4 Audio
Sound

We have two different models for sound


recording and playing:
 Analogic sound
 Digital sound
Digital recording presents some advantages
versus analogic recording, for example, edition
and distribution.

5 Audio
Analogue Audio

Analogue Audio: works with continuous signals


Capture – Store – Play

6 Audio
Digital Audio

Digital Audio: works with discrete signals

7 Audio
Digital Audio

Digital Audio: works with discrete signals


Conversion in capture and play (ADC / DAC)

8 Audio
Analogue – Digital Conversion

Pulse-code Modulation (PCM)


Sample for digitize analogue signals
Lossless encoding of audio data
Used in phones, CD, DVD, HDMI and Blu-ray (LPCM)
Parameters
Sampling rate
8, 44.1, 48, 96 KHz
Bit depth
8, 16 or 24 bits / sample
9 Audio
Analogue – Digital Conversion

Parameters:

Sampling rate: 8, 11.025, 44.1, 48, 96 KHz


Bit depth: 8, 16 o 24 bits.
Bitrate (bits/s)
Bit rate = (sampling rate) x (bit depth) x (channels)
File size (byte multiple)
File size = (bit rate) x (seconds) / 8

10 Audio
Analogue – Digital Conversion

How much storage space do you need to store 1


second of audio data?
Sampling rate 8KHz, bit depth 8 bits/sample:
• mono: ….
• stereo: ….
And 3 minutes?
Sampling rate 48KHz, bit depth 16 bits/sample
• stereo: ….

11 Audio
Analogue – Digital Conversion

What about the bitrate?


Number of bits transmitted per unit of time
Usually measured in kbits/s
Sampling rate 8KHz, bit depth 8 bits/sample:
• mono: ….
• stereo: ….
Sampling rate 48KHz, bit depth 16 bits/sample
• stereo: ….

12 Audio
Standard sampling rates

Telephone: 8 KHz , 8 bits/sample , mono


CD Audio: 44,1 KHz , 16 bits/sample , stereo
About 10 Mbytes per minute
Bit rate 1.411’2 kbits/s
DVD Audio, Blu-Ray
48, 96 y 192 KHz
16, 24 bits/sample
Stereo
Maximum bit rate?
13 Audio
Digital Audio Storage

Specific storages
DAT (Digital Audio Tape)
Compact Disc (CD)
DVD Audio
Minidisc
Computers: hard drives, memories
File Formats
CODEC (Compressor – Decompressor)
14 Audio
Audio File Formats

RAW bit stream


Structured Formats
Container for information with support for different
CODECs
Major groups of audio file formats
Uncompressed audio formats
Formats with lossless compression
Formats with lossy compression

15 Audio
Uncompressed Audio Formats

PCM: major uncompressed audio format


Raw audio stored as .raw or .pcm (rarely used)
Stored as .wav on Windows or as .aiff on Mac OS
Adequate for storage of original recordings
BWF (Broadcast Wave Format)
Created by the European Broadcasting Union as a
successor to WAV
Includes a timestamp reference for easy
synchronization with a separate picture element
16 Audio
Lossless Compressed Audio Formats

They require much more processing time but are


more efficient in space usage
Compression ratio of about 2:1
Useful for storing original recordings:
• Enable the original uncompressed data to be
recreated exactly
Major Formats: ALAC – Apple Lossless, FLAC,
WavPack or Monkey’s Audio

17 Audio
Lossy Compressed Audio Formats

Used in multimedia applications, Internet, video


DVDs and digital television
Compress to a 5% to 20% of the original stream
using psychoacoustics to identify relevant data
Major Formats:
Lossy Windows Media Audio (WMA)
MP3 / Ogg Vorbis
AAC

18 Audio
MP3 / Ogg Vorbis

Designed as part of MPEG-1 and MPEG-2, 1993,


Copyrights!
Selection of Bit rate  Quality
• CBR or VBR (average bit rate)
Reduces accuracy of certain parts of sound:
files 11 times smaller than a CD file, 128kbits/s
Spread on the Internet (P2P)
1999: Napster (mp3)
2008: Spotify (ogg)
19 Audio
MP3 / Ogg Vorbis

Dire Straits
“Sultans of Swing”, length 5’50”
Format kbits/s MBytes
WAV 1411 61.8
Apple Lossless 1411 42.1
MP3 320 13.4
MP3 192 8.0
MP3 128 5.3

20 Audio
AAC

Designed to be the successor of the MP3 format,


1997. Part of MPEG-2 and MPEG-4 standards
Generally achieves better sound quality than
MP3 at similar bit rates
Used in digital radio and television
Default or standard audio format for:
youTube, iPhone, iPod, iPad, iTunes
Nintendo DSi, Wii, PlayStation 3 & Portable
Sony Ericsson, Nokia & Android phones
21 Audio
MIDI

Musical Instrument Digital Interface

22 Audio
MIDI
Musical Instrument Digital Interface: Standard for
completely describing (note, pressure, instrument,
tempo, etc) a musical score.
It was designed for the need of communication
between musical electronical
Sound quality depends on the player.
MIDI files have a lower size than audio files.

23 Audio

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