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| Module Availability |
Semester 1 |
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| Assessment Pattern |
Coursework: essay with guide length of 3,000 words on either audio watermarking or spatial audio reproduction - 30%
Exam: a 2-hour written paper under examination conditions - 70%
A mark of at least 40% in each Unit of Assessment is required to pass the module.
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| Module Overview |
| This module is intended to introduce the technologies of newer audio systems and techniques, and to expand on recent audio developments which were introduced during the second year of the programme. |
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| Prerequisites/Co-requisites |
• HE1 Audio Engineering and Recording Techniques A & B
• HE2 Audio Engineering 2
• HE1 Acoustics and Audio Signal Processing A & B
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| Module Aims |
• To introduce you to perceptual audio coding systems
• To introduce you to audio watermarking systems
• To further develop understanding of spatial audio perception and its application in a range of reproduction systems
• To further develop understanding of the operation and implications of a range of digital audio interfaces
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| Learning Outcomes |
At the end of this module you should be able to:
• Describe the technical features of a wide range of digital audio interfaces, including AES-3, MADI SDIF-2, ADI and TDIF.
• Describe the general principles of perceptual audio coding.
• Describe how these principles are applied in MPEG 1 and 2 layers 1, 2, and 3.
• Describe the general principles of audio watermarking.
• Describe the relationships between interchannel signal properties, interaural signal properties, and auditory spatial perception.
• Discuss the problems which must be overcome to implement spatial audio reproduction systems.
Transferable Skills:
• Transferrable subject knowledge
• Problem solving
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| Module Content |
The following is an indication of the likely topics to be covered:
• Digital audio interfaces, including AES-3, MADI SDIF-2, ADI and TDIF.
• The main components of perceptual audio coding systems, including appropriate filterbanks, transforms, masking models and scale factors.
• The relationships between interchannel and interaural signal properties for various reproduction systems.
• The main components of audio watermarking systems, including spectrum spreading, phase manipulation, and echo hiding.
• The relationships between the signals arriving at the ears and spatial audio perception.
• The methods available to simulate aspects of spatial audio perception using a range of loudspeaker- and headphone-based techniques.
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| Methods of Teaching/Learning |
• One three-hour lecture per week.
• Guided reading.
• Coursework assignments and feedback.
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| Selected Texts/Journals |
Compulsory Reading:
• None.
Recommended Reading:
• Watkinson J., 2001: The Art of Digital Audio (London: Focal Press).
• Watkinson J., 2004: The MPEG Handbook (London: Focal Press).
• Rumsey F., 2001: Spatial Audio (London: Focal Press).
• Rumsey F., and Watkinson J., 2003: The Interfaces Handbook (London: Focal Press).
• The Journal of the Audio Engineering Society (AES).
Additional Reading:
• Pohlmann K: Principles of Digital Audio (New York: Howard Sams).
• AES3-2000, 2000: Recommended practice for audio engineering — Serial transmission format for two-channel linearly represented digital audio data (New York, Audio Engineering Society).
• AES11-1991, AES Recommended Practice for Digital Audio Engineering — Serial multichannel audio digital interface (MADI) (New York, Audio Engineering Society).
• Marina Bosi et al, 1997: ‘ISO/IEC MPEG-2 Advanced Audio Coding’, Journal of the Audio Engineering Society, Vol 45, No 10, October 1997.
• Ed Neil Gilchrist and Christer Grewin, 1996: Collected papers on Digital Audio Bit-Rate Reduction, (New York: Audio Engineering Society).
• Karlheinz Brandenburg and Gerhard Stoll, et al, 1994: ‘ISO-MPEG-1 Audio: A Generic Standard for Coding of High-Quality Digital Audio’, Journal of the Audio Engineering Society, Vol42, pp 780-792 October 1994.
• ISO/IEC DIS 13818-3 1994: Generic coding of Moving Pictures and Associated Audio – Audio Part (March 1994).
• Craig C. Todd et al, AC3: Flexible Perceptual Coding for Audio Transmission and Storage (San Francisco: Dolby labs).
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| Last Updated |
| Date Last Revised: 14/01/11 |
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