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AES CD-ROM with DAC artifacts

Anyone attended the AES meeting in NY? Or obtained this CD otherwise? Is it interesting?

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NEW: CD-ROM "Perceptual Audio Coders - What to listen for"
An CD-ROM on audio coding artifacts was prepared by the members of the AES Technical Committee on Coding of Audio Signals. This is the first educational/tutorial CD-ROM presented by the AES Technical Council on a particular topic, combining background information with specific audio examples. To facilitate the use of high-quality home playback equipment for the reproduction of the audio excerpts, the disk can also be played back on all standard audio CD players. Available via AES publications! -> Not so! :mad:

AES CD-ROM with DAC artifacts

Reply #1
What do you mean by "not so"?
Do you mean that it can't be ordered? At least it's present on my AES order form, so I guess I can order it.

AES CD-ROM with DAC artifacts

Reply #2
Is that an online order form? Could you supply the URL then? 'cause it didn't work for me....

AES CD-ROM with DAC artifacts

Reply #3
No, it's a paper form that comes inside the AES journal.


AES CD-ROM with DAC artifacts

Reply #5
Information about the contens of the AES listening test CD:




Perceptual Audio Coders: What to listen For

An Audio Engineering Society CD-ROM

Produced by the AES Technical Council

Technical Committee on Audio Coding

Editor: Dr. Markus Erne



Welcome to this educational CD-ROM on audio coding artifacts, prepared by members of the AES Technical Committee on Coding of Audio Signals.

This is the first educational/tutorial CD-ROM presented by the AES Technical Council on a particular topic, combining background information with specific audio examples. To facilitate the use of high-quality home playback equipment for the reproduction of the audio excerpts, the disk can also be played back on all standard audio CD players. We hope you find this a useful feature.

Compared to other "classic" disciplines in audio engineering, the field of perceptual audio coding is still a rather young technology, combining elements from digital signal processing, coding theory, and psychoacoustics into one system. It is, however, mostly the psychoacoustics that frequently leads to questions from nonexperts ("how does that work?") and sometimes is even perceived as some kind of "black magic" within the coder. Since many of the members of the AES Technical Committee on Coding of Audio Signals have been confronted with such questions, the idea of an educational publication on this topic soon found broad support within the group once its concept was formulated. It was Markus Erne who proposed the production of a CD-ROM that would offer nonexperts some guidance on the background and sound of the perceptual effects a listener is likely to be confronted with when working with compressed audio signals. Initiated at a Technical Committee meeting at the AES 106th Convention in Munich in 1999, the idea eventually took more than two years and quite a number of Technical Committee meetings to be fully developed and implemented within the committee, finally leading to this publication.

Of course, such projects do not happen all by themselves. They are the fruit of extensive behind-the-scenes hard work by motivated individuals. So let us first of all congratulate Dr. Markus Erne for his outstanding contributions. He inspired us and drove this project to its completion. He spent many hours coordinating the contributions, setting up the electronic infrastructure and, finally, assembling the CD-ROM master. Our thanks also go to all the Technical Committee members whose contributions facilitated the success of the project by
preparing and reviewing both the tutorial chapters and the audio excerpts found on this disk. We would also like to extend our thanks to all the AES officials who have been vital in making things happen, including the officers of the AES Technical Council and the staff of the AES publications office. Final thanks go to the European Broadcasting Union (EBU) and Philip Laven, its technical director, who kindly gave permission for the use
of some audio excerpts from EBU ,s legendary "SQAM" (Sound Quality Assessment Material) recording.

We hope that you will find this CD useful and that it may be the first of a series of similar electronic publications by the AES Technical Council.

Jürgen Herre and James D. Johnston, cochairs
AES Technical Committee on Coding of Audio Signals
August 2001

Section on Pre-Echo

Track
number
track1      Castanets Original
track2      Castanets Coded


Section on Aliasing

Track
number
track3      Quartet Original
track4      Quartet with Aliasing introduced
track5      Flute uncoded
track6      Flute coded with a wavelet-filter of length 4
track7      Flute coded with a wavelet-filter of length 40


Section on Birdies/Bandlimitation

Track
number
track8      Glocken Original
track9      Glocken lowpass-filtered at 12 kHz
track10   Glocken lowpass-filtered at 8 kHz
track11   Glocken lowpass-filtered at 4 kHz
track12   Funky Original
track13   Funky lowpass-filtered at 12 kHz
track14   Funky lowpass-filtered at 8 kHz
track15   Funky lowpass-filtered at 4 kHz   
track16   440 Hz + 4 Harmonics
track17   440 Hz without 1320-Hz tone
track18   440 Hz with time-varying 1320-Hz tone
track19   Gilmour Original
track20   Gilmour slightly distorted decoded signal
track21   Gilmour clearly distorted decoded signal
track22   Gilmour severely distorted decoded signal
track23   Gilmour Original bandlimited to 8k Hz
track24   Gilmour almost birdies-free
track25   Gilmour slightly worse decoded signal
track26   Gilmour severely distorted signal


Section on Speech Reverberation

Track
number
track27   Male speech Original
track28   2048 Filter Bank Bands, Processed (0 dB)
track29   2048 Filter Bank Bands, Processed (-3 dB)
track30   2048 Filter Bank Bands, Processed (-6 dB)
track31   2048 Filter Bank Bands, Processed (-9 dB)
track32   1024 Filter Bank Bands, Processed (0 dB)
track33   1024 Filter Bank Bands, Processed (0 dB)
track34   1024 Filter Bank Bands, Processed (-3 dB)
track35   1024 Filter Bank Bands, Processed (-6 dB)
track36   512 Filter Bank Bands, Processed (0 dB)
track37   512 Filter Bank Bands, Processed (-3 dB)
track38   512 Filter Bank Bands, Processed (-6 dB)
track39   512 Filter Bank Bands, Processed (-9 dB)
track40   256 Filter Bank Bands, Processed (0 dB)
track41   256 Filter Bank Bands, Processed (-3 dB)
track42   256 Filter Bank Bands, Processed (-6 dB)
track43   256 Filter Bank Bands, Processed (-9 dB
track44   Male speech Original
track45   Coded with 1024 subbands




Section on BMLD

Track
number
track46   Probe in-phase, probe level 9 dB below masker
track47   Probe in-phase, probe level 6 dB below masker
track48   Probe out-of-phase, probe level 9 dB below masker
track49   Probe out-of-phase, probe level 6 dB below masker


Section on Stereo-Imaging

Track
number
track50   Original stereo applause sound excerpt
track51   Intensity stereo coded starting from 6 kHz   
track52   Intensity stereo coded starting from 4 kHz
track53   Intensity stereo coded starting from 2 kHz
track54   Intensity stereo coded starting from 1 kHz


Section on Tandem Coding

Track
number
track55   Original stereo funky sound excerpt
track56   Encoded/decoded, generation#1
track57   Encoded/decoded, generation#2
track58   Encoded/decoded, generation#3
track59   Encoded/decoded, generation#4
track60   Encoded/decoded, generation#5
track61   Encoded/decoded, generation#6
track62   Encoded/decoded, generation#7
track63   Encoded/decoded, generation#8
track64   Encoded/decoded, generation#9
track65   Encoded/decoded, generation#10


Section on Speech Coding

Track
number
track66   Male speech Original
track67   Male speech Coded with 8-kHz sample rate
track68   Female speech Original
track69   Female speech Coded with 8-Hz sample rate
track70   Vocal Quartet Original
track71   Vocal Quartet Coded with 8-kHz sample rate
track72   MusicA Original
track73   MusicA Coded with 8-kHz sample rate
track74   Music+speech mixed, Original
track75   Music+speech mixed, coded with 8- kHz sample rate
track76   Male speech Original
track77   Male speech Coded with 16-kHz sample rate
track78   Female speech Original
track79   Female speech Coded with 16-kHz sample rate
track80   Vocal Quartet Original
track81   Vocal Quartet Coded with 16-kHz sample rate
track82   MusicA Original
track83   MusicA Coded with 16-kHz sample rate
track84   Music+speech mixed, Original
track85   Music+speech mixed, coded with 8-kHz sample rate



Section on MPEG Filtering

Track
number
track86   Female speech Original
track87   Female speech bandpass filtered in the MPEG domain
track88   Female speech bandpass filtered in the time domain
track89   Female speech bandpass filtered using subband scaling
track90   Female speech sampling rate conversion in the time domain
track91   Female speech sampling rate conversion in the MPEG domain
track92   Gilmour Original
track93   Gilmour bandpass filtered in the MPEG domain
track94   Female speech bandpass filtered in the time domain
track95   Gilmour bandpass filtered using subband scaling
track96   Gilmour sampling rate conversion in the time domain
track97   Gilmour sampling rate conversion in the MPEG domain

Copyright Statements and Acknowledgements

The Audio Engineering Society gratefully acknowledges the authorizations given to reproduce the following audio excerpts:

Castanets permission given by the European Broadcasting Union (EBU). The excerpt on this CD-ROM is from Track#27 of the SQAM-disk (Cat. No. 422204-2).
Quartet permission given by the European Broadcasting Union (EBU). The excerpt on CD-ROM is from Track #48 of the SQAM-disk (Cat. No. 422204-2).
English Female Speech permission given by the European Broadcasting Union (EBU). The excerpt on this CD-ROM is from Track #49 of the SQAM-disk (Cat. No. 422204-2).
English Male Speech permission given by the European Broadcasting Union (EBU). The excerpt on this CD-ROM is from Track#50 of the SQAM-disk (Cat. No. 422204-2).
German Male Speech permission given by the European Broadcasting Union (EBU). The excerpt on this CD-ROM is from Track#50 of the SQAM-disk (Cat. No. 422204-2).
Gilmour is an item from the compact disk Too many lies, produced and arranged by Brian Gilmour, Switzerland. Permission given by Brian Gilmour.
Glocken is an item produced and arranged by Markus Erne, Switzerland. Permission given by Markus Erne.
Fluteis an item produced and arranged by Markus Erne, Switzerland. Permission given by Markus Erne.
Funky is an item produced and arranged by Jürgen Herre, Germany. Permission given by Jürgen Herre.
Applause is an item produced and arranged by Jim Johnston, AT&T Research Recording, USA. Permission given by AT&T Research Recording.

Mastering of the Audio Compact Disk:
René Zingg, Soundville Studios, Luzern, Switzerland, www.soundville.ch

HTML-Layout:
Ruedi Doser, www.screen4you.com, Switzerland


Copyright © 2001 Audio Engineering Society, Inc.
60 East 42nd Street, Room 2520
New York, NY, 10165-2520 USA
Tel: +1 212 661 8528
Fax: +1 212 682 0477
E-Mail: [/a]
Internet: [url=http://www.aes.org][a href="http://www.aes.org" target="_blank"][a href="http://www.aes.org" target="_blank"][a href="http://www.aes.org" target="_blank"]http://www.aes.org[/url][/a][/a]

AES CD-ROM with DAC artifacts

Reply #6
Did you bought it?

 

AES CD-ROM with DAC artifacts

Reply #7
Quote
Originally posted by Gabriel
Did you bought it?


The information came from Frank.  I'm not sure where he got it.

 
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