A standard on low bit rate coding for mono or stereo audio signals was established by MPEG-1 Audio in ISO/IEC 11172-3. This standard is applicable for carrying of high quality digital audio signals associated with or without picture information on s
The Moving Pictures Expert Group (MPEG) started in 1988 as Working Group 11, Subcommittee 29, of ISO/IEC JTC11 with the aim of defining the standards for digital compression of video and audio signals. It took as its basis the ITU-T2 standard for vi
【下载说明】此为此通信类书籍英文原版下载。PDF格式 ，高清【内容提要】Book Descr iptionAn in-depth treatment of algorithms and standards for perceptual coding of high-fidelity audio, this self-contained reference surveys and addresses all aspects of the field. Coverage includes sign
Information technology - Coding of moving pictures and associated audio for digital storage media at up to about 1,5 Mbit/s - Part 3: Audio Technologies de l'information - Codage de l'image animee et du son associe pour les supports de stockage nume
Information technology — Coding of audio-visual objects — Part 15: Advanced Video Coding (AVC) file format Technologies de l'information — Codage des objets audiovisuels — Partie 15: Format de fichier de codage vidéo avancé (AVC)
This International Standard describes the MPEG-2 audio non-backwards compatiblestandard called MPEG-2 Advanced Audio Coding, AAC, a higher quality multichannel standard than achievable while requiring MPEG-1 backwards compatibility. This MPEG-2 AAC
ISO/IEC 14496-3:2009 integrates many different types of audio coding: natural sound with synthetic sound, low bitrate delivery with high-quality delivery and lossless coding, speech with music, complex soundtracks with simple ones, and traditional c
ISO/IEC 14496-3:2009 integrates many different types of audio coding: natural sound with synthetic sound, low bitrate delivery with high-quality delivery and lossless coding, speech with music, complex soundtracks with simple ones, and traditional c
This book includes three parts. The first part covers the basic topics on audio compression, such as quantization, entropy coding, psychoacoustic models, and sound quality assessment. The second part of the book highlights the current most prevalent
