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Frequency segmentation is important to the quality of encoding spectral data. Segmentation involves breaking the spectral data into units called sub-bands or vectors. Homogeneous segmentation may be suboptimal. Various features are described for providing spectral data intensity dependent segmentation. Finer segmentation is provided for regions of greater spectral variance and coarser segmentation is provided for more homogeneous regions. Sub-bands which have similar characteristics may be merged with very little effect on quality, whereas sub-bands with highly variable data may be better represented if a sub-band is split. Various methods are described for measuring tonality, energy, or shape of a sub-band. These various measurements are discussed in light of making decisions of when to split or merge sub-bands to provide variable frequency segmentation.
1. A method for an audio processing device to encode audio, the method comprising:
transforming an input block of an audio signal into spectral data, wherein the spectral data has a baseband portion and an extended portion;
coding the baseband portion of the spectral data into an output bitstream;
in the extended band portion of the spectral data, determining characteristics of spectral data;
altering an initial configuration by which the extended band portion of the spectral data is segmented into a plurality of sub-bands based on the determined characteristics;
coding the altered configuration of sub-bands comprising data indicating individual sub-bands in the extended band altered from the initial configuration.
2. The method of
3. The method of
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5. The method of
6. The method of
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8. The method of
transforming the audio signal into frequency transform blocks;
time averaging adjacent frequency transform blocks;
determining a median filtered value by median filtering the time averaged adjacent frequency transform blocks;
comparing the time averaged adjacent frequency transform blocks to the median filtered value to obtain a tonality number;
determining a corresponding sub-band related to the adjacent frequency transform blocks; and
assigning a tonal characteristic to the corresponding sub-band if the tonality number is above a threshold which can be represented by an absolute number, a given percentage of the median filtered value, or a percentage of a local standard deviation of the median filtered value.
9. The method of
10. The method of
adjacent sub-bands is at least partially determinative of whether or not to alter the initial configuration.
11. The method of
12. The method of
13. The method of
14. A decoder device comprising:
at least one processor; and
one or more computer-readable storage media containing instructions configured to cause the at least one processor to perform a method, the method comprising,
decoding an encoded baseband from a bitstream,
decoding an encoded extended band from the bitstream, the decoding comprising, receiving data comprising a minimum ratio sub-band size and an altered configuration of sizes of a plurality of variable size sub-bands, determining a smallest sub-band size in the altered configuration by dividing the smallest sub-band size in the default configuration by the minimum ratio sub-band size, and determining an actual sub-band multiplier by adding an expected sub-band multiplier to a coded difference value.
15. A method for an audio processing device to decode a bitstream representing an audio signal, the method comprising:
decoding an encoded baseband from the bitstream; and
decoding an encoded extended band from the bitstream, the decoding comprising,
receiving data comprising a minimum ratio sub-band size and an altered configuration of sizes of a plurality of variable size sub-bands,
determining a smallest sub-band size in the altered configuration by dividing the smallest sub-band size in the default configuration by the minimum ratio sub-band size, and
determining an actual sub-band multiplier by adding an expected sub-band multiplier to a coded difference value.
16. The method of
17. The method of
18. An audio encoder device comprising:
a transformer for transforming an input block of an audio signal into spectral data, wherein the spectral data has a baseband portion and an extended portion;
a base coder for coding the baseband portion of the spectral data;
an extended band coder for,
configuring variable sized sub-bands of the extended band portion of the spectral data by altering an initial sub-band configuration based on characteristics of the spectral data in the extended band,
coding difference values indicating how individual sub-bands differ in size from the initial sub-band configuration,
coding a minimum ratio sub-band size, and
coding sub-bands in the extended band.
19. The audio encoder device of
The technology relates generally to coding of spectral data with a variable sized frequency segmentation of sub-bands.
The coding of audio utilizes coding techniques that exploit various perceptual models of human hearing. For example, many weaker tones near strong ones are masked so they do not need to be coded. In traditional perceptual audio coding, this is exploited as adaptive quantization of different frequency data. Perceptually important frequency data are allocated more bits and thus finer quantization and vice versa.
Perceptual coding, however, can be taken to a broader sense. For example, some parts of the spectrum can be coded with appropriately shaped noise. When taking this approach, the coded signal may not aim to render an exact or near exact version of the original. Rather the goal is to make it sound similar and pleasant when compared with the original.
All these perceptual effects can be used to reduce the bit-rate needed for coding of audio signals. This is because some frequency components do not need to be accurately represented as present in the original signal, but can be either not coded or replaced with something that gives the same perceptual effect as in the original.
Frequency segmentation is important to the quality of encoding spectral data. Segmentation involves breaking the spectral data into units called sub-bands or vectors. A simple segmentation is to uniformly split the spectrum into a desired number of homogeneous segments or sub-bands. Homogeneous segmentation may be suboptimal. There may be regions of the spectrum that can be represented with larger sub-band sizes, and other regions are better represented with smaller sub-band sizes. Various features are described for providing spectral data intensity dependent segmentation. Finer segmentation is provided for regions of greater spectral variance and coarser segmentation is provided for more homogeneous regions.
For example, a default segmentation is provided initially, and an optimization varies the segmentation based on an intensity of spectral data variance. By providing sub-band sizes that are variable, the opportunity is created to size sub-bands to improve coding efficiency. Often, sub-bands which have similar characteristics may be merged with very little effect on quality, whereas sub-bands with highly variable data may be better represented if a sub-band is split. Various methods are described for measuring tonality, energy, or shape of a sub-band. These various measurements are discussed in light of making decisions of when to split or merge sub-bands. However, smaller sub-bands require more sub-bands to represent the same spectral data. Thus, the smaller sub-band sizes require more bits to code the information. In cases when variable sub-band sizes are employed, a sub-band configuration is provided for efficient coding of the spectral data, while considering both the data required to code the sub-bands and the data required to send the sub-band configuration to a decoder.
Spectral data is initially segmented into sub-bands. Optionally, an initial segmentation may be varied to produce an optimal segmentation. Two such initial or default segmentations are called a uniform split segmentation and a non-uniform split segmentation. The higher frequency sub-bands often have less variation to begin with, so fewer larger sub-bands can capture the scale and shape of the band. Additionally, the higher frequency sub-bands have less importance in the overall perceptual distortion because they have less energy and are perceptually less important. Although a default or initial segmentation is often sufficient for coding spectral data, there are signals which benefit from an optimized segmentation.
Starting with a default segmentation (such as a uniform or non-uniform segmentation), sub-bands are split or merged to obtain an optimized segmentation. A decision is made to split a sub-band into two sub-bands, or to merge two sub-bands into one sub-band. A decision to split or merge can be based on various characteristics of the spectral data within an initial sub-band, such as a measurement of intensity of change over a sub-band. In one example, a decision is made to split or merge based on sub-band spectral data characteristics such as tonality or spectral flatness in a sub-band. In one such example, if the ratio of energy is similar between two sub-bands, and if at least one of the bands is non-tonal, then the two adjacent sub-bands are merged. This is because a single shape vector (e.g., codeword) and a scale factor will likely be sufficient to represent the two sub-bands.
In another example, two sub-bands may be defined to have different shape if the shape match significantly improves when the sub-band is split. In one example, a shape match is considered better if the two split sub-bands have a much lower means-square Euclidean difference (MSE) match after the split, as compared to the match before the split.
In another example, an algorithm is run repeatedly until no additional sub-bands are split or merged. It may be beneficial to tag sub-bands as split, merge, or original in order to reduce the chance of an infinite loop. For example, if a sub-band is marked as a split sub-band, then it will not be merged back with a sub-band it was split from.
Additional features and advantages of the invention will be made apparent from the following detailed description of embodiments that proceeds with reference to the accompanying drawings.
The following detailed description addresses audio encoder/decoder embodiments with audio encoding/decoding of audio spectral data using modification of codewords and/or modification of a default frequency segmentation. This audio encoding/decoding represents some frequency components using shaped noise, or shaped versions of other frequency components, or the combination of both. More particularly, some frequency bands are represented as a shaped version or transformation of other bands. This often allows a reduction in bit-rate at a given quality or an improvement in quality at a given bit-rate. Optionally, an initial sub-band frequency configuration can be modified based on tonality, energy, or shape of the audio data.
In the patent application, "Efficient coding of digital media spectral data using wide-sense perceptual similarity," U.S. patent application Ser. No. 10/882,801, filed Jun. 29, 2004, an algorithm is provided which allows the coding of spectral data by representing certain portions of the spectral data as a scaled version of a code-vector, where the code-vector is chosen from either a fixed predetermined codebook (e.g., a noise codebook), or a codebook taken from a baseband (e.g., a baseband codebook). When the codebook is adaptively created, it can consist of previously encoded spectral data.
Various optional features are described for modifying the code-vectors in the codebook according to some rules which allow the code-vector to better represent the data they are representing. The modification can consist of either a linear or non-linear transform, or representing the code-vector as a combination of two or more other original or modified code-vectors. In the case of a combination, the modification can be provided by taking portions of one code-vector and combining it with portions of other code-vectors.
When using code-vector modification, bits have to be sent so that the decoder can apply the transformation to form a new code-vector. Despite the additional bits, codeword modification is still a more efficient coding to represent portions of the spectral data than actual waveform coding of that portion.
The described technology relates to improving the quality of audio coding, and can also be applied to other coding of multimedia such as images, video, and voice. A perceptual improvement is available when coding audio, especially when the portion of the spectrum used to form the codebook (typically the lowband) has different characteristics than the portion being coded using that codebook (typically the highband). For example, if the lowband is "peaky" and thus has values which are far from the mean, and the highband is not, or verse-visa, then this technique can be used to better code the highband using the lowband as a codebook.
A vector is a sub-band of spectral data. If sub-band sizes are variable for a given implementation, this provides the opportunity to size sub-bands to improve coding efficiency. Often, sub-bands which have similar characteristics may be merged with very little effect on quality, whereas sub-bands with highly variable data may be better represented if a sub-band is split. Various methods are described for measuring tonality, energy, or shape of a sub-band. These various measurements are discussed in light of making decisions of when to split or merge sub-bands. However, smaller (split) sub-bands require more sub-bands to represent the same spectral data. Thus, the smaller sub-band sizes require more bits to code the information. In cases when variable sub-band sizes are employed, a sub-band configuration is provided for efficient coding of the spectral data, while considering both the data required to code the sub-bands and the data required to send the sub-band configuration to a decoder. The following paragraphs proceed through more generalized examples to more specific examples.
Further details of an audio encoder/decoder in which the wide-sense perceptual similarity audio spectral data encoding/decoding can be incorporated are described in the following U.S. patent applications: U.S. patent application Ser. No. 10/882,801, filed Jun. 29, 2004; U.S. patent application Ser. No. 10/020,708, filed Dec. 14, 2001; U.S. patent application Ser. No. 10/016,918, filed Dec. 14, 2001; U.S. patent application Ser. No. 10/017,702, filed Dec. 14, 2001; U.S. patent application Ser. No. 10/017,861, filed Dec. 14, 2001; and U.S. patent application Ser. No. 10/017,694, filed Dec. 14, 2001.
The generalized audio encoder (100) includes a frequency transformer (110), a multi-channel transformer (120), a perception modeler (130), a weighter (140), a quantizer (150), an entropy encoder (160), a rate/quality controller (170), and a bitstream multiplexer ["MUX"] (180).
The encoder (100) receives a time series of input audio samples (105). For input with multiple channels (e.g., stereo mode), the encoder (100) processes channels independently, and can work with jointly coded channels following the multi-channel transformer (120). The encoder (100) compresses the audio samples (105) and multiplexes information produced by the various modules of the encoder (100) to output a bitstream (195) in a format such as Windows Media Audio ["WMA"] or Advanced Streaming Format ["ASF"]. Alternatively, the encoder (100) works with other input and/or output formats.
The frequency transformer (110) receives the audio samples (105) and converts them into data in the frequency domain. The frequency transformer (110) splits the audio samples (105) into blocks, which can have variable size to allow variable temporal resolution. Small blocks allow for greater preservation of time detail at short but active transition segments in the input audio samples (105), but sacrifice some frequency resolution. In contrast, large blocks have better frequency resolution and worse time resolution, and usually allow for greater compression efficiency at longer and less active segments. Blocks can overlap to reduce perceptible discontinuities between blocks that could otherwise be introduced by later quantization. The frequency transformer (110) outputs blocks of frequency coefficient data to the multi-channel transformer (120) and outputs side information such as block sizes to the MUX (180). The frequency transformer (110) outputs both the frequency coefficient data and the side information to the perception modeler (130).
The frequency transformer (110) partitions a frame of audio input samples (105) into overlapping sub-frame blocks with time-varying size and applies a time-varying MLT to the sub-frame blocks. Exemplary sub-frame sizes include 128, 256, 512, 1024, 2048, and 4096 samples. The MLT operates like a DCT modulated by a time window function, where the window function is time varying and depends on the sequence of sub-frame sizes. The MLT transforms a given overlapping block of samples x[n],0≦n<subframe_size into a block of frequency coefficients X[k],0≦k<subframe_size/2. The frequency transformer (110) can also output estimates of the complexity of future frames to the rate/quality controller (170). Alternative embodiments use other varieties of MLT. In still other alternative embodiments, the frequency transformer (110) applies a DCT, FFT, or other type of modulated or non-modulated, overlapped or non-overlapped frequency transform, or use sub-band or wavelet coding.
For multi-channel audio data, the multiple channels of frequency coefficient data produced by the frequency transformer (110) often correlate. To exploit this correlation, the multi-channel transformer (120) can convert the multiple original, independently coded channels into jointly coded channels. For example, if the input is stereo mode, the multi-channel transformer (120) can convert the left and right channels into sum and difference channels:
Or, the multi-channel transformer (120) can pass the left and right channels through as independently coded channels. More generally, for a number of input channels greater than one, the multi-channel transformer (120) passes original, independently coded channels through unchanged or converts the original channels into jointly coded channels. The decision to use independently or jointly coded channels can be predetermined, or the decision can be made adaptively on a block by block or other basis during encoding. The multi-channel transformer (120) produces side information to the MUX (180) indicating the channel transform mode used.
The perception modeler (130) models properties of the human auditory system to improve the quality of the reconstructed audio signal for a given bit-rate. The perception modeler (130) computes the excitation pattern of a variable-size block of frequency coefficients. First, the perception modeler (130) normalizes the size and amplitude scale of the block. This enables subsequent temporal smearing and establishes a consistent scale for quality measures. Optionally, the perception modeler (130) attenuates the coefficients at certain frequencies to model the outer/middle ear transfer function. The perception modeler (130) computes the energy of the coefficients in the block and aggregates the energies by 25 critical bands. Alternatively, the perception modeler (130) uses another number of critical bands (e.g., 55 or 109). The frequency ranges for the critical bands are implementation-dependent, and numerous options are well known. For example, see ITU-R BS 1387 or a reference mentioned therein. The perception modeler (130) processes the band energies to account for simultaneous and temporal masking. In alternative embodiments, the perception modeler (130) processes the audio data according to a different auditory model, such as one described or mentioned in ITU-R BS 1387.
The weighter (140) generates weighting factors (alternatively called a quantization matrix) based upon the excitation pattern received from the perception modeler (130) and applies the weighting factors to the data received from the multi-channel transformer (120). The weighting factors include a weight for each of multiple quantization bands in the audio data. The quantization bands can be the same or different in number or position from the critical bands used elsewhere in the encoder (100). The weighting factors indicate proportions at which noise is spread across the quantization bands, with the goal of minimizing the audibility of the noise by putting more noise in bands where it is less audible, and vice versa. The weighting factors can vary in amplitudes and number of quantization bands from block to block. In one implementation, the number of quantization bands varies according to block size; smaller blocks have fewer quantization bands than larger blocks. For example, blocks with 128 coefficients have 13 quantization bands, blocks with 256 coefficients have 15 quantization bands, up to 25 quantization bands for blocks with 2048 coefficients. These block-band proportions are only exemplary. The weighter (140) generates a set of weighting factors for each channel of multi-channel audio data in independently or jointly coded channels, or generates a single set of weighting factors for jointly coded channels. In alternative embodiments, the weighter (140) generates the weighting factors from information other than or in addition to excitation patterns.
The weighter (140) outputs weighted blocks of coefficient data to the quantizer (150) and outputs side information such as the set of weighting factors to the MUX (180). The weighter (140) can also output the weighting factors to the rate/quality controller (140) or other modules in the encoder (100). The set of weighting factors can be compressed for more efficient representation. If the weighting factors are lossy compressed, the reconstructed weighting factors are typically used to weight the blocks of coefficient data. If audio information in a band of a block is completely eliminated for some reason (e.g., noise substitution or band truncation), the encoder (100) may be able to further improve the compression of the quantization matrix for the block.
The quantizer (150) quantizes the output of the weighter (140), producing quantized coefficient data to the entropy encoder (160) and side information including quantization step size to the MUX (180). Quantization introduces irreversible loss of information, but also allows the encoder (100) to regulate the bit-rate of the output bitstream (195) in conjunction with the rate/quality controller (170). In
The entropy encoder (160) losslessly compresses quantized coefficient data received from the quantizer (150). For example, the entropy encoder (160) uses multi-level run length coding, variable-to-variable length coding, run length coding, Huffman coding, dictionary coding, arithmetic coding, LZ coding, a combination of the above, or some other entropy encoding technique.
The rate/quality controller (170) works with the quantizer (150) to regulate the bit-rate and quality of the output of the encoder (100). The rate/quality controller (170) receives information from other modules of the encoder (100). In one implementation, the rate/quality controller (170) receives estimates of future complexity from the frequency transformer (110), sampling rate, block size information, the excitation pattern of original audio data from the perception modeler (130), weighting factors from the weighter (140), a block of quantized audio information in some form (e.g., quantized, reconstructed, or encoded), and buffer status information from the MUX (180). The rate/quality controller (170) can include an inverse quantizer, an inverse weighter, an inverse multi-channel transformer, and, potentially, an entropy decoder and other modules, to reconstruct the audio data from a quantized form.
The rate/quality controller (170) processes the information to determine a desired quantization step size given current conditions and outputs the quantization step size to the quantizer (150). The rate/quality controller (170) then measures the quality of a block of reconstructed audio data as quantized with the quantization step size, as described below. Using the measured quality as well as bit-rate information, the rate/quality controller (170) adjusts the quantization step size with the goal of satisfying bit-rate and quality constraints, both instantaneous and long-term. In alternative embodiments, the rate/quality controller (170) works with different or additional information, or applies different techniques to regulate quality and bit-rate.
In conjunction with the rate/quality controller (170), the encoder (100) can apply noise substitution, band truncation, and/or multi-channel rematrixing to a block of audio data. At low and mid-bit-rates, the audio encoder (100) can use noise substitution to convey information in certain bands. In band truncation, if the measured quality for a block indicates poor quality, the encoder (100) can completely eliminate the coefficients in certain (usually higher frequency) bands to improve the overall quality in the remaining bands. In multi-channel rematrixing, for low bit-rate, multi-channel audio data in jointly coded channels, the encoder (100) can suppress information in certain channels (e.g., the difference channel) to improve the quality of the remaining channel(s) (e.g., the sum channel).
The MUX (180) multiplexes the side information received from the other modules of the audio encoder (100) along with the entropy encoded data received from the entropy encoder (160). The MUX (180) outputs the information in WMA or in another format that an audio decoder recognizes.
The MUX (180) includes a virtual buffer that stores the bitstream (195) to be output by the encoder (100). The virtual buffer stores a pre-determined duration of audio information (e.g., 5 seconds for streaming audio) in order to smooth over short-term fluctuations in bit-rate due to complexity changes in the audio. The virtual buffer then outputs data at a relatively constant bit-rate. The current fullness of the buffer, the rate of change of fullness of the buffer, and other characteristics of the buffer can be used by the rate/quality controller (170) to regulate quality and bit-rate.
With reference to
The decoder (200) receives a bitstream (205) of compressed audio data in WMA or another format. The bitstream (205) includes entropy encoded data as well as side information from which the decoder (200) reconstructs audio samples (295). For audio data with multiple channels, the decoder (200) processes each channel independently, and can work with jointly coded channels before the inverse multi-channel transformer (260).
The DEMUX (210) parses information in the bitstream (205) and sends information to the modules of the decoder (200). The DEMUX (210) includes one or more buffers to compensate for short-term variations in bit-rate due to fluctuations in complexity of the audio, network jitter, and/or other factors.
The entropy decoder (220) losslessly decompresses entropy codes received from the DEMUX (210), producing quantized frequency coefficient data. The entropy decoder (220) typically applies the inverse of the entropy encoding technique used in the encoder.
The inverse quantizer (230) receives a quantization step size from the DEMUX (210) and receives quantized frequency coefficient data from the entropy decoder (220). The inverse quantizer (230) applies the quantization step size to the quantized frequency coefficient data to partially reconstruct the frequency coefficient data. In alternative embodiments, the inverse quantizer applies the inverse of some other quantization technique used in the encoder.
The noise generator (240) receives from the DEMUX (210) indication of which bands in a block of data are noise substituted as well as any parameters for the form of the noise. The noise generator (240) generates the patterns for the indicated bands, and passes the information to the inverse weighter (250).
The inverse weighter (250) receives the weighting factors from the DEMUX (210), patterns for any noise-substituted bands from the noise generator (240), and the partially reconstructed frequency coefficient data from the inverse quantizer (230). As necessary, the inverse weighter (250) decompresses the weighting factors. The inverse weighter (250) applies the weighting factors to the partially reconstructed frequency coefficient data for bands that have not been noise substituted. The inverse weighter (250) then adds in the noise patterns received from the noise generator (240).
The inverse multi-channel transformer (260) receives the reconstructed frequency coefficient data from the inverse weighter (250) and channel transform mode information from the DEMUX (210). If multi-channel data is in independently coded channels, the inverse multi-channel transformer (260) passes the channels through. If multi-channel data is in jointly coded channels, the inverse multi-channel transformer (260) converts the data into independently coded channels. If desired, the decoder (200) can measure the quality of the reconstructed frequency coefficient data at this point.
The inverse frequency transformer (270) receives the frequency coefficient data output by the multi-channel transformer (260) as well as side information such as block sizes from the DEMUX (210). The inverse frequency transformer (270) applies the inverse of the frequency transform used in the encoder and outputs blocks of reconstructed audio samples (295).
The audio encoder (300) avoids the muffled/low-pass effect by also coding the omitted spectral coefficients using adaptive sub-band configuration and/or modified codewords with wide-sense perceptual similarity. The spectral coefficients (referred to here as the "extended band spectral coefficients") that were omitted from coding with the baseband coder (340) are coded by extended band coder (350) as shaped noise, or shaped versions of other frequency components, or two or more combinations of the two. More specifically, the extended band spectral coefficients are divided into a number of sub-bands of various and potentially different sizes (e.g., of typically 16, 32, 64, 128, 256, . . . , etc. spectral coefficients), which are coded as shaped noise or shaped versions of other frequency components. This adds a perceptually pleasing version of the missing spectral coefficient to give a full richer sound. Even though the actual spectrum may deviate from the synthetic version resulting from this encoding, this extended band coding provides a similar perceptual effect as in the original.
In some implementations, the width of the base-band (i.e., number of baseband spectral coefficients coded using the baseband coder 340) as well as the size or number of extended bands can be varied from a default or initial configuration. In such case, the width of the baseband and/or number (or size) of extended bands coded using the extended band coder (350) can be coded (360) into the output stream (195).
If desirable, the partitioning of the bitstream between the baseband spectral coefficients and extended band coefficients in the audio encoder (300) is done to ensure backward compatibility with existing decoders based on the coding syntax of the baseband coder, such that such existing decoder can decode the baseband coded portion while ignoring the extended portion. The result is that newer decoders have the capability to render the full spectrum covered by the extended band coded bitstream, whereas the older decoders may render the portion which the encoder chose to encode with the existing syntax. The frequency boundary (e.g., the boundary between baseband and extended portion) can be flexible and time-varying. It can either be decided by the encoder based on signal characteristics and explicitly sent to the decoder, or it can be a function of the decoded spectrum, so it does not need to be sent. Since the existing decoders can only decode the portion that is coded using the existing (baseband) codec, this means that the lower portion of the spectrum (e.g., baseband) is coded with the existing codec and the higher portion is coded using the extended band coding with modified codewords using wide-sense perceptual similarity.
In other implementations where such backward compatibility is not needed, the encoder then has the freedom to choose between the conventional baseband coding and the extended band (with modified codewords and wide-sense perceptual similarity approach) solely based on signal characteristics and the cost of encoding without considering the frequency boundary location. For example, although it is highly unlikely in natural signals, it may be better to encode the higher frequency with the traditional codec and the lower portion using the extended codec.
Alternatively, three overlapping bands with 50% overlap can be used, coding 0 to 63 as one band, 32 to 95 as another band, and 64 to 127 as the third band. Various other dynamic methods for frequency segmentation of sub-bands will be discussed later in this specification.
For each of these fixed or dynamically optimized sub-bands, the extended band coder (350) encodes the band using two parameters. One parameter ("scale parameter") is a scale factor which represents the total energy in the band. The other parameter ("shape parameter," generally in the form of a motion vector) is used to represent the shape of the spectrum within the band. Optionally, as will be discussed, the shape parameter will require one or more shape transform bits indicating an exponent, a vector direction (e.g., forward/reverse), and/or a coefficient sign transformation.
As illustrated in the flow chart of
The extended band coder (350) then determines the shape parameter. The shape parameter is usually a motion vector that indicates to simply copy over a normalized version of the spectrum from a portion of the spectrum that has already been coded (i.e., a portion of the baseband spectral coefficients coded with the baseband coder). In certain cases, the shape parameter might instead specify a normalized random noise vector or simply a vector for a spectral shape from a fixed codebook. Copying the shape from another portion of the spectrum is useful in audio since typically in many tonal signals, there are harmonic components which repeat throughout the spectrum. The use of noise or some other fixed codebook allows for a low bit-rate coding of those components which are not well represented in the baseband-coded portion of the spectrum. Accordingly, the process (400) provides a method of coding that is essentially a gain-shape vector quantization coding of these bands, where the vector is the frequency band of spectral coefficients, and the codebook is taken from the previously coded spectrum and can include other fixed vectors or random noise vectors, as well. That is each sub-band coded by the extended band coder is represented as a*X, where 'a' is a scale parameter and 'X' is a vector represented by the shape parameter, and can be a normalized version of (any) previously coded spectral coefficients, a vector from a fixed codebook, or a random noise vector. Also, if this copied portion of the spectrum is added to a traditional coding of that same portion, then this addition is a residual coding. This could be useful if a traditional coding of the signal gives a base representation (for example, coding of the spectral floor) that is easy to code with a few bits, and the remainder is coded with the new algorithm.
More specifically, at action (430), the extended band coder (350) searches the baseband (or other previously coded) spectral coefficients for a vector in the baseband of spectral coefficients having a similar shape as the current sub-band. As stated previously, a "codeword from the baseband" also includes sources outside the present baseband. The extended band coder determines which portion of the baseband (or other previous band) is most similar to the current sub-band using a least-means-square comparison to a normalized version of each portion of the baseband. Optionally, a linear or non-linear transform (431) is applied to one or more portions of the spectrum in the baseband (or other previous band) in order to create a larger universe of shapes for matching. Again, the baseband includes the library and other previous bands when discussing sources for codewords. Optionally, the extended band encoder performs one or more linear or non-linear transforms on the baseband and/or fixed codebooks in order to provide a larger library of available shapes for matching. For example, consider a case in which there are 256 spectral coefficients produced by the transform (320) from an input block, the extended band sub-bands (in this example) are each 16 spectral coefficients in width, and the baseband coder encodes the first 128 spectral coefficients (numbered 0 through 127) as the baseband. Then, the search performs a least-means-square comparison of the normalized 16 spectral coefficients in each extended band to a normalized version of each 16 spectral coefficient portion of the baseband (or any previously coded band) beginning at coefficient positions 0 through 111 (i.e., a total of 112 possible different spectral shapes coded in the baseband in this case). The baseband portion having the lowest least-mean-square value is considered closest (most similar) in shape to the current extended band. Optionally, the search performs the least-means-square comparison on the linear or non-linear transformations (431) of the baseband (or other bands). At action (432), the extended band coder checks whether this most similar band out of the baseband spectral coefficients is sufficiently close in shape to the current extended band (e.g., the least-mean-square value is lower than a pre-selected threshold). If so, then the extended band coder determines a motion vector pointing to this closest matching band of baseband spectral coefficients at action (434) and optionally, information about a linear or non-linear transformation on the best match motion vector. The motion vector can be the starting coefficient position in the baseband (e.g., 0 through 111 in the example). Other methods (such as checking tonality vs. non-tonality) can also be used to see if the most similar band out of the baseband (or other bands) spectral coefficients is sufficiently close in shape to the current extended band.
If no sufficiently similar portion of the baseband is found, the extended band coder then looks to a fixed codebook (440) of spectral shapes to represent the current sub-band. The extended band coder searches this fixed codebook (440) for a similar spectral shape to that of the current sub-band. Optionally, the search performs the least-means-square comparisons on the linear or non-linear transformations (431) of the fixed codebook. If found, the extended band coder uses its index in the code book as the shape parameter at action (444) and optionally, information about a linear or non-linear transform on the best match index in the codebook. Otherwise, at action (450), the extended band coder may also determine to represent the shape of the current sub-band as a normalized random noise vector.
In alternative implementations, the extended band encoder can decide whether the spectral coefficients can be represented using noise even before searching for the best spectral shape in the baseband. This way even if a close enough spectral shape is found in the baseband, the extended band coder will still code that portion using random noise. This can result in fewer bits when compared to sending the motion vector corresponding to a position in the baseband.
At action (460), extended band coder encodes the scale and shape parameters (i.e., scaling factor and motion vector in this implementation, and optionally, linear or non-linear transform information) using predictive coding, quantization and/or entropy coding. In one implementation, for example, the scale parameter is predictive coded based on the immediately preceding extended sub-band. (The scaling factors of the sub-bands of the extended band typically are similar in value, so that successive sub-bands typically have scaling factors close in value.) In other words, the full value of the scaling factor for the first sub-band of the extended band is encoded. Subsequent sub-bands are coded as their difference of their actual value from their predicted value (i.e., the predicted value being the preceding sub-band's scaling factor). For multi-channel audio, the first sub-band of the extended band in each channel is encoded as its full value, and subsequent sub-bands' scaling factors are predicted from that of the preceding sub-band in the channel. In alternative implementations, the scale parameter also can be predicted across channels, from more than one other sub-band, from the baseband spectrum, or from previous audio input blocks, among other variations.
The extended band coder further quantizes the scale parameter using uniform or non-uniform quantization. In one implementation, a non-uniform quantization of the scale parameter is used, in which a log of the scaling factor is quantized uniformly to 128 bins. The resulting quantized value is then entropy coded using Huffman coding.
For the shape parameter, the extended band coder also uses predictive coding (which may be predicted from the preceding sub-band as for the scale parameter), quantization to 64 bins, and entropy coding (e.g., with Huffman coding).
In some implementations, the extended band sub-bands can be variable in size. In such cases, the extended band coder also encodes the configuration of the extended band.
More particularly, in one example implementation, the extended band coder encodes the scale and shape parameters as shown by the pseudo-code listing in Table 1. More than one scale or shape parameter may be sent for the multiple codeword case.
In the above code listing, the coding to specify the band configuration (i.e., number of bands, and their sizes) depends on the number of spectral coefficients to be coded using the extended band coder. The number of coefficients coded using the extended band coder can be found using the starting position of the extended band and the total number of spectral coefficients (number of spectral coefficients coded using extended band coder=total number of spectral coefficients−starting position). In one example, the band configuration is then coded as an index into listing of all possible configurations allowed. This index is coded using a fixed length code with n_config=log2(number of configurations) bits. Configurations allowed is a function of number of spectral coefficients to be coded using this method. For example, if 128 coefficients are to be coded, the default configuration is 2 bands of size 64. Other configurations might be possible, for example, Table 2 shows a listing of band configurations for 128 spectral coefficients.
Thus, in this example, there are 5 possible band configurations. In such a configuration, a default configuration for the coefficients is chosen as having 'n' bands. Then, allowing each band to either split or merge (only one level), there are 5(n/2) possible configurations, which requires (n/2)log2(5) bits to code. In other implementations, variable length coding can be used to code the configuration. No specific method of extended band configuration is required to benefit from codeword modification. Additionally, various other methods for extended band configuration are discussed later that do not require any such codeword modification methods in order to be beneficial.
As discussed above, the scale factor is coded using predictive coding, where the prediction can be taken from previously coded scale factors from previous bands within the same channel, from previous channels within same tile, or from previously decoded tiles. For a given implementation, the choice for the prediction can be made by looking at which previous band (within same extended band, channel or tile (input block)) provided the highest correlations. In one implementation example, the band is predictive coded as follows:
Let the scale factors in a tile be x[i][j], where i=channel index, j=band index.
For i==0 && j==0 (first channel, first band), no prediction.
For i!=0 && j==0 (other channels, first band), prediction is x[0][0] (first channel, first band)
For i!=0 &&j!=0 (other channels, other bands), prediction is x[i][j−1] (same channel, previous band).
In the above code table, the "shape parameter" is a motion vector specifying the location of previous codeword of spectral coefficients, or vector from fixed codebook, or noise. The previous spectral coefficients can be from within same channel, or from previous channels, or from previous tiles. The shape parameter is coded using prediction, where the prediction is taken from previous locations for previous bands within same channel, or previous channels within same tile, or from previous tiles. Any linear or non-linear transform can be applied to a shape. The "transformation" parameter indicates such transform information, index to transform information, or etc.
As shown in
A baseband (702) size may vary, and a resulting extended band (704) may vary based on the baseband. The extended band may be divided into various and multiple size sub-band sizes (706).
In this example, a baseband segment (from this or any previous band) is used to identify a codeword (708) to simulate a sub-band in the extended band (710). The codeword (708) can be linearly transformed or non-linearly transformed in order to create other shapes (e.g., other series of coefficients) that might more closely provide a model for the vector (710) being coded.
Thus, plural segments in the baseband are used as potential models (e.g., a codebook, library, or dictionary of codewords) to code data in the extended band. Instead of sending the actual coefficients (710) in a sub-band in the extended band an identifier such as a motion vector offset (712), is sent to the encoder to represent the data for the extended band. However, sometimes there are no close matches in the baseband for data being modeled in a sub-band. This may be because of low bitrate constraints that allow a limited size baseband. As stated, the baseband size (702) as relative to the extended band may vary based on computing resources such as time, output device, or bandwidth.
In another example, another codebook (716) is provided or available to the encoder/decoder, and a best match identifier is provided as an index to a closest match codeword (718) in the codebook. Additionally, in cases where random noise is desirable as a codeword, a portion of the bitstream (such as bits from the baseband) can be used to similarly seed a random number generator at both the encoder and decoder.
These various methods can be used to create a library or dictionary of codewords to provide a larger universe of codewords for matching a shape, for coding a sub-band (710) or other vector, so that the coefficients themselves can be modeled via a motion vector (712) instead of quantized individually.
In one example, an encoder first determines a codeword in the baseband that is a closest match to a sub-band being encoded. For example, a least-means-square comparison of coefficients in the baseband can be used to determine a best match. For example, after comparing (708) to (710), the comparison moves one coefficient down the spectrum, one coefficient at a time, to obtain another codeword to compare to (710). Then when a closest match is found, in one example, the shape of the best match codeword is varied by non-linear transform to see if the match can be improved. For example, using an exponent transform on the coefficients of a best match codeword can provide refinement on the match. There are two methods to finding the best code-word match and exponent. In the first method, a best code-word is found typically using the Euclidean distance as the metric (MSE). After the best code-word is found, the best exponent is found. The best exponent is found using one of the following two methods.
One method is to try all the exponents available and see which one gives the minimum Euclidean distance, the other method is to try exponents to see which exponent gives the best histogram or probability mass function (pmf) match. The pmf match can be computed using the second moment about the mean (the variance) for the pmf of the original vector and for each of the exponentiated vectors. The one with the closest match is chosen to be the best exponent.
The second method of finding the best code-word and exponent match is to do an exhaustive search using many combinations of code-words and exponents.
If, for example, X0.5 provides a better comparison than X1.0, a sub-band is coded using the offset to that codeword in the baseband (712), along with a transformation (linear or non-linear) xp, where one or more bits indicating p=0.5 is sent to and applied at the decoder. In this example, the search proceeded with finding a codeword first, and then varying with a transform, but no such order is required in practice.
In another example, an exhaustive search is performed along the baseband and/or other codebooks to find a best match. For example, a search is performed comprising an exhaustive search along the baseband of all combinations of (exponential transform (p=0.5, 1.0, 2.0), sign transform (+/−), direction (forward/reverse). Similarly, this exhaustive search may be performed along the noise codebook spectrum, or codewords.
In general, a close match can be provided by determining a lowest variance between the sub-band being coded and the codeword and transformation selected to model a sub-band. An identifier or coded indication of the codeword and/or transform, along with other information such as a scale factor, is coded in the bitstream and provided to the encoder.
In one example, two different codewords are utilized for providing a sub-band encoding. For example, given two codewords b and n of length u, are provided b=<b0, b1, . . . bu> and n=<n0, n1, . . . nu> to better describe a sub-band being coded. Vector b may be from the baseband, any prior band, a noise codebook, or a library, and vector n may similarly be from any such source. A rule is provided for interleaving coefficients from each two or more codewords b and n, such that the decoder implicitly or explicitly knows which coefficient to take from the codewords b and n. The rule may be provided in the bitstream or may be known by the decoder implicitly.
The rule and two or more vectors are used at the decoder to create the sub-based s=<n0, b1, n2, n3, b4, . . . nu>. For example, a rule is established based on the order of the codewords sent, and a percentage value "a". The encoder delivers information in the order (b, n, a). The decoder translates the information into a requirement to take any coefficient from the first vector b if that coefficient is less than 'a' multiplied by the highest coefficient value M in vector b. Thus, if a coefficient b1 is greater than a*M, then b1 is in vector s, otherwise n1 is in s. Another rule may require that in order for b1 to be in vector s, it has to be part of a group of T adjacent coefficients with a value less than a*M. If a default value for 'a' is set, then 'a' does not need to be sent to the decoder, since it is implicit.
Thus, a decoder can send two or more codeword identifiers, and optionally, a rule to decode which coefficients to take to create the sub-band. The encoder will also send scale factor information for codewords, and optionally if relevant, any other codeword transform information since b and/or n may be linearly or non-linearly transformed.
Using two or more codewords b and n above, an encoder would send an identifier (e.g., a motion vector, codebook index, etc.) of the codewords, a rule (e.g., index to rulebook) or the rule will be implicitly known by both the encoder and decoder, any additional transform information (e.g., xp, p=0.5, assuming b or n also requires additional transform), and information about scale factors (e.g., sb, sn, etc.). Scale factor information may also be a scale factor and a ratio (e.g., sb, sb/sn, etc.). With one vector scale factor and a ratio, the decoder will have enough information to compute the other scale factor.
Under certain conditions, such as low bitrate applications, the baseband itself may not be well coded (e.g., several consecutive or intermingled zero coefficients). In one such example, the baseband represents peaks of intensity well, but does not well represent subtle variances at coefficients representing lower intensities between peaks. In such a case, the peaks of a codeword from the baseband itself are selected as a first vector (e.g., b), and the zero coefficients, or very low relative coefficients are replaced with a second vector (e.g., n) that more closely resembles the low energy between peaks. Thus, the two codeword method can be used on the baseband or sub-band of the baseband, to provide baseband enhancement. As before, the rule used for selecting from the first, or second vector, may be explicit and sent to the decoder, or implicit. In some cases the second vector may best be provided via a noise codeword.
A baseband, previous band or other codebook provides a library of consecutive coefficients, each coefficient potentially serving as the first coefficient in a series of consecutive coefficients that may serve as a codeword. A best match codeword in the library is identified and sent to a decoder, along with a scale factor, and is used by the decoder to create a sub-band in the extended sub-band.
Optionally, one or more codewords in the library are transformed to provide a larger universe of available codewords to find a best match for a shape being coded. In mathematics, a universe of linear and non-linear transformations exists for shapes, vectors, and matrices. For example, a vector can be reversed, negated across an axis, and shape can be otherwise altered with linear and non-linear transformations such as by applying root functions, exponents, etc. A search is performed on the library of codewords, including applying one or more linear or non-linear transforms on the codewords, and a closest match codeword is identified, along with any transform. An identifier of a best match, codeword, a scale factor, and a transform identifier is sent to a decoder. A decoder receives the information and reconstructs a sub-band in the extended band.
Optionally, an encoder selects two or more codewords that together best represents a sub-band being coded and/or enhanced. A rule is used to select or interleave individual coefficient positions in the sub-band being coded. The rule is implicit or explicit. The sub-band being coded may be in the extended band, or may be a sub-band in the baseband being enhanced. The two or more codewords being used may be from a baseband or any other codebook, and one or more of the codewords may be transferred linearly or non-linearly.
A signal called "an envelope" (e.g., Env(i)) is generated by running a weighted average on the input signal x(i) (e.g., audio, video, etc.) as follows:
Given a codebook consisting of code vectors, a modification of the code-vectors in the codebook is proposed such that they better represent the vector being coded. The codebook/codeword modification can consist of any combination of one or more of the following transformations.
The information relating to which transformation, if any, is used and which code-vectors are used in the transformation is either sent to the decoder in the bitstream or computed at the decoder using knowledge that it already has (data that it has already decoded). A vector is typically a certain band of spectral coefficients which are to be coded.
Three examples in particular are given for codeword modifications:
(1) exponentiation applied to each component of the vector (non-linear transform), (2) combining of two (or more) vectors to form a new-vector, where each of the two vectors is used to represent portions of the vector which have different characteristics, and (3) combining a code-vector with a base coding. In the following discussion, v will be used to represent the vector to be coded, x will be the code vector or codeword being used to code v, and y will be the modified code vector. Vector v will be coded using an approximation v′=Sx, where S is a scale factor. The scale factor used is a quantized version of the ratio of power between v and x,
A first example consists of applying an exponent to each component in the code-vector. Table 3 provides a non-linear transformation of a series of coefficients in a codeword.
In this example, each coefficient in a codeword (code-vector) is raised to the power of exponent two (x2). In such an example, if the shape of the transformed codeword is a best fit for a vector to be coded, then the encoder will provide an identification of the codeword and the transformation leading to a best match.
The exponent can be sent to the decoder using a fixed number of bits, or can be sent from a codebook of exponents, or can be implicitly calculated at the decoder using previously seen data. For example, for an L dimensional vector, let the components of the 'i' th code-vector in a codebook be xi[0], xi[1], . . . , xi[L−1]. Then, the exponentiation applies an exponent 'p' to modify the vector to get a new vector yi,
As an example, see
A codeword may have several exponents applied to it, each providing different results. The method used to calculate the best exponent is to find an exponent such that the histogram (or probability mass function (pmf)) of the values over the code-vector best match that of the actual vector. In order to do this, a variance of the symbol values for both the vector and the code-vector is computed using exponentiation. For example suppose the set of possible exponents is pk, where k is used to index the set of possible exponents, k=0,1 . . . , P−1. Then the normalized second moment about the mean for the codevector resulting from each of possible exponents is computed (Vk), and compared to the actual vector (V).
As previously stated, a best match exponent can also be found using an exhaustive search.
Another transformation combines multiple vectors to form a new code-vector. This is essentially a multistage coding, where at each stage a match is found which best matches the most important portion of the vector not yet coded. As an example for two vectors, we first find the best match and then see which portion of the vector is being coded well. This segmentation can be explicitly sent, but this may take too many bits. Therefore, the segmentation is implicitly provided, in one example, by indicating which portion of the vector to use. The remaining portion is then represented using either a random code-vector, or another code-vector from a codebook which represents the remaining components better. Let x be a first code vector, and let w be a second code vector. Let the set T specify the portion of the vector which is considered to be coded using the first code-vector. The cardinality of set T will be between 0 & L, i.e. it will have between 0 and L elements which represent the indices of the vector which are considered to be coded using this first code-vector. A rule is provided for figuring out which components are well represented by the first vector and the rule can use metrics, such as, determining if a potential coefficient is larger than a certain percentage of the maximum coefficient in the first vector. Thus, for any coefficient in the first vector that is within a percentage of the highest coefficient in the first vector, that coefficient will be taken from the first vector, else, that codeword coefficient is taken from the second codeword. Let M be the maximum value in the first code vector x. Then the set T can be defined using the following:
Thus, a coefficient of x[j] is taken from x or w depending on the value of aM. Note that N or T can be further split using other similar rules to get more than two vectors. Given T & N as the sets of indices coded using the first codevector (x) and second codevector (w) respectively, a new vector y is defined:
Suppose v1 and vn are defined as the two vectors, then their power may be defined as,
Thus, if a quantized version of the power in set N is sent (Q(∥vn∥), and the total power is sent Q(∥v∥), it is sufficient information for the decoder.
It is important to note that, by using the code-vector x itself to perform the segmentation, the encoder avoids having to send any information relating to segmenting because the coefficient selected from each vector x and w is implicit in the rules (e.g., x[j]≧aM). Even in cases when the code-vector index or motion vector corresponding to x is not sent (it is a random code-vector), segmentation of sets T and N can be matched between encoder and decoder by using a random vector with the state of the random vector generator being deterministic based upon information that both the encoder and decoder have. For example, the random vector can be determined by using some combination of the least significant bits (LSB) of data that has been coded and sent to the decoder (such as in the encoded baseband) and then using that to seed a pseudo-random number generator. This way the segmentation can be implicitly controlled even if the actual code-vector is not sent.
This transformation by combining two vectors allows better representation of the vector that is to be coded. The vector w can be from a codebook and an index can be sent to represent it, or it can be random, in which case no additional information needs to be sent. Note that in the example given above, the segmentation is implicit since it is done using a comparison rule on the coefficients (e.g., x[j]≧aM) using vector x, so no information regarding the segmentation needs to be sent. This transformation is useful when the vector to be coded has two different distributions.
An alternate version of the multi codevectors (e.g., multi-codewords) adds the first codevector rather than replacing it for certain selected coefficients. This can be done applying the following equation:
In this example, a code-vector is combined with a base coding. This is similar to the two vector (or multi vector) approach, except that the first vector x is both the vector being coded and is itself used as one of the two vectors to encode itself. For example, a base coding is modified to include those coefficients where the base coding is working well and better coefficients are taken from the second vector, as before. For each vector (sub-band) that is coded, if a base coding already exists, this base coding then is the first code-vector in the multi-vector scheme, where it is segmented into regions T & N (or more regions). The segmentation (e.g., coefficient selection) can be provided using the same techniques as in the multi code-vector approach.
For example, for each base coding, if there are any coefficients with a value of 0, all of these will then go into set N which are then coded by an enhancement layer (e.g., second vector). Such a method can be used to fill in large spectral holes which often result from coding at very low bitrates. Modifications can include not filling in holes or 'zero' coefficients unless they are larger than some threshold, where the threshold can be defined to be a certain number of Hertz (Hz) or coefficients (multiple zero coefficients). There can also be limitations on not filling of holes that are below a certain frequency. These limitations modify the implicit segmentation rules given above (e.g., x[j]>aM, etc.). For example, if a threshold 'T' on a minimum size of a spectral hole is provided, then this essentially changes the definition of set N to the following:
The above rule provides a filter that requires that multiple coefficients in a row (e.g., T consecutive coefficients) satisfy the condition x[j]≦aM, before the rule signals replacing the coefficients with values from the second vector.
Another modification that may need to be made is due to the fact that base coding also codes the channels after applying a channel transform. Thus, after a channel transform the base coding and enhancement coding might have different channel groupings. So, instead of just looking at the base coding for the particular channel upon which the enhancements is applied, the segmentation might look at more than the base coding channel. This again modifies the segmentation constraint. For example, suppose channels 0 and 1 are jointly coded. Then the rule to apply the enhancement is changed to the following. In order to apply the enhancement, the spectral hole has to be present in both the baseband coded channels since both the coded channels contribute to both the actual channels.
Good frequency segmentation is important to the quality of encoding spectral data. Segmentation involves breaking the spectral data into units called sub-bands or vectors. A simple segmentation is to uniformly split the spectrum into a desired number of homogeneous segments or sub-bands. Homogeneous segmentation may be suboptimal. There may be regions of the spectrum that can be represented with larger sub-band sizes, and other regions are better represented with smaller sub-band sizes. Various features are described for providing spectral data intensity dependent segmentation. Finer segmentation is provided for regions of greater spectral variance and coarser segmentation is provided for more homogeneous regions. For example, a default or initial segmentation is provided initially, and an optimization or subsequent configuration varies the segmentation based on an intensity of spectral data variance.
Spectral data is initially segmented into sub-bands. Optionally, an initial segmentation may be varied to produce an optimal or subsequent segmentation. Two such initial or default segmentations are called a uniform split segmentation and a non-uniform split configuration. These or other sub-band configurations can be provided initially or by default. Optionally, the initial or default configuration may be reconfigured to provide a subsequent sub-band configuration.
Given spectral data of L spectral coefficients, a uniform split segmentation of M sub-bands of data is identified with the following equation:
For example, if the L spectral coefficients are labeled as points as 0, 1, . . . , L−1, then the M sub-bands start at the s[j] coefficients in the spectral data. Thus, the 'j' th sub-band has coefficients from s[j] to s[j+1]−1,j=0,1, . . . ,M−1, with a sub-band size of s[j+1]−s[j] coefficients.
The non-uniform split segmentation is done in a similar way, except that sub-band multipliers are provided. A sub-band multiplier is defined for each of the M sub-bands, a[j], j=0, 1, . . . , M−1. Further, a cumulative sub-band multiplier is provide as follows:
The starting point for the sub-bands in the non-uniform split configuration case is defined as:
Again, the 'j' th sub-band includes coefficients from s[j] to s[j+1]−1, where j=0, 1, . . . , M−1, with a sub-band size of s[j+1]−s[j] coefficients. The non-uniform configuration has sub-band sizes which increase with frequency, but it can be any configuration. Further, if desirable, it can be predetermined, so that no additional information needs to be sent to describe it. For the default non-uniform case, an example of sub-band multipliers is provided as follows:
Thus, the default non-uniform band-size multiplier is a split configuration where the band sizes are monotonically non-decreasing (the first few sub-bands are smaller, and the higher frequency sub-bands are larger). The higher frequency sub-bands often have less variation to begin with, so fewer larger sub-bands can capture the scale and shape of the band. Additionally, the higher frequency sub-bands have less importance in the overall perceptual distortion because they have less energy and are perceptually less important to human ears. Notice that the uniform split can also be explained using sub-band multipliers, except that a[j]=1 for all j.
Although a default or initial segmentation is often sufficient for coding spectral data, and in fact the non-uniform scheme can handle a large percentage of cases, there are signals which benefit from an optimized segmentation. For such signals, a segmentation is defined that is similar to the non-uniform case, except that the band multipliers are arbitrary instead of fixed. The arbitrary band multipliers reflect the splits and merges of sub-bands. In one example, an encoder signals the decoder with a first bit indicating whether the segmentation is fixed (e.g., default) or variable (e.g., optimized or altered). A second bit is provided for signaling whether the initial segmentation is uniform split or an non-uniform split.
Starting with a default segmentation (such as a uniform or non-uniform segmentation), sub-bands are split or merged to obtain an optimized or subsequent segmentation. A decision is made to split a sub-band into two sub-bands, or to merge two sub-bands into one sub-band. A decision to split or merge can be based on various characteristics of the spectral data within an initial sub-band, such as a measurement of intensity of change over a sub-band. In one example, a decision is made to split or merge based on sub-band spectral data characteristics such as tonality or spectral flatness in a sub-band.
In one such example, if the ratio of energy is similar between two sub-bands, and if at least one of the bands is non-tonal, then the two adjacent sub-bands are merged. This is because a single shape vector (e.g., codeword) and a scale factor will likely be sufficient to represent the two sub-bands. One example of such a ratio of energy is provided as follows:
In this example, E0 is the energy in sub-band 0, E1 is the energy in an adjacent sub-band 1, 'a' is a constant threshold value (typically in the range 0<a<1) and T is a tonality comparison metric. The tonality measure (e.g., Tonality0) in a sub-band can be obtained using various methods analyzing the spectrum.
Similarly, if splitting a single sub-band into two sub-bands creates two sub-bands with dissimilar energy, then the split should be made. Or, if splitting a sub-band creates two sub-bands that are strongly tonal with different shape characteristics, then the sub-band should be split. For example, such a condition is defined as follows:
In one example, an algorithm is run repeatedly until no additional sub-bands are split or merged in a present iteration. It may be beneficial to tag sub-bands as split, merge, or original in order to reduce the chance of an infinite loop. For example, if a sub-band is marked as a split sub-band, then it will not be merged back with a sub-band it was split from. A block which is marked as merged, will not be split into the same configuration.
Various metrics are utilized for computing tonality, energy, or different shape. A motion vector and a scale metric may be used to encode an extended sub-band. If by splitting a sub-band into two sub-bands creates a significantly different energy in the scale factor (e.g., ≧(1+b), where b is 0.2-0.5), then the sub-band can be split. In one example, tonality is computed in the fast fourier transform (FFT) domain. For example, an input signal is divided into fixed blocks of 256 samples, and the FFT is run on three adjacent FFT blocks. A time average is performed on three adjacent FFTs outputs to get a time averaged FFT output for the current block. A median filter is run over the three time averaged FFT outputs to get a baseline. If a coefficient is above a certain threshold above the baseline, then the coefficient is classified as tonal, and the percentage that it is above the baseline is a measure of the tonality. If the coefficient is below the threshold, then it is not tonal and the measure of tonality is 0. The tonality for a particular time frequency tile is found by mapping the dimensions of the tile to the FFT blocks and accumulating the tonality measure over the block. The threshold that a coefficient has to be over the baseline can be defined to be either an absolute threshold, a ratio relative to the baseline, or a ratio relative to the variance of the baseline. For example, if the coefficient is above one local standard deviation from the baseline (median filtered, time averaged), it can be classified as being tonal. In such a case, the corresponding translated sub-band in the MLT representing the tonal FFT blocks is labeled tonal, and may be split. The discussion is concerned with the magnitude of the FFT as opposed to the phase. With respect to the MSE metric on different shapes, a metric of much lower MSE may vary substantially on the bit rate. For example, with higher bit rates, if the MSE goes down by approximately 20%, then a split determination may make sense. However, at lower bit rates the split decision may occur at a 50% lower MSE.
After sub-bands are split and or merged, the ratio between the original smallest sub-band size and the new smallest sub-band size is computed. A ratio is defined as minRatioBandSize=max(1, original smallest sub-band size/new smallest sub-band size). Then, the optimized sub-band with the smallest size (e.g., number of coefficients in the sub-band) is assigned a sub-band multiplier of 1, and the other sub-band sizes have a band multiplier set as round(this sub-band size/smallest sub-band size). Thus, sub-band multipliers are integers greater than or equal to 1, and minRatioBandSize is also an integer greater than or equal to 1. The sub-band multipliers are coded by essentially coding a difference between the expected sub-band multiplier and the optimized sub-band multiplier using a table-less variable length code. A difference of 0 is coded with 1 bit, a difference which is one of the 15 smallest possible differences excluding 0 are coded with 5 bits, and the rest of the differences are coded using a table-less code.
As an example, consider the following case where the sub-band sizes for a default non-uniform case are given as shown in Table 4.
Assume further, that after splitting/merging, the following optimized sub-band configuration is created as shown in Table 5.
Using the above formula for minRatioBandSize=max(1, 4/2)=2, the minimum ratio sub-band size of 2 is provided, and the values for band size multipliers can be obtained as shown in Table 6.
A method is used to calculate the expected sub-band multiplier. First, assume that blocks which are not split or merged should have the default band size multiplier (expected band size multiplier==actual band size multiplier). This saves bits since only changes from the expected band size multiplier need to be encoded. Further, the smaller the modification is from the default band configuration, fewer bits are needed to encode the configuration. Otherwise, the expected band multiplier is computed at the decoder using the following logic.
For example, let sd[j] be the starting position of the 'j' th band in the default band configuration, let sa[j] be the starting position of the 'j' th band in the actual band configuration, let md be the minimum band size in the default case, and let ma be the minimum band size in the actual case. Then, calculate the following,
Continuing with the example, a default sub-band configuration is shown in Table 7.
The actual or optimized sub-bands as they map to the default band configuration is shown in Table 8.
The Default Band Index is the value of 'i' for a given j. Coefficients Left is sd[i+1]−sa[j]. The Expected Band Multiplier is aexpeted[j], and Band Multiplier is a[j]. Again, note that any sub-band which is not split or merged will always have a difference of 0. The coding will code the "Difference" value for each sub-band and the minRatioBandSize ('r') for the configuration using a variable length code for each. The use of minRatioBandSize allows coding a band configuration in which the smallest bands are smaller than the bands in the default configuration.
With reference to
A computing environment may have additional features. For example, the computing environment (1500) includes storage (1540), one or more input devices (1550), one or more output devices (1560), and one or more communication connections (1570). An interconnection mechanism (not shown) such as a bus, controller, or network interconnects the components of the computing environment (1500). Typically, operating system software (not shown) provides an operating environment for other software executing in the computing environment (1500), and coordinates activities of the components of the computing environment (1500).
The storage (1540) may be removable or non-removable, and includes magnetic disks, magnetic tapes or cassettes, CD-ROMs, CD-RWs, DVDs, or any other medium which can be used to store information and which can be accessed within the computing environment (1500). The storage (1540) stores instructions for the software (1580) implementing the audio encoder and or decoder.
The input device(s) (1550) may be a touch input device such as a keyboard, mouse, pen, or trackball, a voice input device, a scanning device, or another device that provides input to the computing environment (1500). For audio, the input device(s) (1550) may be a sound card or similar device that accepts audio input in analog or digital form. The output device(s) (1560) may be a display, printer, speaker, or another device that provides output from the computing environment (1500).
The communication connection(s) (1570) enable communication over a communication medium to another computing entity. The communication medium conveys information such as computer-executable instructions, compressed audio or video information, or other data in a modulated data signal. A modulated data signal is a signal that has one or more of its characteristics set or changed in such a manner as to encode information in the signal. By way of example, and not limitation, communication media include wired or wireless techniques implemented with an electrical, optical, RF, infrared, acoustic, or other carrier.
The invention can be described in the general context of computer-readable media. Computer-readable media are any available media that can be accessed within a computing environment. By way of example, and not limitation, with the computing environment (1500), computer-readable media include memory (1520), storage (1540), communication media, and combinations of any of the above.
The invention can be described in the general context of computer-executable instructions, such as those included in program modules, being executed in a computing environment on a target real or virtual processor. Generally, program modules include routines, programs, libraries, objects, classes, components, data structures, etc. that perform particular tasks or implement particular abstract data types. The functionality of the program modules may be combined or split between program modules as desired in various embodiments. Computer-executable instructions for program modules may be executed within a local or distributed computing environment.
For the sake of presentation, the detailed description uses terms like "determine," "get," "adjust," and "apply" to describe computer operations in a computing environment. These terms are high-level abstractions for operations performed by a computer, and should not be confused with acts performed by a human being. The actual computer operations corresponding to these terms vary depending on implementation.
In view of the many possible embodiments to which the principles of our invention may be applied, we claim as our invention all such embodiments as may come within the scope and spirit of the following claims and equivalents thereto.
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text:
Full detailed profile on Morgan Stone Corinthos (Past) Played by Aaron Refvem on General Hospital Daytime Soap Opera.
Aaron Refvem (ABC)
Birthplace: New York
Dante sees Morgan at Kelly's who questions him about Sonny's trial and if Dante wants him to go to prison. They sit down to talk as Sonny walks in and tries to make Morgan understand Dante's job and the situation better. Sonny will accept whatever happens, but he will regret that he and Dante never got a chance to know each other. Dante gets up to leave and Morgan says the jury will see that Sonny is not guilty and then the three of them can go to a Yankees game. Dante somberly says the Yankees will have a good year and leaves.
In his hospital room, Dante disappoints Morgan when he tells him he can't help keep Sonny out of jail. Jason walks in (after a previous call from Morgan) and Morgan tells Dante he can work for Jason and Sonny for real and then their dad won't have to go to prison. Dante and Jason try to explain why that won't work. Morgan thinks the coolest thing in the world would be for him, Dante and Sonny to go to the Yankees opening day together and wants them to figure it out. Morgan leaves and Dante makes it clear to Jason he will not go to bat for a mob boss.
At Sonny's house, Olivia tells Sonny it's not up to her whether or not he has a relationship with Dante, but Sonny thinks he'll listen to her. He just wants her help in getting to know his son, but she thinks he should focus on the kids who do love him in case he goes to prison. Olivia states she won't force Dante to bond with Sonny and leaves. Morgan comes over and tells Sonny his idea of him hiring Dante so he won't have to testify, but Sonny tells him it won't work because he can't ask him to change. They talk about integrity and what's right and Sonny tells his son it's about keeping your word and protecting your family and the people you love. Those are things he wants for Morgan when he becomes a man. Sonny says even if he gets sent away because Dante stayed true to who he is, he will always love and respect him because fathers love their kids no matter what. After Morgan has left, Diane comes over and they talk about his upcoming court date and how Carly and Sam will have to change their stories. Sonny knows Carly will come through for them, but Diane isn't comfortable placing his future in the hands of his ex-wife. Sonny points out it isn't the first time and he's still standing. They discuss his defense and what story they can come up with to prove he's not guilty due to self defense. Jason walks in and says he can't do that.
Agent Raynor visits Dante in his hospital room to inform him that he will testify against Sonny. Dante says whatever happened in the room where Sonny shot him is on him, but the case against Sonny regarding Claudia should put him away. Raynor threatens that if he changes his testimony regarding that case he will bring his wrath down on him. Olivia walks in and threatens Raynor herself, which makes Dante laugh. Raynor isn't intimidated and tells her she is a witness at Claudia's trial as well, which surprises both Dante and Olivia. Dante tells him to back off his mother or else he will suddenly develop a case of amnesia. Raynor storms out and Olivia apparently follows, as Lulu comes to visit Dante who is alone. After some flirting, Dante tells her Raynor wants him and Olivia to testify in court. Lulu calls Maxie to cover for her longer at work and Dante tells her she doesn't need to be there so much because he knows she has a life. Lulu just wants some time to enjoy the fact that she's worried about him and to think about their future. They start to kiss and Michael comes in. He's glad Dante is okay and needs his help. He says Lulu can stay because he knows Dante doesn't keep secrets from her and asks Dante to not write Sonny off. He wants him to remember he liked him when he worked for him, but Dante says he made a mistake. Michael says they all make mistakes and recounts Dante lying to his whole family in the beginning. Michael says he can save heir father and that there's still time to make the right choice. Michael leaves and Dante wonders if something is off about him, but Lulu thinks he's just trying to protect his father. Dante tells her Mac didn't even take Michael's statement when he confessed and Lulu thinks there's no way Michael could have done it. Morgan comes to visit Dante after Lulu leaves and tells him about Jax and Carly breaking up. He says he loves Jax, but he loves Sonny too and doesn't want him to go to prison and asks if there is anything he can to do to help.
Carly comes home and tells Morgan and Michael she and Jax are arranging a custody agreement. Morgan can't believe she is letting this happen and thinks Jax has quit on them because he moved into the hotel with his real child. Carly assures him that's not the case, but Morgan hates that this is happening. Carly hugs her son and says she does too. She explains that she left Jax at the hotel tonight because he responds to a challenge and will fight to hold on to what he thinks he's losing. The boys question Carly's actions, but she says it will work.
At Jason's home, a nervous Jason asks what Molly and Morgan what Michael told them. Jason realizes Michael is going to confess to Claudia's murder! Sam rushes off to take care of the problem. Molly and Morgan wisely wonder why he covered up the murder instead of following the law.
Sam returns back to Jason's with Michael. Jason orders everyone to keep their mouths shut because it will help Sonny. All of the kids agree they will keep the murder a secret. Sam explains they don't like to keep secrets, but this is a special circumstance.
Morgan and Molly are commiserating over sodas at Kelly's. Molly thinks that there's a good case for reasonable doubt for her Uncle Sonny's murder case. When Michael shows up, they try to act as if they're doing homework, but it doesn't take Michael long to realize they're talking about Sonny taking the rap for Claudia's murder.
At the penthouse, Morgan overhears Sam say Jax wanted to put Sonny in jail and he wonders if that's true. Jax admits it is, but he did it because he loves him and Michael as much as he loves Josslyn. Morgan doesn't think their dad would ever hurt them, but Jax reminds him how violent Sonny's world is and how he can't control his enemies. It made Jax sad to go against Morgan's father, but he was sick of the broken promises and he wanted them to be safe. Morgan loves Jax and Dante, but he loves his dad too. Carly comes to Jason's and finds Jax alone. They fight and she tells him Dante called his shooting an accident. Jax asks her to move out of Jason's to a safer place but she won't, so he says he will move out and she can move back home.
Carly comes to the penthouse with Morgan and Josslyn and tells Jason about Jax. Furious, Jason asks what she wants to do, but she doesn't know if she should divorce him. She doesn't know if she can do that to Josslyn, but she doesn't think she can live with him either. Jason tells her to take some time to process it and live with it before doing anything rash. She says the hardest part is that she loves him and she knows he loves her too. Later, Carly comes downstairs as Sam holds Josslyn on the couch with Jason. Carly asks if it's okay if Sam stays with the baby while she goes to the hospital to tell Sonny what's going on. Jason has to leave to tie up a few loose ends as well. Sam agrees, but looks nervous after they leave. Morgan comes downstairs and he talks with Sam about how Sonny will feel about him not being mad at Dante. Sam thinks Sonny will understand, as Jax comes to the penthouse and learns Carly is at GH talking to Sonny.
« Back to Morgan Stone Corinthos (Past) profile

subset: commoncrawl


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|Title: Tx journal: Crime and publishing
|Authors: Smith,Sonia
|Source: Texas Monthly, October 2012, 40 :10 ,pg 104-
|Subjects: Crime and the press Lufkin (Tex.) - Newspapers
|Additional Information: The "Crime Blotter" in the Lufkin Daily News.
|Ref ID: 95294
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text: Tweet image credit: Internews Network (Flickr CC) I love watching celebrities curse. It's such a guilty pleasure. Having grown up in the 80s in the USA – without HBO or Showtime – upon moving to the UK I reveled in the obscenities thrown around on British television with self-indulgent abandon. And I still do. That's right – give me an f-, s- or even dreaded c-word over a 'gosh-darn' any day. If you don't like it, f-you. Seriously though, as puerile as it sounds, Jessica Alba and Bono swearing in a YouTube video while the Stooges' 'Now I Wanna Be Your Dog' blasts in the background is pretty cool and attention-getting. The cause, which desperately needs this attention, is the ongoing food and famine crisis in the horn of Africa. 750,000 could die of famine in Somalia alone over the next few months. Sign the ONE petition to demand that world leaders of industrialized, wealthy countries keep their promises to combat this human tragedy. The US version of the video spot has more American celebs, like supposedly Left wing media tycoon Arianna Huffington. There's even a French version in which they don't even try to use the clever f-word, censured out, euphemistic double take 'famine' thingy. They just come right out swearing 'putain'. French celebrities don't f-around. Even a couple of francophone Scottish celebs, Annie Lennox and Ewan McGregor, get in on the action. Bono sounds like he doesn't know what the f- he's saying, though. Still, 'putain' isn't that great a swear word. English four-letter words rule and everyone knows it. Check out the international version below, also featuring K'Naan, Clive Owen, Liya Kebede, George Clooney, Idris Elba, Colin Farrell, Bill Nighy and my favorite 90s supermodel Christy Turlington. Help fight the famine in Somalia. SUBSCRIBE TO NEWSLETTER Thank you, your sign-up request was successful! Please check your e-mail inbox. Given email address is already subscribed, thank you! Please provide a valid email address. Oops. Something went wrong. Please try again later.


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CodePlexProject Hosting for Open Source Software
Last edited Mar 9, 2010 at 11:40 PM by unclepaul84, version 53
Doesn't work on SP 2013. When you install manually, open designer and click copy list item extended, nothing happens.
Any same soliution for sharepoint 2013? or how can i get this working for SP 2013? Please help
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SACRAMENTO, CA - A 14-year-old girl nearly drowned at Miller Park along the Sacramento River Sunday afternoon.
The teen was pulled out of the water by bystanders who began CPR. Sacramento firefighters began CPR within 4 to 5 minutes of a call they received at 3:07 pm.
It's not clear how long the teen was in the water before she was pulled out by a young man who went in as the girl's body drifted downstream.
Family members called 911 for a possible drowning after the girl's aunt began screaming for help when a boat's wake separated the pair in the water along the river bank.
"I tried to go forward. The water was so strong it was pushing me back, said Joselynnda Barry, the girl's aunt. "I was so in shock I couldn't breathe. And then I saw her and I tried to go for her but then the wave was pushing her back, too."
Firefighters told News Ten the teen's heart began beating and her blood pressure returned as she was on her way to U.C. Davis Medical center in an ambulance.
There was no information immediately available on her current condition.
Fire officials said the teen was not wearing a life jacket.


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Saturday, August 01, 2015
AstroWorld closed its doors Oct. 30, 2005. In honor of Houston's beloved theme park, here are images of some of its earliest days.
Blair Pittman/Houston Chronicle
Pictured in January 1976 is AstroWorld's infamous Texas Cyclone. It opened in the summer of 1976 and was a replica of the Coney Island Cyclone roller coaster. The track required 336,000 feet of boards and 14,000 feet of linear track.
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