From: "Scott Shepard" <>
>
> Hey all,
>
> Just stumbled on this link pertaining to a CD released by the Audio
> Engineering Society on Artifacts of Perceptual Coding (which all on this
> list know are non-existent (just kidding)). I don't have it yet and I
> don't sell it and don't feel like grinding any axes, but it looks like
> it might be a step towards a non-faith-based approach to audio
> compression schemes.
>
> In other words, FYI, thought some here might be interested...
>
> http://www.aes.org/publications/AudioCoding.cfm
I have this CD, got it back when it first came out, did not find it all
that useful or informative, had hoped for a lot more. Tends to assume
all perceptual coding is the same, and is fairly limited in it's
samples. And, of course is using dated forms. The focus is not on nature
recording (should be no surprise there). This CD by itself will only
muddy the waters unless you have the knowledge of what perceptual coding
is doing. You need a lot more to become informed.
If you want to get into testing perceptual coding, make sure and read
Ken Pohlmann's comments on testing in chapter 10 of his book "Principles
of Digital Audio". This will make it a lot clearer what you should
really be listening for. In fact the entire book is well worth reading.
You will get a much clearer picture of what perceptual coding is
designed to do reading this book's chapters covering aspects of it. How
it really works, or is supposed to work. And find out a whole bunch
about the limitations of all digital systems, since it covers the entire
field. Which may shake your faith in the non-perceptual coding digital a
little, but that's a good thing. So you can assign the blame for what
you hear more appropriately.
Nice to read because it's not taking sides on much of anything. A just
the facts type book that's full of what's practical and what's not type
info. Pretty up to date, and not too bad for the mathematically
challenged. At a little under 700 pages, don't expect to read and
understand this one in a day. If I have a criticism of the book it is
that the thinking focuses more on the type of sound in music, and
therefore is a bit light in some areas of interest in our nature
recording. Though probably still more there than most have thought about.
I don't have any connection to the book, don't know the author, etc.
But, I do have a copy I've read.
Walt
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