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Since subjective listening tests are time-consuming, expensive and impractical for everyday use, it was beneficial to substitute listening tests with objective, computer-based methods. Steered by the ITU-R Task Group 6Q, a group of leading sound quality experts developed a new objective model for sound quality: PEAQ. These contributors were:
Quality can be measured objectively, such as when tools are used to gauge the accuracy with which the device reproduces an original sound; or it can be measured subjectively, such as when human listeners respond to the sound or gauge its perceived similarity to another sound. [1] The sound quality of a reproduction or recording depends on a ...
Possible bitrate and latency combinations compared with other audio formats. Opus supports constant and variable bitrate encoding from 6 kbit/s to 510 kbit/s (or up to 256 kbit/s per channel for multi-channel tracks), frame sizes from 2.5 ms to 60 ms, and five sampling rates from 8 kHz (with 4 kHz bandwidth) to 48 kHz (with 20 kHz bandwidth, the human hearing range).
MUSHRA stands for Multiple Stimuli with Hidden Reference and Anchor and is a methodology for conducting a codec listening test to evaluate the perceived quality of the output from lossy audio compression algorithms. It is defined by ITU-R recommendation BS.1534-3. [1] The MUSHRA methodology is recommended for assessing "intermediate audio quality".
Generation loss was a major consideration in complex analog audio and video editing, where multi-layered edits were often created by making intermediate mixes which were then "bounced down" back onto tape. Careful planning was required to minimize generation loss, and the resulting noise and poor frequency response.
Perceptual audio coding uses psychoacoustics-based algorithms. The psychoacoustic model provides for high quality lossy signal compression by describing which parts of a given digital audio signal can be removed (or aggressively compressed) safely—that is, without significant losses in the (consciously) perceived quality of the sound.
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Compared to known speech coders, the codec is capable of coding both music and speech signals with good quality. Unlike speech coders, however, the achieved coding quality scales up with bitrate. Transparent quality can be achieved. AAC-LD can also process stereo signals by using the advanced stereo coding tools of AAC.