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FFT-based perceptual audio synthesis using the MPEG 1 psychoacoustic model 1. In this computer exercise, we will consider an example to show how the psychoacoustic principles are applied in actual audio coding algorithms. Recall that in Chapter 2, Computer Exercise 2.25, we employed the peak-picking method to select a subset of FFT components for audio synthesis. In this exercise, we will use the just-noticeable-distortion (JND) curve as the "reference" to select the perceptually important FFT components. All the FFT components below the

   FFT-based perceptual audio synthesis using the MPEG 1 psychoacoustic model 1.
In this computer exercise, we will consider an example to show how the psychoacoustic principles are applied in actual audio coding algorithms. Recall that in Chapter 2, Computer Exercise 2.25, we employed the peak-picking method to select a subset of FFT components for audio synthesis. In this exercise, we will use the just-noticeable-distortion (JND) curve as the "reference" to select the perceptually important FFT components. All the FFT components below the
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Audio Signal Processing and Coding
Audio Signal Processing and Coding
Andreas Spanias, Ted… 1st Edition
Chapter 5, Problem 11 ↓

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The goal is to select perceptually important FFT components based on the just-noticeable-distortion (JND) curve. This is different from the peak-picking method used in a previous exercise.  Show more…

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FFT-based perceptual audio synthesis using the MPEG 1 psychoacoustic model 1. In this computer exercise, we will consider an example to show how the psychoacoustic principles are applied in actual audio coding algorithms. Recall that in Chapter 2, Computer Exercise 2.25, we employed the peak-picking method to select a subset of FFT components for audio synthesis. In this exercise, we will use the just-noticeable-distortion (JND) curve as the "reference" to select the perceptually important FFT components. All the FFT components below the
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