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U. Glaeser

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FIGURE 27.1 Two-band filter bank: (a) analysis bank, (b) synthesis bank.<br />

FIGURE 27.2 Discrete wavelet transformation (DWT): (a) two-band analysis tree, (b) two-band synthesis tree.<br />

number of parameters, description {b kl, a kl} is somehow more efficient because parameters a kl are less<br />

important than b kl and consequently {b (k+1)n}. From Eqs. (27.11a) and (27.11b) we conclude that parameters<br />

b kl and a kl result from a lowpass and a highpass filtering of parameters b (k+1)n, respectively, with a<br />

two-band splitting filter bank of impulse responses h 0(−n) and h 1(−n), respectively, followed by a down<br />

sampling with factor 2 (Fig. 27.1(a)). This procedure can be continued many times in order to obtain<br />

even more efficient parametric representation. If only parameters b kl are split, which is the case in the<br />

classical DWT, a kind of an octave signal analysis filter bank results (Figs. 27.2(a) and 27.3). If also<br />

parameters a kl are split (wavelet packet) and/or a multiband splitting filter bank is used (multiband wavelet<br />

system) [5], very flexible analysis filter banks can be realized (Fig. 27.4), e.g., those simulating along the<br />

frequency axis the distribution of a set of nonoverlapping peripheral auditory filters (cf., section 27.4).<br />

Another quite efficient approach for the parametric description of audio is the so-called sinusoidal<br />

modeling often used for the analysis and synthesis of musical instrument sounds [41]. The audio signal<br />

x(t) is modeled by a set of tones and noise.<br />

© 2002 by CRC Press LLC<br />

b ( k + 1)<br />

n<br />

b ( k −1)<br />

j<br />

↑2<br />

a ( k −1)<br />

j<br />

↑2<br />

b ( k + 1)<br />

n<br />

bkl<br />

akl<br />

h0( −n)<br />

1( ) n h −<br />

∑<br />

0( ) l h<br />

1( ) l h<br />

↑2<br />

↑2<br />

↓2<br />

↓2<br />

h0( −n)<br />

1( ) n h −<br />

(a)<br />

0( ) n h<br />

1( ) n h<br />

(b)<br />

akl<br />

+<br />

(a)<br />

akl<br />

(b)<br />

t<br />

(27.12)<br />

The tones have slowly varying parameters: amplitude a k(t) and frequency w k(t). Additionally, an<br />

appropriate noise model has to be used. A perceptually acceptable noise model can be obtained by adding<br />

↑2<br />

↑2<br />

↓2<br />

↓2<br />

h0( −l)<br />

h1( −l)<br />

bkl<br />

akl<br />

b ( k + 1)<br />

n<br />

+<br />

0( ) n h<br />

1( ) n h<br />

↓2<br />

↓2<br />

b ( k −1)<br />

j<br />

a ( k −1)<br />

j<br />

b ( k + 1)<br />

n<br />

+<br />

x() t =<br />

ak() t sin⎛<br />

ωk( τ)<br />

dτ+<br />

φ ⎞<br />

⎝ k + noise<br />

⎠<br />

k<br />

∫<br />

τ=0

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