Classifications

• • G—PHYSICS
  • G10—MUSICAL INSTRUMENTS; ACOUSTICS
  • G10L—SPEECH ANALYSIS OR SYNTHESIS; SPEECH RECOGNITION; SPEECH OR VOICE PROCESSING; SPEECH OR AUDIO CODING OR DECODING
  • G10L19/00—Speech or audio signals analysis-synthesis techniques for redundancy reduction, e.g. in vocoders; Coding or decoding of speech or audio signals, using source filter models or psychoacoustic analysis
  • G10L19/008—Multichannel audio signal coding or decoding using interchannel correlation to reduce redundancy, e.g. joint-stereo, intensity-coding or matrixing
• • G—PHYSICS
  • G10—MUSICAL INSTRUMENTS; ACOUSTICS
  • G10L—SPEECH ANALYSIS OR SYNTHESIS; SPEECH RECOGNITION; SPEECH OR VOICE PROCESSING; SPEECH OR AUDIO CODING OR DECODING
  • G10L19/00—Speech or audio signals analysis-synthesis techniques for redundancy reduction, e.g. in vocoders; Coding or decoding of speech or audio signals, using source filter models or psychoacoustic analysis
  • G10L19/04—Speech or audio signals analysis-synthesis techniques for redundancy reduction, e.g. in vocoders; Coding or decoding of speech or audio signals, using source filter models or psychoacoustic analysis using predictive techniques
  • G10L19/16—Vocoder architecture
  • G10L19/18—Vocoders using multiple modes

Definitions

• the present invention relates in general to encoding of audio signals, and in particular to encoding of irrulti-channel audio signals.
• stereophonic or multi-channel coding of audio signals is to encode the signals of the different channels separately as individual and independent signals.
• Another basic way used in stereo FM radio transmission and which ensures compatibility with legacy mono radio receivers is to transmit a sum and a difference signal of the two involved channels.
• M/S stereo coding is similar to the described procedure in stereo FM radio, in a sense that it encodes and transmits the sum and difference signals of the channel sub-bands and thereby exploits redundancy between the channel sub-bands.
• the structure and operation of an encoder based on M/S stereo coding is described, e.g. in US patent 5,285,498 by J.D. Johnston.
• Intensity stereo on the other hand is able to make use of stereo irrelevancy. It transmits the joint intensity of the channels (of the different sub-bands) along with some location information indicating how the intensity is distributed among the channels. Intensity stereo does only provide spectral magnitude information of the channels. Phase information is not conveyed. For this reason and since the temporal inter-channel information (more specifically the inter-channel time difference) is of major psycho-acoustical relevancy particularly at lower frequencies, intensity stereo can only be used at high frequencies above e.g. 2 kHz.
• An intensity stereo coding method is described, e.g. in the European patent 0497413 by R. Neldhuis et al.
• a recently developed stereo coding method is described, e.g. in a conference paper with the title "Binaural cue coding applied to stereo and multi-channel audio compression", 112th AES convention, May 2002, Kunststoff, Germany by C. Faller et al.
• This method is a parametric multi-channel audio coding method.
• the basic principle is that at the encoding side, the input signals from ⁇ channels ci, C2, ... C ⁇ are combined to one mono signal m.
• the mono signal is audio encoded using any conventional monophonic audio codec.
• parameters are derived from the channel signals, which describe the multi-channel image.
• the parameters are encoded and transmitted to the decoder, along with the audio bit stream.
• the decoder first decodes the mono signal n ⁇ and then regenerates the channel signals ci', C2 1 ,..., CN', based on the parametric description of the multi-channel image.
• the principle of the Binaural Cue Coding (BCC) method is that it transmits the encoded mono signal and so-called BCC parameters.
• the BCC parameters comprise coded inter-channel level differences and inter-channel time differences for sub-bands of the original multi-channel input signal.
• the decoder regenerates the different channel signals by applying sub-band- wise level and phase adjustments of the mono signal based on the BCC parameters.
• M/S or intensity stereo is that stereo information comprising temporal inter-channel information is transmitted at much lower bit rates.
• this technique requires computational demanding time-frequency transforms on each of the channels, both at the encoder and the decoder.
• BCC does not handle the fact that a lot of the stereo information, especially at low frequencies, is diffuse, i.e. it does not come from any specific direction. Diffuse sound fields exist in both channels of a stereo recording but they are to a great extent out of phase with respect to each other. If an algorithm such as BCC is subject to recordings with a great amount of diffuse sound fields the reproduced stereo image will become confused, jumping from left to right as the BCC algorithm can only pan the signal in specific frequency bands to the left or right.
• a possible means to encode the stereo signal and ensure good reproduction of diffuse sound fields is to use an encoding scheme very similar to the technique used in FM stereo radio broadcast, namely to encode the mono (Left+Right) and the difference (Left-Right) signals separately.
• a technique, described in US patent 5,434,948 by C.E. Holt et al. uses a similar technique as in BCC for encoding the mono signal and side information.
• side information consists of predictor filters and optionally a residual signal.
• the predictor filters estimated by a least-mean- square algorithm, when applied to the mono signal allow the prediction of the multi-channel audio signals. With this technique one is able to reach very low bit rate encoding of multi-channel audio sources, however, at the expense of a quality drop, discussed further below.
• This technique synthesises the right and left channel signals by filtering sound source signals with so-called head-related filters.
• this technique requires the different sound source signals to be separated and can thus not generally be applied for stereo or multi-channel coding.
• a further problem with schemes based on encoding of a main and one or several side signals is that they often require relatively large computational resources.
• handling discontinuities in parameters from one frame to another is a complex task.
• estimation errors of transient sound may cause very large side signals, in turn increasing the transmission rate demand.
• An object of the present invention is therefore to provide an encoding method and device improving the perception quality of multi-channel audio signals, in particular to avoid artefacts such as pre-echoing, ghost-like sounds or frame discontinuity artefacts.
• a further object of the present invention is to provide an encoding method and device requiring less processing power and having more constant transmission bit rate requirements.
• polyphonic signals are used to create a main signal, typically a mono signal, and a side signal.
• the main signal is encoded according to prior- art encoding principles.
• a number of encoding schemes for the side signal are provided.
• Each encoding scheme is characterised by a set of sub-frames of different lengths.
• the total length of the sub-frames corresponds to the length of the encoding frame of the encoding scheme.
• the sets of sub-frames comprise at least one sub-frame.
• the encoding scheme to be used on the side signal is selected at least partly dependent on the present signal content of the polyphonic signals.
• the selection takes place, either before the encoding, based on signal characteristics analysis.
• the side signal is encoded by each of the encoding schemes, and based on measurements of the quality of the encoding, the best encoding scheme is selected.
• a side residual signal is created as the difference between the side signal and the main signal scaled with a balance factor.
• the balance factor is selected to minimise the side residual signal.
• the optimised side residual signal and the balance factor are encoded and provided as parameters representing the side signal. At the decoder side, the balance factor, the side residual signal and the man signal are used to recover the side signal.
• the encoding of the side signal comprises an energy contour scaling in order to avoid pre-echoing effects.
• different encoding schemes may comprise different encoding procedures in the separate sub-frames.
• the main advantage with the present invention is that the preservation of the perception of the audio signals is improved. Furthermore, the present invention still allows multi-channel signal transmission at very low bit rates.
• FIG. 1 is a block scheme of a system for transmitting polyphonic signals
• FIG. 2a is a block diagram of an encoder in a transmitter
• FIG. 2b is a block diagram of a decoder in a receiver
• FIG. 3a is a diagram illustrating encoding frames of different lengths
• FIGS. 3b and 3c are block diagrams of embodiments of side signal encoder units according to the present invention
• FIG. 4 is a block diagram of an embodiment of an encoder using balance factor encoding of side signal
• FIG. 5 is a block diagram of an embodiment of an encoder for multi-signal systems
• FIG. 1 is a block scheme of a system for transmitting polyphonic signals
• FIG. 2a is a block diagram of an encoder in a transmitter
• FIG. 2b is a block diagram of a decoder in a receiver
• FIG. 3a is a diagram illustrating encoding frames of different lengths
• FIGS. 3b and 3c are block diagrams of embodiments
• FIG. 6 is a block diagram of an embodiment of a decoder suitable for decoding signals from the device of Fig. 5;
• FIG. 7a and b are diagrams illustrating a pre-echo artefact;
• FIG. 8 is a block diagram of an embodiment of a side signal encoder unit according to the present invention, employing different encoding principles in different sub-frames;
• FIG. 9 illustrates the use of different encoding principles in different frequency sub-bands;
• FIG. 10 is a flow diagram of the basic steps of an embodiment of an encoding method according to the present invention; and
• FIG. 11 is a flow diagram of the basic steps of an embodiment of a decoding method according to the present invention.
• FIG. 1 illustrates a typical system 1, in which the present invention advantageously can be utilised.
• a transmitter 10 comprises an antenna 12 including associated hardware and software to be able to transmit radio signals 5 to a receiver 20.
• the transmitter 10 comprises among other parts a multi-channel encoder 14, which transforms signals of a number of input channels 16 into output signals suitable for radio transmission. Examples of suitable multi-channel encoders 14 are described in detail further below.
• the signals of the input channels 16 can be provided from e.g. an audio signal storage 18, such as a data file of digital representation of audio recordings, magnetic tape or vinyl disc recordings of audio etc.
• the signals of the input channels 16 can also be provided in "live", e.g. from a set of microphones 19.
• the audio signals are digitised, if not already in digital form, before entering the multi-channel encoder 14.
• an antenna 22 with associated hardware and software handles the actual reception of radio signals 5 representing polyphonic audio signals.
• typical functionalities such as e.g. error correction, are performed.
• a decoder 24 decodes the received radio signals 5 and transforms the audio data carried thereby into signals of a number of output channels 26.
• the output signals can be provided to e.g. loudspeakers 29 for immediate presentation, or can be stored in an audio signal storage 28 of any kind.
• the system 1 can for instance be a phone conference system, a system for supplying audio services or other audio applications. In some systems, such as e.g. the phone conference system, the communication has to be of a duplex type, while e.g.
• distribution of music from a service provider to a subscriber can be essentially of a one-way type.
• the transmission of signals from the transmitter 10 to the receiver 20 can also be performed by any other means, e.g. by different kinds of electromagnetic waves, cables or fibres as well as combinations thereof.
• Fig. 2a illustrates an embodiment of an encoder according to the present invention.
• the polyphonic signal is a stereo signal comprising two channels a and b, received at input 16A and 16B, respectively.
• the signals of channel a and b are provided to a pre-processing unit 32, where different signal conditioning procedures may be performed.
• the (perhaps modified) signals from the output of the pre-processing unit 32 are summed in an addition unit 34.
• This addition unit 34 also divides the sum by a factor of two.
• the signal xmono produced in this way is a main signal of the stereo signals, since it basically comprises all data from both channels. In this embodiment the main signal thus represents a pure "mono" signal.
• the main signal Xmono is provided to a main signal encoder unit 38, which encodes the main signal according to any suitable encoding principles. Such principles are available within prior- art and are thus not further discussed here.
• the main signal encoder unit 38 gives an output signal pmono, being encoding parameters representing a main signal.
• a difference (divided by a factor of two) of the channel signals is provided as a side signal Xside.
• the side signal represents the difference between the two channels in the stereo signal.
• the side signal xside is provided to a side signal encoding unit 30. Preferred embodiments of the side signal encoding unit 30 will be discussed further below.
• the side signal xside is transferred into encoding parameters pside representing a side signal side. In certain embodiments, this encoding takes place utilising also information of the main signal Xmono.
• the arrow 42 indicates such a provision, where the original uncoded main signal mono is utilised.
• the main signal information that is used in the side signal encoding unit 30 can be deduced from the encoding parameters pmono representing the main signal, as indicated by the broken line 44.
• the encoding parameters p ono representing the main signal mono is a first output signal
• the encoding parameters pside representing the side signal Xside is a second output signal.
• these two output signals pmono, pside, together representing the full stereo sound are multiplexed into one transmission signal 52 in a multiplexor unit 40.
• the transmission of the first and second output signals pmono, pside may take place separately.
• a decoder 24 In Fig. 2b, an embodiment of a decoder 24 according to the present invention is illustrated as a block scheme.
• the received signal 54 comprising encoding parameters representing the main and side signal information are provided to a demultiplexor unit 56, which separates a first and second input signal, respectively.
• the first input signal corresponding to encoding parameters pmono of a main signal, is provided to a main signal decoder unit 64.
• the encoding parameters pmono representing the main signal are used to generate an decoded main signal x' mono, being as similar to the main signal xmono (Fig. 2a) of the encoder 14 (Fig. 2a) as possible.
• the second input signal corresponding a side signal
• the second input signal is provided to a side signal decoder unit 60.
• the encoding parameters pside representing the side signal are used to recover a decoded side signal x' .
• the decoding procedure utilises information about the main signal x' mono, as indicated by arrow 65.
• the decoded main and side signals x' mono, x" s- de are provided to an addition unit 70, which provides an output signal that is a representation of the original signal of channel a.
• a difference provided by a subtraction unit 68 provides an output signal that is a representation of the original signal of channel b.
• These channel signals may be post-processed in a postprocessor unit 74 according to prior-art signal processing procedures.
• the channel signals a and b are provided at the outputs 26A and 26B of the decoder.
• encoding is typically performed in one frame at a time.
• a frame comprises audio samples within a pre-defined time period.
• a frame SF2 of time duration L is illustrated.
• the audio samples within the unhatched portion are to be encoded together.
• the preceding samples and the subsequent samples are encoded in other frames.
• the division of the samples into frames will in any case introduce some discontinuities at the frame borders. Shifting sounds will give shifting encoding parameters, changing basically at each frame border. This will give rise to perceptible errors.
• One way to compensate somewhat for this is to base the encoding, not only on the samples that are to be encoded, but also on samples in the absolute vicinity of the frame, as indicated by the hatched portions.
• interpolation techniques are sometimes also utilised for reducing perception artefacts caused by frame borders.
• all such procedures require large additional computational resources, and for certain specific encoding techniques, it might also be difficult to provide in with any resources.
• the audio perception will be improved by using a frame length for encoding of the side signal that is dependent on the present signal content. Since the influence of different frame lengths on the audio perception will differ depending on the nature of the sound to be encoded, an improvement can be obtained by letting the nature of the signal itself affect the frame length that is used.
• the encoding of the main signal is not the object of the present invention and is therefore not described in detail. However, the frame lengths used for the main signal may or may not be equal to the frame lengths used for the side signal.
• FIG. 3b One embodiment of a side signal encoder unit 30 according to the present invention is illustrated in Fig. 3b, in which a closed loop decision is utilised.
• a basic encoding frame of length L is used here.
• a number of encoding schemes 81 characterised by a separate set 80 of sub-frames 90, are created.
• Each set 80 of sub-frames 90 comprises one or more sub-frames 90 of equal or differing lengths.
• the total length of the set 80 of sub-frames 90 is, however, always equal to the basic encoding frame length L.
• the top encoding scheme is characterised by a set of sub-frames comprises only one sub-frame of length L.
• the next set of sub- frames comprises two frames of length L/2.
• the third set comprises two frames of length L/4 followed by a L/2 frame.
• the signal xside provided to the side signal encoder unit 30 is encoded by all encoding schemes 81. In the top encoding scheme, the entire basic encoding frame is encoded in one piece. However, in the other encoding schemes, the signal xside is encoded in each sub-frame separately from each other.
• the result from each encoding scheme is provided to a selector 85.
• a fidelity measurement means 83 determines a fidelity measure for each of the encoded signals.
• the fidelity measure is an objective quality value, preferably a signal-to-noise measure or a weighted signal-to-noise ratio.
• the fidelity measures associated with each encoding scheme are compared and the result controls a switching means 87 to select the encoding parameters representing the side signal from the encoding scheme giving the best fidelity measure as the output signal pside from the side signal encoder unit 30.
• the lengths of the sub-frames used are selected according to:
• l sf are the lengths of the sub-frames
• l f is the length of the encoding frame
• n is an integer.
• n is selected between 0 and 3.
• any frame lengths will be possible to use as long as the total length of the set is kept constant.
• Fig. 3c another embodiment of a side signal encoder unit 30 according to the present invention is illustrated.
• the frame length decision is an open loop decision, based on the statistics of the signal.
• the spectral characteristics of the side signal will be used as a base for deciding which encoding scheme that is going to be used.
• different encoding schemes characterised by different sets of sub-frames are available.
• the selector 85 is placed before the actual encoding.
• the input side signal xside enters the selector 85 and a signal analysing unit 84.
• the result of the analysis becomes the input of a switch 86, in which only one of the encoding schemes 81 are utilised.
• the output from that encoding scheme will also be the output signal pside from the side signal encoder unit 30.
• the advantage with an open loop decision is that only one actual encoding has to be performed.
• the disadvantage is, however, that the analysis of the signal characteristics may be very complicated indeed and it may be difficult to predict possible behaviours in advance to be able to give an appropriate choice in the switch 86.
• a lot of statistical analysis of sound has to be performed and included in the signal analysing unit 84. Any small change in the encoding schemes may turn upside down on the statistical behaviour.
• variable frame length coding for the side signal is that one can select between a fine temporal resolution and coarse frequency resolution on one side and coarse temporal resolution and fine frequency resolution on the other.
• the above embodiments will preserve the stereo image in the best possible manner.
• the method presented in US 5,434,948, uses a filtered version of the mono (main) signal to resemble the side or difference signal.
• the filter parameters are optimised and allowed to vary in time.
• the filter parameters are then transmitted representing an encoding of the side signal.
• a residual side signal is transmitted.
• Such an approach would be possible to use as side signal encoding method within the scope of the present invention.
• This approach has, however, some disadvantages.
• the quantisation of the of the filter coefficients and any residual side signal often require relatively high bit rates for transmission, since the filter order has to be high to provide an accurate side signal estimate.
• the estimation of the filter itself may be problematic, especially in cases of transient rich music.
• Estimation errors will give a modified side signal that is sometimes larger in magnitude than the unmodified signal. This will lead to higher bit rate demands. Moreover, if a new set of filter coefficients are computed every N samples, the filter coefficients need to be interpolated to yield a smooth transition from one set of filter coefficients to another, as discussed above. Interpolation of filter coefficients is a complex task and errors in the interpolation will manifest itself in large side error signals leading to higher bit rates needed for the difference error signal encoder.
• a means to avoid the need for interpolation is to update the filter coefficients on a sample-by-sample basis and rely on backwards-adaptive analysis. For this to work well it is needed that the bit rate of the residual encoder is fairly high. This is therefore not a good alternative for low bit rate stereo coding.
• the encoding of the side signal is based on the idea to reduce the redundancy between the mono and side signal by using a simple balance factor instead of a complex bit rate consuming predictor filter.
• the residual of this operation is then encoded.
• the magnitude of such a residual is relatively small and does not call for very high bit rate need for transfer. This idea is very suitable indeed to combine with the variable frame set approach described earlier, since the computational complexity is low.
• the use of a balance factor combined with the variable frame length approach removes the need for complex interpolation and the associated problems that interpolation may cause. Moreover, the use of a simple balance factor instead of a complex filter gives fewer problems with estimation as possible estimation errors for the balance factor has less impact. The preferred solution will be able to reproduce both panned signals and diffuse sound fields with good quality and with limited bit rate requirements and computational resources.
• Fig. 4 illustrates a preferred embodiment of a stereo encoder according to the present invention.
• This embodiment is very similar to the one shown in Fig. 2a, however, with the details of the side signal encoder unit 30 revealed.
• the encoder, 14 of this embodiment does not have any pre-processing unit, and the input signals are provided directly to the addition and subtraction units 34, 36.
• the mono signal mono is multiplied with a certain balance factor gsm in a multiplier 33.
• a subtraction unit 35 the multiplied mono signal is subtracted from the side signal side, i.e. essentially the difference between the two channels, to produce a side residual signal.
• the balance factor gsm is determined based on the content of the mono and side signals by the optimiser 37 in order to minimise the side residual signal according to a quality criterion.
• the quality criterion is preferably a least mean square criterion.
• the side residual signal is encoded in a side residual encoder 39 according to any encoder procedures.
• the side residual encoder 39 is a low bit rate transform encoder or a CELP (Codebook Excited Linear Prediction) encoder.
• the encoding parameters pside representing the side signal then comprises the encoding parameters pside residual representing the side residual signal and the optimised balance factor 49.
• the mono signal 42 used for synthesising the side signals is the target signal Xmono for the mono encoder 38.
• the local synthesis signal of the mono encoder 38 can also be utilised. In the latter case, the total encoder delay may be increased and the computational complexity for the side signal may increase. On the other hand, the quality may be better as it is then possible to repair coding errors made in the mono encoder.
• the basic encoding scheme can be described as follows. Denote the two channel signals as a and b, which may be the left and right channel of a stereo pair. The channel signals are combined into a mono signal by addition and to a side signal by a subtraction. In equation form, the operations are described as:
• a modified or residual side signal is computed according to:
• f(xmono,xside) is a balance factor function that based on the block on N samples, i.e. a sub-frame, from the side and mono signals strive to remove as much as possible from the side signal.
• the balance factor is used to minimise the residual side signal. In the special case where it is minimised in a mean square sense, this is equivalent to minimising the energy of the residual side signal xside residual.
• xside is the side signal and xmono is the mono signal.
• the function is based on a block starting at "frame start” and ending at "frame end”. It is possible to add weighting in the frequency domain to the computation of the balance factor. This is done by convoluting the xside and xmono signals with the impulse response of a weighting filter. It is then possible to move the estimation error to a frequency range where they are less easy to hear. This is referred to as perceptual weighting.
• Q g ⁇ . is a quantization function that is applied to the balance factor given by the function f ⁇ x mom ,x side ) -
• the balance factor is transmitted on the transmission channel. In normal left-right panned signals the balance factor is limited to the interval [- 1.0 l. ⁇ ] . If on the other hand the channels are out of phase with regards to one another, the balance factor may extend beyond these limits.
• E s is the encoding function (e.g. a transform encoder) of the residual side signal and E m is the encoding function of the mono signal
• E m is the encoding function of the mono signal
• One important benefit from computing the balance factor for each frame is that one avoids the use of interpolation. Instead, normally, as described above, the frame processing is performed with overlapping frames.
• the encoding principle using balance factors operates particularly well in the case of music signals, where fast changes typically are needed to track the stereo image. Lately, multi-channel coding has become popular.
• One example is 5.1 channel surround sound in DVD movies.
• the channels are there arranged as: front left, front centre, front right, rear left, rear right and subwoofer.
• Fig. 5 an embodiment of an encoder that encodes the three front channels in such an arrangement exploiting interchannel redundancies according to the present invention is shown.
• Three channel signals L, C, R are provided on three inputs 16A-C, and the mono signal xmono is created by a sum of all three signals.
• a centre signal encoder unit 130 is added, which receives the centre signal xcentre.
• the mono signal 42 is in this embodiment the encoded and decoded mono signal x' mono, and is multiplied with a certain balance factor go in a multiplier 133.
• the multiplied mono signal is subtracted from the centre signal Xcentre, to produce a centre residual signal.
• the balance factor gQ is determined based on the content of the mono and centre signals by an optimiser 137 in order to minimise the centre residual signal according to the quality criterion.
• the centre residual signal is encoded in a centre residual encoder 139 according to any encoder procedures.
• the centre residual encoder 139 is a low bit rate transform encoder or a CELP encoder.
• the encoding parameters pcentre representing the centre signal then comprises the encoding parameters pcentre residual representing the centre residual signal and the optimised balance factor 149.
• the centre residual signal and the scaled mono signal are added in an addition unit 235, creating a modified centre signal 142 being compensated for encoding errors.
• the side signal Xside i.e. the difference between the left L and right R channels is provided to the side signal encoder unit 30 as in earlier embodiments.
• the optimiser 37 also depends on the modified centre signal 142 provided by the centre signal encoder unit 130.
• the side residual signal will therefore be created as an optimum linear combination of the mono signal 42, the modified centre signal 142 and the side signal in the subtraction unit 35.
• the variable frame length concept described above can be applied on either of the side and centre signals, or on both.
• Fig. 6 illustrates a decoder unit suitable for receiving encoded audio signals from the encoder unit of Fig. 5.
• the received signal 54 is divided into encoding parameters pmono representing ' the main signal, encoding parameters pcentre representing the centre signal and encoding parameters pside representing the side signal.
• the encoding parameters pmono representing the main signal are used to generate a main signal x' mono.
• the encoding parameters pcentre representing the centre signal are used to generate a centre signal x" centre, based on main signal x' mono.
• the encoding parameters pside representing the side signal are decoded, generating a side signal x"side, based on main signal x' mono and centre signal x" centre.
• the a , ⁇ and ⁇ values can be either constant or dependent of the signal contents in order to emphasise one or two channels in order to achieve an optimal quality.
• x centr ⁇ s the centre signal and x mon0 is the mono signal.
• the mono signal comes from the mono target signal but it is possible to use the local synthesis of the mono encoder as well.
• the centre residual signal to be encoded is: x centre residual V 1 ) X centre ⁇ n ) SQ X mono ⁇ n )
• Q g ⁇ . is a quantization function that is applied to the balance factor.
• the balance factor is transmitted on the transmission channel.
• E c is the encoding function (e.g. a transform encoder) of the centre residual signal and E m is the encoding function of the mono signal then the decoded x c " entre signal in the decoder end can be described as:
• the side residual signal to be encoded is:
• g Qsm and g Qsc are quantized values of the parameters g sm and g sc that minimises the expression: frame end ⁇ (fa* M - *rig*/ (»)) - S OT 0 M ⁇ SscKentre (» )
• the g sm and g sc parameters can be quantized jointly or separately.
• FIG. 7a-b diagrams are illustrating such an artefact.
• a signal component having the time development as shown by curve 100.
• the signal component is not present in the audio sample.
• the signal component suddenly appears.
• the signal component is encoded, using a frame length of t2- tl, the occurrence of the signal component will be "smeared out” over the entire frame, as indicated in curve 101. If a decoding takes place of the curve 101, the signal component appears a time ⁇ t before the intended appearance of the signal component, and a "pre-echo" is perceived .
• the pre-echoing artefacts become more accentuated if long encoding frames are used. By using shorter frames, the artefact is somewhat suppressed.
• Another way to deal with the pre-echoing problems described above is to utilise the fact that the mono signal is available at both the encoder and decoder end. This makes it possible to scale the side signal according to the energy contour of the mono signal. In the decoder end, the inverse scaling is performed and thus some of the pre-echo problems may be alleviated.
• An energy contour of the mono signal is computed over the frame as:
• w(n) is a windowing function.
• the simplest windowing function is a rectangular window, but other window types such as a hamming window may be more desirable.
• the side residual signal is then scaled as:
• the energy contour is computed on the decoded mono signal and is applied to the decoded side signal as: Z-side ( n ) ⁇ x s "i de ( n )f ⁇ E c ("))» frame start ⁇ n ⁇ frame end .
• this energy contour scaling in some sense is alternative to the use of shorter frame lengths, this concept is particularly well suited to be combined with the variable frame length concept, described further above.
• a more flexible set of encoding schemes may be provided.
• the different encoding schemes 81 comprise hatched sub-frames 91, representing encoding applying the energy contour scaling, and un-hatched sub-frames 92, representing encoding procedures not applying the energy contour scaling.
• the set of encoding schemes of Fig. 8 comprises schemes that handle e.g. pre-echoing artefacts in different ways. In some schemes, longer sub-frames with pre-echoing minimisation according to the energy contour principle are used. In other schemes, shorter sub-frames without energy contour scaling are utilised. Depending on the signal content, one of the alternatives may be more advantageous. For very severe pre-echoing cases, encoding schemes utilising short sub-frames with energy contour scaling may be necessary.
• the proposed solution can be used in the full frequency band or in one or more distinct sub bands.
• the use of sub-band can be applied either on both the main and side signals, or on one of them separately.
• a preferred embodiment comprises a split of the side signal in several frequency bands. The reason is simply that it is easier to remove the possible redundancy in an isolated frequency band than in the entire frequency band. This is particularly important when encoding music signals with rich spectral content.
• the pre-determined threshold can preferably be 2 kHz, or even more preferably 1 kHz.
• the diffuse sound fields generally have little energy content at high frequencies.
• the natural reason is that sound absorption typically increases with frequency.
• the diffuse sound field components seem to play a less important role for the human auditory system at higher frequencies. Therefore, it is beneficial to employ this solution at low frequencies (below 1 or 2 kHz) and rely on other, even more bit efficient coding schemes at higher frequencies.
• the fact that the scheme is only applied at low frequencies gives a large saving in bit rate as the necessary bit rate with the proposed method is proportional to the required bandwidth.
• the mono encoder can encode the entire frequency band, while the proposed side signal encoding is suggested to be performed only in the lower part of the frequency band, as schematically illustrated by Fig. 9.
• Reference number 301 refers to an encoding scheme according to the present invention of the side signal
• reference number 302 refers to any other encoding scheme of the side signal
• reference number 303 refers to an encoding scheme of the side signal.
• Fig. 10 the main steps of an embodiment of an encoding method according to the present invention are illustrated as a flow diagram.
• the procedure starts in step 200.
• a main signal deduced from the polyphonic signals is encoded.
• encoding schemes are provided, which comprise sub-frames with differing lengths and/ or order.
• a side signal deduced in step 214 from the polyphonic signals is encoded by an encoding scheme selected dependent at least partly on the actual signal content of the present polyphonic signals.
• the procedure ends in step 299.
• Fig. 11 the main steps of an embodiment of a decoding method according to the present invention are illustrated as a flow diagram.
• the procedure starts in step 200.
• a received encoded main signal is decoded.
• encoding schemes are provided, which comprise sub-frames with differing lengths and/ or order.
• a received side signal is decoded in step 224 by a selected encoding scheme.
• the decoded main and side signals are combined to a polyphonic signal.
• the procedure ends in step 299.

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