1488:(CBR) encoding. Using a constant bit rate makes encoding simpler and less CPU-intensive. However, it is also possible to optimize the size of the file by creating files where the bit rate changes throughout the file. These are known as variable bit rate. The bit reservoir and VBR encoding were part of the original MPEG-1 standard. The concept behind them is that, in any piece of audio, some sections are easier to compress, such as silence or music containing only a few tones, while others will be more difficult to compress. So, the overall quality of the file may be increased by using a lower bit rate for the less complex passages and a higher one for the more complex parts. With some advanced MP3 encoders, it is possible to specify a given quality, and the encoder will adjust the bit rate accordingly. Users that desire a particular "quality setting" that is
2137:(formerly called Thomson Consumer Electronics) claimed to control MP3 licensing of the Layer 3 patents in many countries, including the United States, Japan, Canada, and EU countries. Technicolor had been actively enforcing these patents. MP3 license revenues from Technicolor's administration generated about €100 million for the Fraunhofer Society in 2005. In September 1998, the Fraunhofer Institute sent a letter to several developers of MP3 software stating that a license was required to "distribute and/or sell decoders and/or encoders". The letter claimed that unlicensed products "infringe the patent rights of Fraunhofer and Thomson. To make, sell or distribute products using the standard and thus our patents, you need to obtain a license under these patents from us." This led to the situation where the
1012:), originally published in 1995. MPEG-2 Part 3 (ISO/IEC 13818-3) defined 42 additional bit rates and sample rates for MPEG-1 Audio Layer I, II and III. The new sampling rates are exactly half that of those originally defined in MPEG-1 Audio. This reduction in sampling rates serves to cut the available frequency fidelity in half while likewise cutting the bit rate by 50%. MPEG-2 Part 3 also enhanced MPEG-1's audio by allowing the coding of audio programs with more than two channels, up to 5.1 multichannel. An MP3 coded with MPEG-2 results in half of the bandwidth reproduction of MPEG-1 appropriate for piano and singing.
4238:"To show industries how to use the codec, MPEG cobbled together a free sample program that converted music into MP3 files. The demonstration software created poor-quality sound, and Fraunhofer did not intend that it be used. The software's "source code"—its underlying instructions—was stored on an easily accessible computer at the University of Erlangen, from which it was downloaded by one SoloH, a hacker in the Netherlands (and, one assumes, a Star Wars fan). SoloH revamped the source code to produce software that converted compact-disc tracks into music files of acceptable quality."
1924:
bit rate of uncompressed CD digital audio. MP3 was designed to encode this 1411 kbit/s data at 320 kbit/s or less. If less complex passages are detected by the MP3 algorithms then lower bit rates may be employed. When using MPEG-2 instead of MPEG-1, MP3 supports only lower sampling rates (16,000, 22,050, or 24,000 samples per second) and offers choices of bit rate as low as 8 kbit/s but no higher than 160 kbit/s. By lowering the sampling rate, MPEG-2 layer III removes all frequencies above half the new sampling rate that may have been present in the source audio.
1508:'s project "The Ghost in the MP3" isolates the sounds lost during MP3 compression. In 2015, he released the track "moDernisT" (an anagram of "Tom's Diner"), composed exclusively from the sounds deleted during MP3 compression of the song "Tom's Diner", the track originally used in the formulation of the MP3 standard. A detailed account of the techniques used to isolate the sounds deleted during MP3 compression, along with the conceptual motivation for the project, was published in the 2014 Proceedings of the International Computer Music Conference.
1992:
than with constant bit rate. Average bit rate is a type of VBR implemented as a compromise between the two: the bit rate is allowed to vary for more consistent quality, but is controlled to remain near an average value chosen by the user, for predictable file sizes. Although an MP3 decoder must support VBR to be standards compliant, historically some decoders have bugs with VBR decoding, particularly before VBR encoders became widespread. The most evolved LAME MP3 encoder supports the generation of VBR, ABR, and even the older CBR MP3 formats.
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with the amount of silence recorded or the rate of delivery (wpm). Resampling to 12,000 (6K bandwidth) is selected by the LAME parameter -V 9.4. Likewise -V 9.2 selects a 16,000 sample rate and a resultant 8K lowpass filtering. Older versions of LAME and FFmpeg only support integer arguments for the variable bit rate quality selection parameter. The n.nnn quality parameter (-V) is documented at lame.sourceforge.net but is only supported in LAME with the new style VBR variable bit rate quality selector—not average bit rate (ABR).
2214:
1275:
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written, the suggested implementations were quite dated. Implementers of the standard were supposed to devise algorithms suitable for removing parts of the information from the audio input. As a result, many different MP3 encoders became available, each producing files of differing quality. Comparisons were widely available, so it was easy for a prospective user of an encoder to research the best choice. Some encoders that were proficient at encoding at higher bit rates (such as
909:, was developed (in 1991–1996) by the members of the ISO MPEG Audio committee to produce bit-compliant MPEG Audio files (Layer 1, Layer 2, Layer 3). It was approved as a committee draft of the ISO/IEC technical report in March 1994 and printed as document CD 11172-5 in April 1994. It was approved as a draft technical report (DTR/DIS) in November 1994, finalized in 1996 and published as international standard ISO/IEC TR 11172-5:1998 in 1998. The
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1952:. Frequency reproduction is always strictly less than half of the sampling rate, and imperfect filters require a larger margin for error (noise level versus sharpness of filter), so an 8 kHz sampling rate limits the maximum frequency to 4 kHz, while a 48 kHz sampling rate limits an MP3 to a maximum 24 kHz sound reproduction. MPEG-2 uses half and MPEG-2.5 only a quarter of MPEG-1 sample rates.
1024:
half of those available using MPEG-2. It thus widens the scope of MP3 to include human speech and other applications yet requires only 25% of the bandwidth (frequency reproduction) possible using MPEG-1 sampling rates. While not an ISO-recognized standard, MPEG-2.5 is widely supported by both inexpensive
Chinese and brand-name digital audio players as well as computer software-based MP3 encoders (
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54:
1152:, better known by the acronym IUMA. After some experiments using uncompressed audio files, this archive started to deliver on the native worldwide low-speed Internet some compressed MPEG Audio files using the MP2 (Layer II) format and later on used MP3 files when the standard was fully completed. The popularity of MP3s began to rise rapidly with the advent of
2107:). The various MP3-related patents expired on dates ranging from 2007 to 2017 in the United States. Patents for anything disclosed in ISO CD 11172 filed a year or more after its publication are questionable. If only the known MP3 patents filed by December 1992 are considered, then MP3 decoding has been patent-free in the US since 22 September 2015, when
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sure it did not adversely affect the reproduction of Vega's voice. Accordingly, he dubbed Vega the "Mother of MP3". Instrumental music had been easier to compress, but Vega's voice sounded unnatural in early versions of the format. Brandenburg eventually met Vega and heard Tom's Diner performed live.
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Layer III audio can also use a "bit reservoir", a partially full frame's ability to hold part of the next frame's audio data, allowing temporary changes in effective bit rate, even in a constant bit rate stream. Internal handling of the bit reservoir increases encoding delay. There is no scale factor
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Sisvel S.p.A., a
Luxembourg-based company, administers licenses for patents applying to MPEG Audio. They, along with its United States subsidiary Audio MPEG, Inc. previously sued Thomson for patent infringement on MP3 technology, but those disputes were resolved in November 2005 with Sisvel granting
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The basic MP3 decoding and encoding technology is patent-free in the
European Union, all patents having expired there by 2012 at the latest. In the United States, the technology became substantially patent-free on 16 April 2017 (see below). MP3 patents expired in the US between 2007 and 2017. In the
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For the general field of human speech reproduction, a bandwidth of 5,512 Hz is sufficient to produce excellent results (for voice) using the sampling rate of 11,025 and VBR encoding from 44,100 (standard) WAV file. English speakers average 41–42 kbit/s with -V 9.6 setting but this may vary
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Bit rate is the product of the sample rate and number of bits per sample used to encode the music. CD audio is 44100 samples per second. The number of bits per sample also depends on the number of audio channels. The CD is stereo and 16 bits per channel. So, multiplying 44100 by 32 gives 1411200—the
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standard does not include a precise specification for an MP3 encoder but does provide examples of psychoacoustic models, rate loops, and the like in the non-normative part of the original standard. MPEG-2 doubles the number of sampling rates that are supported and MPEG-2.5 adds 3 more. When this was
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The ISO standard ISO/IEC 11172-3 (a.k.a. MPEG-1 Audio) defined three formats: the MPEG-1 Audio Layer I, Layer II and Layer III. The ISO standard ISO/IEC 13818-3 (a.k.a. MPEG-2 Audio) defined an extended version of MPEG-1 Audio: MPEG-2 Audio Layer I, Layer II, and Layer III. MPEG-2 Audio (MPEG-2 Part
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in C language was later published as a freely available ISO standard. Working in non-real time on several operating systems, it was able to demonstrate the first real-time hardware decoding (DSP based) of compressed audio. Some other real-time implementations of MPEG Audio encoders and decoders were
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During the development of the MUSICAM encoding software, Stoll and Dehery's team made thorough use of a set of high-quality audio assessment material selected by a group of audio professionals from the
European Broadcasting Union, and later used as a reference for the assessment of music compression
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The immediate predecessors of MP3 were "Optimum Coding in the
Frequency Domain" (OCF), and Perceptual Transform Coding (PXFM). These two codecs, along with block-switching contributions from Thomson-Brandt, were merged into a codec called ASPEC, which was submitted to MPEG, and which won the quality
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p. 144: "In the year 1988, the MASCAM method was developed at the
Institut für Rundfunktechnik (IRT) in Munich in preparation for the digital audio broadcasting (DAB) system. From MASCAM, the MUSICAM (masking pattern universal subband integrated coding and multiplexing) method was developed in 1989
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with a relatively low bit rate provides good examples of compression artifacts. Most subjective testings of perceptual codecs tend to avoid using these types of sound materials, however, the artifacts generated by percussive sounds are barely perceptible due to the specific temporal masking feature
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audio since MPEG-3 already had a different meaning. This extension was developed at
Fraunhofer IIS, the registered patent holder of MP3, by reducing the frame sync field in the MP3 header from 12 to 11 bits. As in the transition from MPEG-1 to MPEG-2, MPEG-2.5 adds additional sampling rates exactly
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was the first song used by
Brandenburg to develop the MP3 format. It was used as a benchmark to see how well MP3's compression algorithm handled the human voice. Brandenburg adopted the song for testing purposes, listening to it again and again each time he refined the compression algorithm, making
1991:
A more sophisticated MP3 encoder can produce variable bit rate audio. MPEG audio may use bit rate switching on a per-frame basis, but only layer III decoders must support it. VBR is used when the goal is to achieve a fixed level of quality. The final file size of a VBR encoding is less predictable
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which are exactly half that of MPEG-1. MPEG-2.5 Audio Layer III frames are limited to only 8 bit rates of 8, 16, 24, 32, 40, 48, 56 and 64 kbit/s with 3 even lower sampling rates of 8, 11.025, and 12 kHz. On earlier systems that only support the MPEG-1 Audio Layer III standard, MP3 files
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nature and wide spectral content, making it easier to hear imperfections in the compression format during playbacks. This particular track has an interesting property in that the two channels are almost, but not completely, the same, leading to a case where
Binaural Masking Level Depression causes
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VP for Media), Yves-François Dehery, Karlheinz
Brandenburg (Germany) and James D. Johnston (United States) took ideas from ASPEC, integrated the filter bank from Layer II, added some of their ideas such as the joint stereo coding of MUSICAM and created the MP3 format, which was designed to achieve
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This codec incorporated into a broadcasting system using COFDM modulation was demonstrated on air and in the field with Radio Canada and CRC Canada during the NAB show (Las Vegas) in 1991. The implementation of the audio part of this broadcasting system was based on a two-chip encoder (one for the
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reported on a wide variety of (mostly perceptual) audio compression algorithms in 1988. The "Voice Coding for Communications" edition published in February 1988 reported on a wide range of established, working audio bit compression technologies, some of them using auditory masking as part of their
405:
standard in 1991, finalized in 1992, and published in 1993 as ISO/IEC 11172-3:1993. An MPEG-2 Audio (MPEG-2 Part 3) extension with lower sample and bit rates was published in 1995 as ISO/IEC 13818-3:1995. It requires only minimal modifications to existing MPEG-1 decoders (recognition of the MPEG-2
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in Berlin after an Italian patents firm won an injunction on behalf of Sisvel against SanDisk in a dispute over licensing rights. The injunction was later reversed by a Berlin judge, but that reversal was in turn blocked the same day by another judge from the same court, "bringing the Patent Wild
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MPEG-1 frames contain the most detail in 320 kbit/s mode, the highest allowable bit rate setting, with silence and simple tones still requiring 32 kbit/s. MPEG-2 frames can capture up to 12 kHz sound reproductions needed up to 160 kbit/s. MP3 files made with MPEG-2 do not have
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quite different quality, even with identical bit rates. As an example, in a public listening test featuring two early MP3 encoders set at about 128 kbit/s, one scored 3.66 on a 1–5 scale, while the other scored only 2.22. Quality is dependent on the choice of encoder and encoding parameters.
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Besides the bit rate of an encoded piece of audio, the quality of MP3-encoded sound also depends on the quality of the encoder algorithm as well as the complexity of the signal being encoded. As the MP3 standard allows quite a bit of freedom with encoding algorithms, different encoders do feature
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The genesis of the MP3 technology is fully described in a paper from Professor Hans Musmann, who chaired the ISO MPEG Audio group for several years. In December 1988, MPEG called for an audio coding standard. In June 1989, 14 audio coding algorithms were submitted. Because of certain similarities
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coding-algorithm exploiting the masking properties of the human ear. Further optimization by Schroeder and Atal with J.L. Hall was later reported in a 1979 paper. That same year, a psychoacoustic masking codec was also proposed by M. A. Krasner, who published and produced hardware for speech (not
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for allegedly infringing seven patents. On 23 February 2007, a San Diego jury awarded Alcatel-Lucent US $ 1.52 billion in damages for infringement of two of them. The court subsequently revoked the award, however, finding that one patent had not been infringed and that the other was not owned by
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While much of MUSICAM technology and ideas were incorporated into the definition of MPEG Audio Layer I and Layer II, the filter bank alone and the data structure based on 1152 samples framing (file format and byte-oriented stream) of MUSICAM remained in the Layer III (MP3) format, as part of the
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Perceived quality can be influenced by the listening environment (ambient noise), listener attention, listener training, and in most cases by listener audio equipment (such as sound cards, speakers, and headphones). Furthermore, sufficient quality may be achieved by a lesser quality setting for
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additional MP3 frame types. Each generation of MP3 thus supports 3 sampling rates exactly half that of the previous generation for a total of 9 varieties of MP3 format files. The sample rate comparison table between MPEG-1, 2, and 2.5 is given later in the article. MPEG-2.5 is supported by LAME
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Due to the tree structure of the filter bank, pre-echo problems are made worse, as the combined impulse response of the two filter banks does not, and cannot, provide an optimum solution in time/frequency resolution. Additionally, the combining of the two filter banks' outputs creates aliasing
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Another predecessor of the MP3 format and technology is to be found in the perceptual codec MUSICAM based on an integer arithmetics 32 sub-bands filter bank, driven by a psychoacoustic model. It was primarily designed for Digital Audio Broadcasting (digital radio) and digital TV, and its basic
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availability and hard drive sizes have increased, higher bit rates up to 320 kbit/s are widespread. Uncompressed audio as stored on an audio-CD has a bit rate of 1,411.2 kbit/s, (16 bit/sample × 44,100 samples/second × 2 channels / 1,000 bits/kilobit), so the bit rates 128, 160, and
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and four other researchers – "The Original Six"), with relatively minor contributions from the MP2 branch of psychoacoustic sub-band coders. In 1990, Brandenburg became an assistant professor at Erlangen-Nuremberg. While there, he continued to work on music compression with scientists at the
645:, a 20 bits/sample input format (the highest available sampling standard in 1991, compatible with the AES/EBU professional digital input studio standard) were the main reasons to later adopt the characteristics of MUSICAM as the basic features for an advanced digital music compression codec.
779:, the editing of the standard was delegated to Leon van de Kerkhof (Netherlands), Gerhard Stoll (Germany), and Yves-François Dehery (France), who worked on Layer I and Layer II. ASPEC was the joint proposal of AT&T Bell Laboratories, Thomson Consumer Electronics, Fraunhofer Society, and
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competition, but that was mistakenly rejected as too complex to implement. The first practical implementation of an audio perceptual coder (OCF) in hardware (Krasner's hardware was too cumbersome and slow for practical use), was an implementation of a psychoacoustic transform coder based on
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began working on digital music compression in the early 1980s, focusing on how people perceive music. He completed his doctoral work in 1989. MP3 is directly descended from OCF and PXFM, representing the outcome of the collaboration of Brandenburg — working as a postdoctoral researcher at
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has been made public, and patents expire 20 years after the initial filing date, which can be up to 12 months later for filings in other countries. As a result, patents required to implement MP3 expired in most countries by December 2012, 21 years after the publication of ISO CD 11172.
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This article refers to a Musicam (MPEG Audio Layer II) compressed digital audio workstation implemented on a microcomputer used not only as a professional editing station but also as a server on Ethernet for a compressed digital audio library, therefore anticipating the future MP3 on
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An exception is the United States, where patents in force but filed before 8 June 1995 expire after the later of 17 years from the issue date or 20 years from the priority date. A lengthy patent prosecution process may result in a patent issued much later than normally expected (see
2008:
The ancillary data field can be used to store user-defined data. The ancillary data is optional and the number of bits available is not explicitly given. The ancillary data is located after the Huffman code bits and ranges to where the next frame's main_data_begin points to. Encoder
1293:. Due to the "bit reservoir", frames are not independent items and cannot usually be extracted on arbitrary frame boundaries. The MP3 Data blocks contain the (compressed) audio information in terms of frequencies and amplitudes. The diagram shows that the MP3 Header consists of a
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Ernst Terhardt and other collaborators constructed an algorithm describing auditory masking with high accuracy in 1982. This work added to a variety of reports from authors dating back to Fletcher, and to the work that initially determined critical ratios and critical bandwidths.
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MPEG-2.5 was not developed by MPEG (see above) and was never approved as an international standard. MPEG-2.5 is thus an unofficial or proprietary extension to the MP3 format. It is nonetheless ubiquitous and especially advantageous for low-bit-rate human speech applications.
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that are available free of charge and without any known patent restrictions. Some of the newer audio compression formats, such as AAC, WMA Pro, Vorbis, and Opus, are free of some limitations inherent to the MP3 format that cannot be overcome by any MP3 encoder.
1963:, the main source used for creating MP3 files. A great variety of bit rates are used on the Internet. A bit rate of 128 kbit/s is commonly used, at a compression ratio of 11:1, offering adequate audio quality in a relatively small space. As Internet
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Thomson a license to their patents. Motorola followed soon after and signed with Sisvel to license MP3-related patents in December 2005. Except for three patents, the US patents administered by Sisvel had all expired in 2015. The three exceptions are:
1979:
encoder and the free format option, although few MP3 players can play those files. According to the ISO standard, decoders are only required to be able to decode streams up to 320 kbit/s. Early MPEG Layer III encoders used what is now called
1458:
When performing lossy audio encoding, such as creating an MP3 data stream, there is a trade-off between the amount of data generated and the sound quality of the results. The person generating an MP3 selects a bit rate, which specifies how many
1927:
As shown in these two tables, 14 selected bit rates are allowed in MPEG-1 Audio Layer III standard: 32, 40, 48, 56, 64, 80, 96, 112, 128, 160, 192, 224, 256 and 320 kbit/s, along with the 3 highest available sampling rates of 32, 44.1 and
1467:(i.e., sounds that were not present in the original recording) may be audible in the reproduction. Some audio is hard to compress because of its randomness and sharp attacks. When this type of audio is compressed, artifacts such as ringing or
1483:
This observation caused a revolution in audio encoding. Early on bit rate was the prime and only consideration. At the time MP3 files were of the very simplest type: they used the same bit rate for the entire file: this process is known as
3885:
was a hardware specialist; Ernst Eberlein was a signal processing expert; Jurgen Herre was another graduate student whose mathematical prowess rivaled Brandenburg´s own. In later years this group would refer to themselves as "the original
2113:, which had a PCT filing in October 1992, expired. If the longest-running patent mentioned in the aforementioned references is taken as a measure, then the MP3 technology became patent-free in the United States on 16 April 2017, when
2231:
640:
DSP chip running an integer arithmetics software designed by Y.F. Dehery's team (CCETT, France). The simplicity of the corresponding decoder together with the high audio quality of this codec using for the first time a 48 kHz
4392:"MPEG-2.5" is the name of a proprietary extension developed by Fraunhofer IIS. It enables MP3 to work satisfactorily at very low bitrates and introduces the additional sampling rates 8 kHz, 11.025 kHz and 12 kHz.
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The MP3 encoding algorithm is generally split into four parts. Part 1 divides the audio signal into smaller pieces, called frames, and an MDCT filter is then performed on the output. Part 2 passes the sample into a 1024-point
2051:. These tags are normally embedded at the beginning or end of MP3 files, separate from the actual MP3 frame data. MP3 decoders either extract information from the tags or just treat them as ignorable, non-MP3 junk data.
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tolerance, as the output specified mathematically in the ISO/IEC high standard document (ISO/IEC 11172-3). Therefore, the comparison of decoders is usually based on how computationally efficient they are (i.e., how much
2893:
885:
spatial unmasking of noise artifacts unless the encoder properly recognizes the situation and applies corrections similar to those detailed in the MPEG-2 AAC psychoacoustic model. Some more critical audio excerpts (
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Its CBR produces packets with exactly the size the encoder requested, without a bit reservoir to imposes additional buffering delays, as found in codecs such as MP3 or AAC-LD. is most noticeable in low-bitrate
1414:). Frequency resolution is limited by the small long block window size, which decreases coding efficiency. Time resolution can be too low for highly transient signals and may cause smearing of percussive sounds.
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codecs. The subband coding technique was found to be efficient, not only for the perceptual coding of high-quality sound materials but especially for the encoding of critical percussive sound materials (drums,
2131:, have decided to start shipping MP3 support by default, and users will no longer have to resort to installing unofficial packages maintained by third party software repositories for MP3 playback or encoding.
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to their ears can use this value when encoding all of their music, and generally speaking not need to worry about performing personal listening tests on each piece of music to determine the correct bit rate.
4137:"ISO/IEC TR 11172-5:1998 – Information technology – Coding of moving pictures and associated audio for digital storage media at up to about 1,5 Mbit/s – Part 5: Software simulation (Reference Software)"
2232:
1932:. MPEG-2 Audio Layer III also allows 14 somewhat different (and mostly lower) bit rates of 8, 16, 24, 32, 40, 48, 56, 64, 80, 96, 112, 128, 144, 160 kbit/s with sampling rates of 16, 22.05 and 24
3843:
1401:
MP3 uses an overlapping MDCT structure. Each MPEG-1 MP3 frame is 1152 samples, divided into two granules of 576 samples. These samples, initially in the time domain, are transformed in one block to 576
436:
reported that a tone could be rendered inaudible by another tone of lower frequency. In 1959, Richard Ehmer described a complete set of auditory curves regarding this phenomenon. Between 1967 and 1974,
1394:) were not necessarily as good at lower bit rates. Over time, LAME evolved on the SourceForge website until it became the de facto CBR MP3 encoder. Later an ABR mode was added. Work progressed on true
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MP3 encoder project could not offer its users official binaries that could run on their computer. The project's position was that as source code, LAME was simply a description of how an MP3 encoder
756:
578:
4143:
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using a quality goal between 0 and 10. Eventually, numbers (such as -V 9.600) could generate excellent quality low bit rate voice encoding at only 41 kbit/s using the MPEG-2.5 extensions.
1501:
Music Professor Jonathan Berger showed that student preference for MP3-quality music has risen each year. Berger said the students seem to prefer the 'sizzle' sounds that MP3s bring to music.
2000:, forcing the encoder to choose between less accurate representation in band 21 or less efficient storage in all bands below band 21, the latter resulting in wasted bit rate in VBR encoding.
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per second of audio is desired. The higher the bit rate, the larger the MP3 data stream will be, and, generally, the closer it will sound to the original recording. With too low a bit rate,
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problems that must be handled partially by the "aliasing compensation" stage; however, that creates excess energy to be coded in the frequency domain, thereby decreasing coding efficiency.
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5742:
1284:
Diagram of the structure of an MP3 file (MPEG version 2.5, not described here, changes the last bit of sync word to "0" as an indication, effectively moving one bit to the version field).
520:(MDCT), proposed by J. P. Princen, A. W. Johnson and A. B. Bradley in 1987, following earlier work by Princen and Bradley in 1986. The MDCT later became a core part of the MP3 algorithm.
4111:"ISO/IEC TR 11172-5:1998 – Information technology – Coding of moving pictures and associated audio for digital storage media at up to about 1,5 Mbit/s – Part 5: Software simulation"
2230:
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model is applied and another MDCT filter is performed on the output. Part 3 quantifies and encodes each sample, known as noise allocation, which adjusts itself to meet the bit rate and
4846:
2751:"ISO/IEC 11172-3:1993 – Information technology — Coding of moving pictures and associated audio for digital storage media at up to about 1,5 Mbit/s — Part 3: Audio"
6135:
5109:
4033:
2091:, uncertainty about which patents must have been licensed to create MP3 products without committing patent infringement was common in the early stages of the technology's adoption.
3623:
2183:, claiming infringement of a portable MP3 player patent that Texas MP3 said it had been assigned. Apple, Samsung, and Sandisk all settled the claims against them in January 2009.
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such as the title, artist, album, track number, or other information about the file's contents. The MP3 standards do not define tag formats for MP3 files, nor is there a standard
763:(Germany), and Matsushita (Japan), was chosen due to its simplicity and error robustness, as well as for its high level of computational efficiency. The MUSICAM format, based on
2889:
2189:
has asserted several MP3 coding and compression patents, allegedly inherited from AT&T-Bell Labs, in litigation of its own. In November 2006, before the companies' merger,
1984:(CBR). The software was only able to use a uniform bit rate on all frames in an MP3 file. Later more sophisticated MP3 encoders were able to use the bit reservoir to target an
2180:
5690:
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are a significant alternative to MP3 because they provide unaltered audio content, though with an increased file size compared to lossy compression. Lossless formats include
2345:
When the digital audio player market was taking off, MP3 was widely adopted as the standard hence the popular name "MP3 player". Sony was an exception and used their own
2094:
The initial near-complete MPEG-1 standard (parts 1, 2, and 3) was publicly available on 6 December 1991 as ISO CD 11172. In most countries, patents cannot be filed after
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2456:
1136:
quality goal which automatically selects MPEG-2 or MPEG-2.5 sampling rates as appropriate for human speech recordings that need only 5512 Hz bandwidth resolution.
1089:
6043:
780:
653:,...), due to the specific temporal masking effect of the MUSICAM sub-band filterbank (this advantage being a specific feature of short transform coding techniques).
4505:
4252:
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5919:
4999:
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4114:
2754:
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830:), published in 1993. Files or data streams conforming to this standard must handle sample rates of 48k, 44100, and 32k and continue to be supported by current
4226:
861:(DAT) SP parameters (48 kHz, 2×16 bit). Compression ratios with this latter reference are higher, which demonstrates the problem with the use of the term
5630:
5082:
2074:
may be used to reversibly modify files based on ReplayGain measurements so that adjusted playback can be achieved on players without ReplayGain capability.
1301:
standard and two bits that indicate that layer 3 is used; hence MPEG-1 Audio Layer 3 or MP3. After this, the values will differ, depending on the MP3 file.
5039:
2087:
related to MP3 decoding or encoding. These claims led to several legal threats and actions from a variety of sources. As a result, in countries that allow
5871:
5496:"Method and apparatus for encoding digital signals employing bit allocation using combinations of different threshold models to achieve desired bit rates"
1330:
In short, MP3 compression works by reducing the accuracy of certain components of sound that are considered (by psychoacoustic analysis) to be beyond the
5473:
9292:
7754:
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3973:
4136:
6235:
5581:
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2784:"ISO/IEC 13818-3:1995 – Information technology — Generic coding of moving pictures and associated audio information — Part 3: Audio"
2919:
9393:
2945:
1160:, released in 1997, which still had in 2023 a community of 80 million active users. In 1998, the first portable solid-state digital audio player
271:. It was designed to greatly reduce the amount of data required to represent audio, yet still sound like a faithful reproduction of the original
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5746:
5555:
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Y.F. Dehery, et al. (1991) A MUSICAM source codec for Digital Audio Broadcasting and storage Proceedings IEEE-ICASSP 91 pages 3605–3608 May 1991
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The first is uncompressed WAV file. The second is a Vorbis file encoded at 48 kbit/s, and third is an MP3 encoded at 48 kbit/s using
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1505:
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when compared to uncompressed audio. The combination of small size and acceptable fidelity led to a boom in the distribution of music over the
5373:
1450:. However, some encoders such as LAME can attach additional metadata that will allow players that can handle it to deliver seamless playback.
897:
V3/SQAM reference compact disc and have been used by professional sound engineers to assess the subjective quality of the MPEG Audio formats.
7176:
6319:
4960:
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4307:
767:, became the basis for the MPEG Audio compression format, incorporating, for example, its frame structure, header format, sample rates, etc.
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compliant", which means that the decompressed output that they produce from a given MP3 file will be the same, within a specified degree of
4379:
4056:
4025:
3017:
1148:, often via underground pirated song networks. The first known experiment in Internet distribution was organized in the early 1990s by the
5712:
5577:
5402:
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West to Germany" in the words of one commentator. In February 2007, Texas MP3 Technologies sued Apple, Samsung Electronics and Sandisk in
441:
did work in the areas of tuning and masking of critical frequency-bands, which in turn built on the fundamental research in the area from
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Genesis of the MP3 Audio Coding Standard in IEEE Transactions on Consumer Electronics, IEEE, Vol. 52, Nr. 3, pp. 1043–1049, August 2006
633:
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Brandenburg and Grill were joined by four other Fraunhofer researchers. Heinz Gerhauser oversaw the institute´s audio research group;
3648:
Terhardt, E.; Stoll, G.; Seewann, M. (March 1982). "Algorithm for Extraction of Pitch and Pitch Salience from Complex Tonal Signals".
397:, standards. MPEG-1 Audio (MPEG-1 Part 3), which included MPEG-1 Audio Layer I, II, and III, was approved as a committee draft for an
8697:
8415:
7642:
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6829:
6359:
5255:
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1305:
defines the range of values for each section of the header along with the specification of the header. Most MP3 files today contain
1187:
was offering thousands of MP3s created by independent artists for free. The small size of MP3 files enabled widespread peer-to-peer
8256:
7984:
7212:
6438:
5713:"Audio MPEG and Sisvel: Thomson sued for patent infringement in Europe and the United States — MP3 players stopped by customs"
5686:
3460:
2982:"CD 11172-3 – CODING OF MOVING PICTURES AND ASSOCIATED AUDIO FOR DIGITAL STORAGE MEDIA AT UP TO ABOUT 1.5 MBIT/s Part 3 AUDIO"
3439:
3053:
944:(released 9 September 1995) many people were able to encode and play back MP3 files on their PCs. Because of the relatively small
7282:
4194:
2070:) in its metadata tag, enabling a ReplayGain-compliant player to automatically adjust the overall playback volume for each file.
5435:
4611:
4460:
952:) lossy compression was essential to store multiple albums' worth of music on a home computer as full recordings (as opposed to
7287:
6161:
6015:
17:
7469:
5993:
4732:
2663:
9343:
6869:
5961:
5768:
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3909:
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3268:
3234:
3176:
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by MDCT. MP3 also allows the use of shorter blocks in a granule, down to a size of 192 samples; this feature is used when a
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7350:
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4350:
4003:
3726:
1949:
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transitioned from MHz to GHz. Encoder/decoder overall delay is not defined, which means there is no official provision for
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4497:
4249:
2720:
4872:
3465:
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2270:(AAC) is the most widely used, and was designed to be the successor to MP3. There also exist other lossy formats such as
841:
The compression efficiency of encoders is typically defined by the bit rate because the compression ratio depends on the
5929:
4992:
4659:
4269:
Technologies of Piracy? - Exploring the Interplay Between Commercialism and Idealism in the Development of MP3 and DivX
4110:
3286:"A History of Realtime Digital Speech on Packet Networks: Part II of Linear Predictive Coding and the Internet Protocol"
2750:
2551:
1063:
8110:
8075:
8053:
7252:
7227:
4454:"ISO/IEC 13818-3:1994(E) – Information Technology — Generic Coding of Moving Pictures and Associated Audio: Audio"
2428:
1289:
An MP3 file is made up of MP3 frames, which consist of a header and a data block. This sequence of frames is called an
1149:
517:
419:
4694:
3954:
Digital Video and Audio Broadcasting Technology: A Practical Engineering Guide (Signals and Communication Technology)
8892:
8580:
7850:
6901:
6312:
5634:
3959:
3807:
1910:
4223:
3373:; Hall, J.L. (December 1979). "Optimizing Digital Speech Coders by Exploiting Masking Properties of the Human Ear".
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principles were disclosed to the scientific community by CCETT (France) and IRT (Germany) in Atlanta during an IEEE-
8707:
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4287:
2013:
used ancillary data to encode extra information which could improve audio quality when decoded with its algorithm.
657:
1988:
selecting the encoding rate for each frame based on the complexity of the sound in that portion of the recording.
1297:, which is used to identify the beginning of a valid frame. This is followed by a bit indicating that this is the
326:
to encode data using inexact approximations and the partial discarding of data, allowing for a large reduction in
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lectures and human speech applications and reduces encoding time and complexity. A test given to new students by
1489:
1247:
5027:
2495:
2167:, expired 9 April 2017. As of around the first quarter of 2023, Sisvel's licensing program has become a legacy.
760:
553:
between these coding proposals, they were clustered into four development groups. The first group was ASPEC, by
8655:
8168:
7989:
7672:
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6906:
5863:
5660:
3193:
3096:
2339:
1892:
606:
528:
469:
5469:
5139:
4632:; Johnston, James; Safranek, Robert (October 1993). "Signal Compression Based on Models of Human Perception".
3433:"Digital Encoding of Speech Based on the Perceptual Requirement of the Auditory System (Technical Report 535)"
2058:
applications dedicated to the purpose. Aside from metadata about the audio content, tags may also be used for
9062:
8687:
8136:
7798:
7184:
7170:
6623:
3933:
2124:
1472:
1312:, which precedes or follows the MP3 frames, as noted in the diagram. The data stream can contain an optional
1132:(VBR) encoding which uses a quality parameter rather than a bit rate goal. Later versions (2008+) support an
650:
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3160:
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1960:
1215:, which was eventually shut down and later sold, and against individual users who engaged in file sharing.
810:
The algorithms for MPEG-1 Audio Layer I, II and III were approved in 1991 and finalized in 1992 as part of
386:
6260:
531:(CELP), an LPC-based perceptual speech-coding algorithm with auditory masking that achieved a significant
338:
and storage were still at a premium. The MP3 format soon became associated with controversies surrounding
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8692:
7242:
5893:
3748:
Johnston, James D. (February 1988). "Transform Coding of Audio Signals Using Perceptual Noise Criteria".
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of MPEG-1 Audio or MPEG-2 Audio encoded data, without other complexities of the MP3 standard. Concerning
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Digital Encoding of Speech and Audio Signals Based on the Perceptual Requirements of the Auditory System
2817:
980:. He developed a higher-quality version and spread it on the internet. This code started the widespread
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is detected. Doing so limits the temporal spread of quantization noise accompanying the transient (see
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276:
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8791:
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8648:
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7438:
6673:
5551:
3343:
Atal, B.; Schroeder, M. (1978). "Predictive coding of speech signals and subjective error criteria".
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1959:
A sample rate of 44.1 kHz is commonly used for music reproduction because this is also used for
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3867:
How Music Got Free: The End of an Industry, the Turn of the Century, and the Patient Zero of Piracy
3579:, IEEE Proc. Intl. Conference on Acoustics, Speech, and Signal Processing (ICASSP), 2161–2164, 1987
2890:"On the 20th Birthday of the MP3, An Interview With The "Father" of the MP3, Karlheinz Brandenburg"
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Technical Report did not immediately influence the mainstream of psychoacoustic codec-development.
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415:
319:
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2844:(Full draft). Sustainability of Digital Formats. Washington, D.C.: Library of Congress. 3 May 2017
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standard, it was retained and further extended—defining additional bit rates and support for more
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4532:"Tech-savvy Getting Music For A Song; Industry Frustrated That Internet Makes Free Music Simple"
4387:
4167:
A high-quality sound coding standard for broadcasting, telecommunications and multimedia systems
4060:
3021:
992:
Further work on MPEG audio was finalized in 1994 as part of the second suite of MPEG standards,
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time they use in the decoding process). Over time this concern has become less of an issue as
1207:. Major record companies argued that this free sharing of music reduced sales, and called it "
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Subband/transform coding using filter bank designs based on time domain aliasing cancellation
2628:
2567:
2511:
2433:
2405:
2399:
2357:
sales, in 2004 Sony for the first time introduced native MP3 support to its Walkman players.
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2267:
1964:
1407:
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modeling. The remaining audio information is then recorded in a space-efficient manner using
1251:
905:
A reference simulation software implementation, written in the C language and later known as
877:
804:
791:
661:
493:
usable as music bit-compression), but the publication of his results in a relatively obscure
363:
335:
268:
109:
5808:
849:
of the input signal. Nevertheless, compression ratios are often published. They may use the
9155:
9120:
8766:
8741:
8565:
8354:
8301:
8006:
7693:
6854:
6785:
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4268:
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3474:
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3366:
3261:
Acoustics, Information, and Communication: Memorial Volume in Honor of Manfred R. Schroeder
3127:
2733:
Reference 3 in the paper is to Committee Draft of Standard ISO/IEC 11172, December 6, 1991.
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conference in 1991, after having worked on MUSICAM with Matsushita and Philips since 1989.
477:
31:
5251:
4759:
4202:
2282:
and MDCT algorithms. Whereas MP3 uses a hybrid coding approach that is part MDCT and part
2054:
Playing and editing software often contains tag editing functionality, but there are also
960:
files which combined notation with short recordings of instruments playing single notes).
8:
8839:
8344:
8337:
8280:
7994:
7662:
7454:
7360:
7307:
7019:
6814:
6790:
6738:
6494:
6397:
6344:
4938:
4482:
4453:
2423:
2417:
2361:
2278:. They are members of the same technological family as MP3 and depend on roughly similar
2067:
1498:
256:
4531:
3661:
3478:
3432:
3386:
3131:
2286:, AAC is purely MDCT, significantly improving compression efficiency. Many of the basic
936:
was chosen by the Fraunhofer team on 14 July 1995 (previously, the files had been named
636:(IRT Germany), later known as psychoacoustic model I) and a real-time decoder using one
9206:
9009:
8824:
8819:
8725:
8161:
8085:
7600:
7585:
7125:
7097:
6780:
6743:
6188:
5920:"Baker Botts LLP Professionals: Lisa Catherine Kelly — Representative Engagements"
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3532:
3049:
2712:
1367:
930:
925:
On 7 July 1994, the Fraunhofer Society released the first software MP3 encoder, called
858:
675:
666:
494:
264:
121:
61:
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6944:
2693:. ACM Multimedia. New York City: Association for Computing Machinery. pp. 75–82.
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8011:
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4615:
4589:
4170:
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3557:
3536:
3486:
3345:
ICASSP '78. IEEE International Conference on Acoustics, Speech, and Signal Processing
3310:
3264:
3230:
3172:
2702:
1981:
1485:
1426:
1403:
1395:
1290:
1203:, was launched in 1999. The ease of creating and sharing MP3s resulted in widespread
1129:
772:
465:
425:
371:
323:
315:
303:
177:
174:
6157:
6022:
4339:"Overview of MPEG Audio: Current and Future Standards for Low-Bit-Rate Audio Coding"
2691:
Proceedings of the first ACM international conference on Multimedia - MULTIMEDIA '93
1331:
279:, MP3 compression can commonly achieve a 75–95% reduction in size, depending on the
9252:
9191:
9150:
9057:
9034:
9004:
8849:
8809:
8679:
8671:
8450:
8060:
7957:
7949:
7835:
7788:
7716:
7683:
6896:
6562:
6414:
6382:
6331:
5983:
5068:
4641:
4577:
4558:
Giesler, Markus (2008). "Conflict and Compromise: Drama in Marketplace Evolution".
4422:
3757:
3665:
3524:
3482:
3413:
3390:
3348:
3300:
3164:
3135:
3088:
2716:
2694:
2655:
2602:
2543:
2487:
2353:
format, which Sony claimed was better. Following criticism and lower than expected
2319:
2145:
be implemented. Unofficially, compiled binaries were available from other sources.
2104:
2036:
1985:
1447:
1239:
682:. In 1993, he joined the staff of Fraunhofer HHI. An acapella version of the song "
505:
461:
438:
429:
218:
6183:
Jean-Marc Valin; Gregory Maxwell; Timothy B. Terriberry; Koen Vos (October 2013).
5951:
5775:
3785:"A DAB commentary from Alan Box, EZ communication and chairman NAB DAB task force"
1937:
with a bit rate below 32 kbit/s might be played back sped-up and pitched-up.
1124:
3) should not be confused with MPEG-2 AAC (MPEG-2 Part 7 – ISO/IEC 13818-7).
665:
AT&T-Bell Labs with James D. Johnston ("JJ") of AT&T-Bell Labs — with the
516:
in 1973; they published their results in 1974. This led to the development of the
355:
9226:
9201:
9186:
9087:
9072:
9047:
8776:
8771:
8575:
8038:
7830:
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6278:
6264:
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5495:
4275:
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2088:
1435:
1411:
1093:
1070:
842:
764:
489:
442:
433:
207:
202:
7400:
5841:
4338:
3995:
3720:
3590:
Analysis/synthesis filter bank design based on time domain aliasing cancellation
3352:
9262:
9221:
9216:
9211:
9171:
8989:
8984:
8720:
8445:
8440:
8435:
8425:
8120:
7967:
7808:
7677:
6770:
6270:
5611:
4383:
4250:
Pop Idols and Pirates: Mechanisms of Consumption and the Global Circulation ...
3370:
3153:
Zwicker, Eberhard (1974). "On a Psychoacoustical Equivalent of Tuning Curves".
2686:
2381:
2303:
2261:
2186:
2134:
2120:
1371:
1355:
1335:
873:
683:
670:
637:
614:
562:
473:
113:
3202:]. Trans. by Hannes Müsch, Søren Buus, and Mary Florentine. Archived from
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2157:
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2115:
2109:
1195:
from CDs, which would have previously been nearly impossible. The first large
9408:
9382:
9349:
9318:
9019:
8953:
8897:
8867:
8804:
8781:
8715:
8508:
8410:
8397:
8349:
8154:
8016:
7823:
7317:
7115:
6881:
6765:
6409:
6231:
6069:
5521:
3803:
EBU SQAM CD Sound Quality Assessment Material recordings for subjective tests
3314:
2539:
1359:
846:
787:
642:
453:
428:
algorithm takes advantage of a perceptual limitation of human hearing called
334:
in the late 1990s, with MP3 serving as an enabling technology at a time when
288:
260:
7380:
3528:
2039:
that would support metadata and obviate the need for tags. However, several
1334:
of most humans. This method is commonly referred to as perceptual coding or
632:
subband transform, one for the psychoacoustic model designed by the team of
544:
fundamental design, and several showing real-time hardware implementations.
9388:
9092:
9052:
8994:
8887:
8857:
8814:
8736:
8487:
7840:
7605:
7395:
7390:
7247:
7222:
6718:
6215:
4690:
4629:
4234:
2394:
1941:
1319:
1231:
1208:
1196:
1188:
886:
869:
850:
699:
In 1991, two available proposals were assessed for an MPEG audio standard:
687:
351:
343:
272:
3801:
3285:
2698:
9333:
9328:
9287:
9272:
9196:
9181:
9140:
9097:
8913:
7904:
7845:
7783:
7385:
7148:
7143:
6728:
6648:
6377:
4291:
3882:
3515:; Natarajan, T.; Rao, K. R. (January 1974), "Discrete Cosine Transform",
2327:
2290:
underlying these formats are held by Fraunhofer Society, Alcatel-Lucent,
1243:
1169:
969:
566:
367:
311:
292:
117:
6281:– over 1000 articles from 1999 to 2011 focused on MP3 and digital audio.
5015:• Fast forward and review playback does not work with a MP3/WMA/JPEG-CD.
3417:
1476:
of the 32 sub-band filterbank of Layer II on which the format is based.
1421:
Decoding, on the other hand, is carefully defined in the standard. Most
9323:
9313:
9130:
8918:
8882:
8751:
8746:
7818:
7711:
7120:
6891:
6760:
6723:
6658:
6542:
6419:
6328:
3305:
2599:"A More Loss-Tolerant RTP Payload Format for MP3 Audio — RFC 5219"
2311:
2252:
2202:, the judge ruled. That defense judgment was upheld on appeal in 2008.
2063:
2055:
1895: in this section. Unsourced material may be challenged and removed.
1443:
1375:
1255:
1173:
945:
881:
831:
406:
bit in the header and addition of the new lower sample and bit rates).
78:
5224:
5194:
3996:"Aspec-Adaptive Spectral Entropy Coding of High Quality Music Signals"
3139:
1975:
Non-standard bit rates up to 640 kbit/s can be achieved with the
8943:
8862:
7887:
7489:
7292:
7272:
7092:
7087:
6750:
6708:
6284:
5836:
4645:
3669:
3549:
3394:
2607:
2598:
2547:
2491:
2483:
2335:
2315:
2295:
2199:
2095:
2066:
is a standard for measuring and storing the loudness of an MP3 file (
2048:
2043:
standards for tag formats exist. As of 2010, the most widespread are
2026:
1363:
1294:
1227:
1176:
was sold afterward in 1998, despite legal suppression efforts by the
1164:, developed by SaeHan Information Systems, which is headquartered in
981:
890:
574:
513:
446:
327:
3203:
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1870:
1015:
A third generation of "MP3" style data streams (files) extended the
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9102:
9042:
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8640:
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7744:
7375:
7267:
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2350:
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1468:
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1313:
1309:
1223:
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1145:
949:
941:
857:, 2 channels at 16 bits per channel or 2×16 bit), or sometimes the
602:
509:
331:
280:
3925:
3681:
3679:
1504:
An in-depth study of MP3 audio quality, sound artist and composer
1144:
In the second half of the 1990s, MP3 files began to spread on the
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8080:
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1192:
1184:
752:
700:
586:
582:
570:
558:
359:
347:
187:
6327:
5448:
This work failed to consider patent divisions and continuations.
4873:"Lost and Found: U.Va. Grad Student Discovers Ghosts in the MP3"
3722:
OCF: Coding High Quality Audio with Data Rates of 64 kbit/s
2031:
A "tag" in an audio file is a section of the file that contains
8549:
8544:
8539:
8534:
8529:
8376:
8261:
8251:
8237:
8229:
8218:
8208:
8203:
8198:
8193:
8188:
7882:
7340:
7034:
6874:
6795:
6775:
6713:
6450:
6426:
6404:
6392:
6387:
6257:
6220:"Reflections on the MP3 Format: Interview with Jonathan Sterne"
4975:
Search – locating a desired position on thedisc (audio CD only)
3676:
3554:
Discrete Cosine Transform: Algorithms, Advantages, Applications
2540:"MIME Type Registration of RTP Payload Formats — RFC 3555"
2411:
2365:
2287:
2271:
2084:
2010:
1386:
1235:
1157:
993:
838:
interpretations of MP3 frame data structures and size layouts.
811:
800:
625:
394:
390:
307:
299:
38:
5106:"freeformat at 640 kbit/s and foobar2000, possibilities?"
4498:"Winamp is back after revamp; nostalgia-inducing looks intact"
1033:(since 2000), Media Player Classic (MPC), iTunes, and FFmpeg.
9297:
9267:
8617:
8403:
8291:
7929:
7860:
7703:
7479:
7442:
7327:
7029:
6996:
6991:
6986:
6976:
6961:
6956:
6951:
6934:
6926:
6688:
6668:
6499:
6489:
6484:
6472:
6460:
5064:
Embedded signal processing with the Micro Signal Architecture
4760:"Results of the public multiformat listening test @ 128 kbps"
3719:
Brandenburg, Karlheinz; Seitzer, Dieter (3–6 November 1988).
3118:
Ehmer, Richard H. (1959). "Masking by Tones Vs Noise Bands".
2346:
2299:
1422:
1165:
1161:
926:
795:
481:
366:(including "MP3 players"), a product category also including
6267:, The Story of MP3: How MP3 was invented, by Fraunhofer IIS.
4817:"Meet the Musical Clairvoyant Who Finds Ghosts In Your MP3s"
4733:"Results of 128 kbit/s Extension Public Listening Test"
2170:
In September 2006, German officials seized MP3 players from
322:, which is its most apparent element to end-users, MP3 uses
298:
Originally defined in 1991 as the third audio format of the
9067:
7870:
7615:
7570:
7560:
7550:
7524:
7484:
7474:
7370:
7312:
7232:
7195:
7190:
7107:
7049:
7039:
6800:
6678:
6552:
6532:
5988:
5395:"A Big List of MP3 Patents (and supposed expiration dates)"
5035:
2377:
2323:
2240:
2138:
1976:
1391:
1339:
1298:
1218:
Unauthorized MP3 file sharing continues on next-generation
1177:
1025:
953:
815:
598:
536:
6065:"Via Licensing Announces Updated AAC Joint Patent License"
1366:, called an audio frame, which is made up of 4 parts, the
7909:
7897:
7739:
7555:
7459:
7262:
6601:
6596:
6591:
6586:
6581:
6576:
6128:"NEWS WATCH; New Player from Sony Will Give a Nod to MP3"
5028:"Sound Quality Comparison of Hi-Res Audio vs. CD vs. MP3"
4966:(in multiple languages). 2004. p. 14. Archived from
2307:
2283:
2044:
2022:
1997:
1933:
1929:
1439:
1343:
1306:
984:
and digital music distribution as MP3 over the internet.
919:
894:
854:
775:
bank. Under the chairmanship of Professor Musmann of the
594:
590:
402:
398:
5976:
5743:"grants Motorola an MP3 and MPEG 2 audio patent license"
5060:
4169:. The Netherlands: Elsevier Science BV. pp. 53–64.
2077:
9176:
8176:
5631:"The Fraunhofer Society (Fraunhofer-Gesellschaft, FhG)"
4751:
4129:
4102:
3869:. United States of America: Penguin Books. p. 13.
3159:. Communication and Cybernetics. Vol. 8. pp.
1128:
LAME is the most advanced MP3 encoder. LAME includes a
834:
and decoders. Thus the first generation of MP3 defined
6185:
High-Quality, Low-Delay Music Coding in the Opus Codec
5161:
4628:
4337:
Brandenburg, Karlheinz; Bosi, Marina (February 1997).
512:
in 1972, was developed by Ahmed with T. Natarajan and
53:
4448:
4446:
4444:
4187:
1996:
band 21 (sfb21) for frequencies above approx 16
8530:
Part 1: Transport and Storage of Genomic Information
5823:
5243:
4278:
by HENDRIK STORSTEIN SPILKER, SVEIN HÖIER, page 2072
3827:
3825:
3647:
3043:
3041:
3039:
1250:, the recording industry approved re-incarnation of
963:
6016:"Court of Appeals for the Federal Circuit Decision"
5249:
3963:
in cooperation with CCETT, Philips and Matsushita."
3081:
London, Edinburgh and Dublin Philosophical Magazine
2083:past, many organizations have claimed ownership of
5633:. British Consulate-General Munich. Archived from
5578:"Acoustic Data Compression – MP3 Base Patent"
5462:
5132:"lame(1): create mp3 audio files - Linux man page"
4441:
3718:
3611:"The Use of FFT and MDCT in MP3 Audio Compression"
3461:"How I Came Up With the Discrete Cosine Transform"
3191:
2975:
2973:
2971:
2969:
2967:
275:audio to most listeners; for example, compared to
5856:
5338:Patel, Ketan; Smith, Brian C.; Rowe, Lawrence A.
3822:
3511:
3412:(Thesis). Massachusetts Institute of Technology.
3365:
3192:Zwicker, Eberhard; Feldtkeller, Richard (1999) .
3050:"MPEG Audio FAQ Version 9 – MPEG-1 and MPEG-2 BC"
3036:
1972:of approximately 11:1, 9:1 and 7:1 respectively.
9380:
5984:"Microsoft wins reversal of MP3 patent decision"
5649:
5582:Foundation for a Free Information Infrastructure
5252:"MPEG Audio FAQ Version 9: MPEG-1 and MPEG-2 BC"
3966:
3750:IEEE Journal on Selected Areas in Communications
3725:. 85th Convention of Audio Engineering Society.
3688:IEEE Journal on Selected Areas in Communications
3650:The Journal of the Acoustical Society of America
3592:, IEEE Trans. Acoust. Speech Signal Processing,
3575:J. P. Princen, A. W. Johnson und A. B. Bradley:
3375:The Journal of the Acoustical Society of America
3250:
3248:
3246:
3120:The Journal of the Acoustical Society of America
2864:"73. "Father" of the MP3, Karlheinz Brandenburg"
996:, more formally known as international standard
976:shortly after the release on the servers of the
940:). With the first real-time software MP3 player
922:) towards consumer receivers and set-top boxes.
8618:Part 2: Low Complexity Enhancement Video Coding
6037:
6035:
6008:
5189:
5187:
4336:
4330:
4075:
4026:"The MP3: A History Of Innovation And Betrayal"
3897:
3891:
2964:
2685:Patel K, Smith BC, Rowe LA (1 September 1993).
2678:
818:, which resulted in the international standard
291:of sound or music recordings stored in the MP3
6089:
4664:International Organization for Standardization
4605:
4603:
4601:
4599:
4312:International Organization for Standardization
3978:International Organization for Standardization
2687:"Performance of a software MPEG video decoder"
2684:
2459:. Fraunhofer IIS. 12 July 2005. Archived from
1028:), decoders (FFmpeg) and players (MPC) adding
585:. The third group was ATAC (ATRAC Coding), by
8656:
8162:
6313:
6057:
5894:"Apple, SanDisk Settle Texas MP3 Patent Spat"
5864:"Sisvel brings Patent Wild West into Germany"
5470:"US Patent Expiration for MP3, MPEG-2, H.264"
5162:"Linux Manpages Online - man.cx manual pages"
4839:
4495:
4416:
4414:
4412:
4410:
4408:
4406:
4404:
4402:
4400:
4380:"MP3 technical details (MPEG-2 and MPEG-2.5)"
4302:
4300:
3359:
3342:
3243:
3018:"MPEG Press Release, London, 6 November 1992"
2946:"MPEG Press Release, Kurihama, November 1991"
2537:
2360:There are also open compression formats like
1471:are usually heard. A sample of applause or a
1211:". They reacted by pursuing lawsuits against
880:. This song was chosen because of its nearly
868:Karlheinz Brandenburg used a CD recording of
783:. It provided the highest coding efficiency.
306:—as the third audio format of the subsequent
8571:Part 2: High Efficiency Video Coding (H.265)
6214:
6032:
5705:
5622:
5600:
5366:
5341:Performance of a Software MPEG Video Decoder
5184:
4525:
4523:
4496:Vainilavičius, Justinas (15 November 2023).
3741:
3641:
3430:
667:Fraunhofer Institute for Integrated Circuits
9283:Professional Lighting and Sound Association
6041:
5944:
5628:
5426:"Patent Status of MPEG-1, H.261 and MPEG-2"
5389:
5387:
4895:
4596:
4374:
4372:
4370:
4368:
4199:Lots of Informative Information about Music
4048:
3918:
3712:
3011:
3009:
2484:"The audio/mpeg Media Type — RFC 3003"
2205:
1258:sell unrestricted music in the MP3 format.
751:oding). The MUSICAM technique, proposed by
541:Journal on Selected Areas in Communications
370:, MP3 support remains near-universal and a
8873:Comparison of analog and digital recording
8663:
8649:
8581:Part 12: High Efficiency Image File Format
8169:
8155:
6320:
6306:
5745:. SISVEL. 21 December 2005. Archived from
5337:
4927:
4622:
4483:"About Internet Underground Music Archive"
4397:
4297:
3705:
3703:
3701:
3604:
3602:
2939:
2937:
2451:
2449:
914:available for digital broadcasting (radio
6192:
5687:"SISVEL's MPEG Audio licensing programme"
5451:
5054:
4784:
4778:
4571:
4520:
4420:
3542:
3304:
3254:
3111:
3068:
2918:. The Library of Congress. 27 July 2017.
2778:
2776:
2774:
2772:
2745:
2743:
2741:
2739:
2606:
2596:
2592:
2590:
2475:
1911:Learn how and when to remove this message
6125:
5552:"Full MP3 support coming soon to Fedora"
5423:
5417:
5384:
5103:
5097:
4985:
4935:"Guide to command line options (in CVS)"
4865:
4609:
4529:
4365:
4343:Journal of the Audio Engineering Society
3747:
3224:
3218:
3185:
3006:
2266:Other lossy formats exist. Among these,
1944:and rewinding playback controls on MP3.
1325:
1322:is done only on a frame-to-frame basis.
1139:
460:(LPC), which has origins in the work of
314:commonly designates files containing an
8514:Part 3: Unified Speech and Audio Coding
8472:Part 2: Description definition language
5886:
5735:
5608:"Intellectual Property & Licensing"
5217:
4953:
4557:
4551:
4421:Supurovic, Predrag (22 December 1999).
3698:
3608:
3599:
3407:
3401:
3152:
3146:
2934:
2481:
2446:
2198:and Fraunhofer, who had licensed it to
1019:ideas and implementation but was named
295:(.mp3) on consumer electronic devices.
14:
9394:Computer-related introductions in 1993
9381:
8597:Part 3: Versatile Video Coding (H.266)
8421:Part 10: Advanced Video Coding (H.264)
6126:Marriott, Michel (30 September 1999).
5912:
5832:"SanDisk MP3 seizure order overturned"
5801:"Licensing Programs - Legacy programs"
5438:from the original on 16 September 2008
5270:
5112:from the original on 19 September 2016
5104:Bouvigne, Gabriel (28 November 2006).
5042:from the original on 14 September 2020
4809:
4730:
4724:
4718:DSP - The Technology Behind Multimedia
4688:
4164:
3930:The Official Community of Suzanne Vega
3904:. Duke University Press. p. 178.
3548:
3505:
3445:from the original on 3 September 2017.
3099:from the original on 12 September 2019
2769:
2736:
2587:
527:In 1985, Atal and Schroeder presented
9344:New Interfaces for Musical Expression
8644:
8535:Part 2: Coding of Genomic Information
8150:
6301:
5996:from the original on 30 December 2013
5693:from the original on 11 February 2017
5570:
5354:from the original on 2 September 2019
5331:
5258:from the original on 18 February 2010
4797:from the original on 20 December 2009
4766:from the original on 21 November 2011
4757:
4739:from the original on 27 December 2011
4652:
4429:from the original on 7 September 2008
4146:from the original on 30 December 2006
3988:
3831:
3810:from the original on 11 February 2017
3629:from the original on 12 February 2021
3455:
3449:
3117:
3074:
3056:from the original on 18 February 2010
2916:"MP3 (MPEG Layer III Audio Encoding)"
2723:from the original on 15 December 2021
2538:Casner, S.; Hoschka, P. (July 2003).
2078:Licensing, ownership, and legislation
1948:20 kHz bandwidth because of the
790:consisting of van de Kerkhof, Stoll,
452:Perceptual coding was first used for
8670:
6164:from the original on 31 October 2020
5964:from the original on 2 November 2008
5952:"Microsoft faces $ 1.5bn MP3 payout"
5502:from the original on 21 January 2023
4715:
4697:from the original on 8 December 2023
4508:from the original on 4 December 2023
4081:
4054:
3936:from the original on 18 January 2022
3864:
3283:
2790:from the original on 12 January 2012
2615:from the original on 26 January 2021
2554:from the original on 14 January 2012
1893:adding citations to reliable sources
1864:
1222:. Some authorized services, such as
1110:nonstandard, Fraunhofer proprietary
968:A hacker named SoloH discovered the
853:(CD) parameters as references (44.1
480:at Bell Labs proposed an LPC speech
8431:Part 12: ISO base media file format
8178:MPEG (Moving Picture Experts Group)
6238:from the original on 22 August 2015
6021:. 25 September 2008. Archived from
5829:
5300:
5172:from the original on 22 August 2020
5142:from the original on 22 August 2020
5061:Woon-Seng Gan; Sen-Maw Kuo (2007).
5005:from the original on 20 August 2020
4530:Schubert, Ruth (10 February 1999).
3686:"Voice Coding for Communications".
3324:from the original on 9 October 2022
3227:Speech and Hearing in Communication
3200:The Ear as a Communication Receiver
3047:
3015:
2979:
2943:
2922:from the original on 14 August 2017
2896:from the original on 2 January 2023
2870:from the original on 2 January 2023
2841:MP3 (MPEG Layer III Audio Encoding)
2372:Besides lossy compression methods,
2194:Alcatel-Lucent; it was co-owned by
2047:, and the more recently introduced
1379:
1055:Latest edition public release date
987:
771:computationally inefficient hybrid
656:As a doctoral student at Germany's
508:for lossy compression, proposed by
389:(MPEG) designed MP3 as part of its
362:, among others. With the advent of
112:, Ernst Eberlein, Heinz Gerhäuser,
24:
8493:Part 5: Rights Expression Language
8111:Comparison of audio coding formats
6208:
5663:. 1 September 1998. Archived from
5629:Kistenfeger, Muzinée (July 2007).
5347:. ACM Multimedia 1993 Conference.
5225:"TwoLAME: MPEG Audio Layer II VBR"
5205:from the original on 22 April 2009
5195:"GPSYCHO – Variable Bit Rate"
5085:from the original on 10 March 2021
4827:from the original on 29 April 2015
4758:Mares, Sebastian (December 2005).
4353:from the original on 17 April 2009
4057:"Approved at 26th meeting (Paris)"
4036:from the original on 3 August 2023
3846:from the original on 15 March 2016
3588:John P. Princen, Alan B. Bradley:
2810:"MP3 technology at Fraunhofer IIS"
2531:
2498:from the original on 13 April 2012
2429:Comparison of audio coding formats
2212:
1150:Internet Underground Music Archive
1052:First edition public release date
761:Institute for Broadcast Technology
694:
518:modified discrete cosine transform
432:. In 1894, the American physicist
420:Modified discrete cosine transform
25:
9425:
8893:Reel-to-reel audio tape recording
6251:
6077:from the original on 18 June 2019
5584:. 15 January 2005. Archived from
5558:from the original on 27 June 2017
5476:from the original on 2 April 2013
5405:from the original on 2 March 2007
5288:from the original on 2 April 2015
4915:from the original on 12 June 2015
4883:from the original on 13 June 2015
4731:Amorim, Roberto (3 August 2003).
4660:"ISO/IEC 11172-3:1993/Cor 1:1996"
4463:from the original on 13 June 2010
3493:from the original on 10 June 2016
3347:. Vol. 3. pp. 573–576.
3229:. Acoustical Society of America.
2666:from the original on 14 July 2020
2224:Comparison between MP3 and Vorbis
2003:
1362:requirements. Part 4 formats the
1266:
964:Fraunhofer example implementation
669:, Erlangen (where he worked with
9362:
6176:
6150:
6138:from the original on 3 July 2021
6119:
5874:from the original on 23 May 2007
5793:
5761:
5719:. 6 October 2005. Archived from
5679:
5544:
5514:
5488:
5231:from the original on 3 July 2010
4785:Dougherty, Dale (1 March 2009).
4670:from the original on 11 May 2011
4386:. September 2007. Archived from
4117:from the original on 11 May 2011
4006:from the original on 11 May 2011
3980:. September 1990. Archived from
3898:Jonathan Sterne (17 July 2012).
3729:from the original on 4 June 2008
3195:Das Ohr als Nachrichtenempfänger
2757:from the original on 28 May 2012
2251:Problems playing this file? See
2228:
1950:Nyquist–Shannon sampling theorem
1869:
1273:
658:University of Erlangen-Nuremberg
52:
8878:Experimental musical instrument
6042:Brandenburg, Karlheinz (1999).
5830:Ogg, Erica (7 September 2006).
5532:from the original on 9 May 2008
5424:Cogliati, Josh (20 July 2008).
5306:
5154:
5124:
5020:
4993:"DV-RW250H Operation-Manual GB"
4849:. 15 March 2015. Archived from
4709:
4682:
4489:
4475:
4281:
4262:
4243:
4217:
4158:
4108:
4018:
3948:
3858:
3794:
3777:
3768:
3582:
3569:
3431:Krasner, M. A. (18 June 1979).
3424:
3408:Krasner, M. A. (18 June 1979).
3336:
3277:
3075:Mayer, Alfred Marshall (1894).
2908:
2882:
2856:
2832:
2597:Finlayson, R. (February 2008).
1880:needs additional citations for
900:
876:" to assess and refine the MP3
8613:Part 1: Essential Video Coding
8488:Parts 2, 3 and 9: Digital Item
8456:Part 33: Internet Video Coding
8441:Part 17: Streaming text format
7673:ISO/IEC base media file format
6158:"Sony NW-E105 Network Walkman"
5661:Chilling Effects Clearinghouse
5657:"Early MP3 Patent Enforcement"
4961:"JVC RC-EX30 operation manual"
4314:. 2 April 1993. Archived from
4308:"Adopted at 22nd WG11 meeting"
4288:www.euronet.nl/~soloh/mpegEnc/
4165:Dehery, Yves-Francois (1994).
3517:IEEE Transactions on Computers
3255:Schroeder, Manfred R. (2014).
3020:. Chiariglione. Archived from
2802:
2648:
1183:In November 1997, the website
1041:MPEG Audio Layer III versions
814:, the first standard suite by
547:
529:code-excited linear prediction
470:Nippon Telegraph and Telephone
13:
1:
9063:Electronic musical instrument
8382:Part 7: Advanced Audio Coding
5376:. 14 May 1994. Archived from
4787:"The Sizzling Sound of Music"
4612:"MP3 Tech — Limitations"
3609:Guckert, John (Spring 2012).
2482:Nilsson, M. (November 2000).
2440:
2380:(Free Lossless Audio Codec),
2161:, expired February 2017; and
2125:free and open-source software
2123:, expired. As a result, many
1519:available bit rates (kbit/s)
799:the same quality at 128
409:
267:in Germany under the lead of
9369:Record production portal
9258:Institute of Broadcast Sound
8566:Part 1: MPEG media transport
5522:"mp3licensing.com – Patents"
4560:Journal of Consumer Research
3901:MP3: The Meaning of a Format
3832:Ewing, Jack (5 March 2007).
3487:10.1016/1051-2004(91)90086-Z
3293:Found. Trends Signal Process
3169:10.1007/978-3-642-65902-7_19
2878:– via www.youtube.com.
2292:Thomson Consumer Electronics
893:, etc.) were taken from the
387:Moving Picture Experts Group
7:
9278:Musical Electronics Library
5374:"The MPEG-FAQ, Version 3.1"
5282:Hydrogenaudio Knowledgebase
3974:"Status report of ISO MPEG"
3353:10.1109/ICASSP.1978.1170564
3156:Facts and Models in Hearing
2387:
2181:eastern Texas federal court
2119:, held and administered by
2016:
1511:
777:Leibniz University Hannover
601:. And the fourth group was
157:; 26 years ago
10:
9430:
9025:Sound reinforcement system
8934:Sound reinforcement system
8545:Part 4: Reference Software
8426:Part 11: Scene description
8329:Part 1: Systems (H.222.0)
8116:Comparison of video codecs
6626:(GB/T 33475.2,GY/T 299.1)
4689:Taylor, Mark (June 2000).
4610:Bouvigne, Gabriel (2003).
4537:Seattle Post-Intelligencer
4084:"Approved at 29th meeting"
3556:, Boston: Academic Press,
2259:
2020:
1968:192 kbit/s represent
1940:Earlier systems also lack
1453:
486:adaptive predictive coding
413:
380:
36:
29:
9358:
9306:
9248:Audio Engineering Society
9240:
9164:
9146:Software effect processor
9126:Digital audio workstation
9111:
9033:
8975:
8967:Digital signal processing
8952:
8906:
8848:
8790:
8731:Digital audio workstation
8706:
8678:
8626:
8605:
8589:
8558:
8522:
8501:
8480:
8464:
8451:Part 22: Open Font Format
8390:
8322:
8270:
8184:
8129:
8103:
7948:
7922:
7776:
7753:
7725:
7702:
7637:
7628:
7543:
7424:
7413:
7205:
7157:
7134:
7106:
7048:
7010:
6925:
6824:
6813:
6641:
6610:
6561:
6523:
6471:
6354:
6343:
5313:Future of Music Coalition
5250:ISO MPEG Audio Subgroup.
4423:"MPEG Audio Frame Header"
4274:19 September 2020 at the
4082:MPEG (11 November 1994).
3466:Digital Signal Processing
3263:. Springer. p. 388.
3225:Fletcher, Harvey (1995).
3093:10.1080/14786449408620544
3077:"Researches in Acoustics"
2155:, expired February 2017;
1261:
1107:MPEG-2.5 Audio Layer III
502:discrete cosine transform
445:and his collaborators at
263:developed largely by the
229:
216:
193:
183:
170:
146:
128:
105:
96:
91:
86:
77:
70:
66:
60:
51:
9339:Professional audio store
9241:People and organizations
9227:Sound recording engineer
8436:Part 14: MP4 file format
6263:11 February 2020 at the
6187:. 135th AES Convention.
5774:. Sisvel. Archived from
4195:"MP3 Today's Technology"
3284:Gray, Robert M. (2010).
2206:Alternative technologies
1741:Supported sampling rates
1404:frequency-domain samples
974:reference implementation
731:ultiplexing) and ASPEC (
458:linear predictive coding
416:Linear predictive coding
277:CD-quality digital audio
79:Internet media type
37:Not to be confused with
8757:Microphone preamplifier
8576:Part 3: MPEG-H 3D Audio
7940:Alliance for Open Media
6294:– MPEG official website
6044:"MP3 and AAC Explained"
5769:"US MPEG Audio patents"
4847:"The ghosts in the mp3"
4634:Proceedings of the IEEE
4259:by Dr Charles Fairchild
4255:15 October 2023 at the
3529:10.1109/T-C.1974.223784
3016:ISO (6 November 1992).
2349:codec taken from their
2129:Fedora operating system
1172:, was released and the
1083:MPEG-2 Audio Layer III
1060:MPEG-1 Audio Layer III
1049:International Standard
1004:or backward compatible
707:asking pattern adapted
680:Heinrich Herz Institute
569:. The second group was
555:Fraunhofer Gesellschaft
8698:Electronic and digital
6860:MPEG-1 Layer III (MP3)
4903:"The Ghost in the MP3"
4201:. 2005. Archived from
4055:MPEG (25 March 1994).
3865:Witt, Stephen (2016).
3839:Bloomberg BusinessWeek
2636:Cite journal requires
2575:Cite journal requires
2519:Cite journal requires
2217:
2191:Alcatel sued Microsoft
2127:projects, such as the
1352:fast Fourier transform
1205:copyright infringement
978:University of Erlangen
948:of the era (≈500–1000
533:data compression ratio
364:portable media players
340:copyright infringement
253:MPEG-2 Audio Layer III
249:MPEG-1 Audio Layer III
134:; 32 years ago
18:MPEG-1 Audio Layer III
8509:Part 1: MPEG Surround
8345:Part 2: Video (H.262)
7878:QuickTime File Format
6290:10 April 2024 at the
6285:MPEG.chiariglione.org
6224:Computational Culture
5458:US Patent No. 5812672
4229:30 April 2013 at the
2980:ISO (November 1991).
2948:. ISO. Archived from
2944:ISO (November 1991).
2699:10.1145/166266.166274
2457:"Happy Birthday MP3!"
2434:Portable media player
2406:Advanced Audio Coding
2400:MPEG-1 Audio Layer II
2280:psychoacoustic models
2268:Advanced Audio Coding
2216:
2164:U.S. patent 5,960,037
2158:U.S. patent 5,850,456
2152:U.S. patent 5,878,080
2116:U.S. patent 6,009,399
2110:U.S. patent 5,812,672
1743:by MPEG Audio Format
1465:compression artifacts
1326:Encoding and decoding
1220:peer-to-peer networks
1199:filesharing network,
1140:Internet distribution
972:of the "dist10" MPEG
878:compression algorithm
792:Leonardo Chiariglione
662:Karlheinz Brandenburg
414:Further information:
269:Karlheinz Brandenburg
110:Karlheinz Brandenburg
9156:Software synthesizer
9121:Digital audio editor
8907:Playback transducers
8767:Multitrack recording
8137:Compression software
7694:MPEG media transport
6771:Sorenson Video/Spark
6277:3 March 2019 at the
5960:. 22 February 2007.
5870:. 7 September 2006.
5401:. 26 February 2007.
4998:. 2004. p. 33.
4879:. 23 February 2015.
4691:"LAME Technical FAQ"
4459:. 11 November 1994.
4390:on 24 January 2008.
4224:The heavenly jukebox
3984:on 14 February 2010.
3926:"Suzanne Vega | Bio"
3596:(5), 1153–1161, 1986
3206:on 14 September 2000
3048:ISO (October 1998).
1889:improve this article
1517:MPEG Audio Layer III
1332:hearing capabilities
865:for lossy encoders.
807:at 192 kbit/s.
478:Manfred R. Schroeder
472:) in 1966. In 1978,
283:. In popular usage,
153:ISO/IEC 13818-3:1998
132:6 December 1991
32:MP3 (disambiguation)
30:For other uses, see
27:Digital audio format
8550:Part 5: Conformance
8135:for techniques and
8133:Compression methods
6629:HDR Vivid(GY/T 358)
6218:(9 November 2014).
6053:on 19 October 2014.
6028:on 29 October 2008.
5932:on 10 December 2014
5811:on 19 February 2023
4973:on 20 August 2020.
3694:(2). February 1988.
3662:1982ASAJ...71..679T
3479:1991DSP.....1....4A
3387:1979ASAJ...66.1647S
3257:"Bell Laboratories"
3132:1959ASAJ...31.1253E
2994:on 30 December 2013
2463:on 11 December 2014
2418:Windows Media Audio
2068:audio normalization
1744:
1520:
1499:Stanford University
1473:triangle instrument
1092:11 May 2011 at the
1069:28 May 2012 at the
1042:
468:) and Shuzo Saito (
377:for digital audio.
310:standard. MP3 as a
116:, Jürgen Herre and
48:
9207:Re-recording mixer
9010:Keyboard amplifier
8726:Binaural recording
6132:The New York Times
6073:. 5 January 2009.
5844:on 4 November 2012
5781:on 27 October 2016
5749:on 21 January 2014
5723:on 11 October 2007
5309:"Metadata and You"
4716:Liberman, Serbio.
4618:on 7 January 2011.
3834:"How MP3 Was Born"
3806:. 7 October 2008.
3619:University of Utah
3552:; Yip, P. (1990),
3306:10.1561/2000000036
2218:
1970:compression ratios
1740:
1516:
1040:
931:filename extension
911:reference software
859:Digital Audio Tape
676:Fraunhofer Society
495:Lincoln Laboratory
265:Fraunhofer Society
122:Fraunhofer Society
62:Filename extension
46:
9376:
9375:
9182:Guitar technician
9078:Music workstation
8962:Digital recording
8939:Speaker enclosure
8858:8-track cartridge
8800:Phonograph record
8638:
8637:
8370:MPEG Multichannel
8144:
8143:
7918:
7917:
7836:DivX Media Format
7624:
7623:
7409:
7408:
6809:
6808:
6699:Microsoft Video 1
6634:AVS3 P2(GY/T 368)
6620:(GB/T 20090.2/16)
5992:. 6 August 2007.
5900:. 26 January 2009
5667:on 19 August 2014
5637:on 18 August 2002
5078:978-0-471-73841-1
4823:. 18 March 2015.
4640:(10): 1385–1422.
4310:(Press release).
4176:978-0-444-81580-4
4032:. 23 March 2011.
3976:(Press release).
3911:978-0-8223-5287-7
3876:978-0-14-310934-1
3563:978-0-12-580203-1
3270:978-3-319-05660-9
3236:978-1-56396-393-3
3178:978-3-642-65904-1
3140:10.1121/1.1907853
3024:on 12 August 2010
2820:on 15 August 2021
2708:978-0-89791-596-0
2384:and many others.
2234:
2105:submarine patents
1982:constant bit rate
1921:
1920:
1913:
1863:
1862:
1738:
1737:
1486:constant bit rate
1396:variable bit rate
1291:elementary stream
1130:variable bit rate
1120:
1119:
863:compression ratio
504:(DCT), a type of
466:Nagoya University
456:compression with
426:lossy compression
324:lossy compression
320:audio compression
316:elementary stream
242:
241:
184:Contained by
106:Developed by
16:(Redirected from
9421:
9404:Data compression
9367:
9366:
9365:
9253:Goji Electronics
9192:Monitor engineer
9151:Software sampler
9058:Electronic drums
9035:Electronic music
9005:Guitar amplifier
8850:Analog recording
8810:Compact cassette
8772:Music production
8680:Music technology
8672:Music technology
8665:
8658:
8651:
8642:
8641:
8333:Transport stream
8277:Part 1: Systems
8171:
8164:
8157:
8148:
8147:
7910:VOB, IFO and BUP
7684:Motion JPEG 2000
7635:
7634:
7422:
7421:
7381:aptX Low Latency
7158:Chinese Standard
6822:
6821:
6611:Chinese Standard
6383:Motion JPEG 2000
6352:
6351:
6322:
6315:
6308:
6299:
6298:
6271:MP3 News Archive
6247:
6245:
6243:
6203:
6202:
6196:
6180:
6174:
6173:
6171:
6169:
6154:
6148:
6147:
6145:
6143:
6123:
6117:
6116:
6114:
6112:
6103:. Archived from
6093:
6087:
6086:
6084:
6082:
6061:
6055:
6054:
6052:
6046:. Archived from
6039:
6030:
6029:
6027:
6020:
6012:
6006:
6005:
6003:
6001:
5980:
5974:
5973:
5971:
5969:
5948:
5942:
5941:
5939:
5937:
5928:. Archived from
5916:
5910:
5909:
5907:
5905:
5890:
5884:
5883:
5881:
5879:
5860:
5854:
5853:
5851:
5849:
5840:. Archived from
5827:
5821:
5820:
5818:
5816:
5807:. Archived from
5797:
5791:
5790:
5788:
5786:
5780:
5773:
5765:
5759:
5758:
5756:
5754:
5739:
5733:
5732:
5730:
5728:
5709:
5703:
5702:
5700:
5698:
5683:
5677:
5676:
5674:
5672:
5653:
5647:
5646:
5644:
5642:
5626:
5620:
5619:
5614:. Archived from
5604:
5598:
5597:
5595:
5593:
5574:
5568:
5567:
5565:
5563:
5548:
5542:
5541:
5539:
5537:
5526:mp3licensing.com
5518:
5512:
5511:
5509:
5507:
5492:
5486:
5485:
5483:
5481:
5466:
5460:
5455:
5449:
5447:
5445:
5443:
5421:
5415:
5414:
5412:
5410:
5391:
5382:
5381:
5380:on 23 July 2009.
5370:
5364:
5363:
5361:
5359:
5353:
5346:
5335:
5329:
5328:
5326:
5324:
5315:. Archived from
5304:
5298:
5297:
5295:
5293:
5274:
5268:
5267:
5265:
5263:
5247:
5241:
5240:
5238:
5236:
5221:
5215:
5214:
5212:
5210:
5199:LAME MP3 Encoder
5191:
5182:
5181:
5179:
5177:
5158:
5152:
5151:
5149:
5147:
5128:
5122:
5121:
5119:
5117:
5101:
5095:
5094:
5092:
5090:
5069:Wiley-IEEE Press
5058:
5052:
5051:
5049:
5047:
5024:
5018:
5017:
5012:
5010:
5004:
4997:
4989:
4983:
4977:
4972:
4965:
4957:
4951:
4950:
4948:
4946:
4937:. Archived from
4931:
4925:
4924:
4922:
4920:
4914:
4907:
4899:
4893:
4892:
4890:
4888:
4869:
4863:
4862:
4860:
4858:
4843:
4837:
4836:
4834:
4832:
4813:
4807:
4806:
4804:
4802:
4782:
4776:
4775:
4773:
4771:
4755:
4749:
4748:
4746:
4744:
4728:
4722:
4721:
4713:
4707:
4706:
4704:
4702:
4686:
4680:
4679:
4677:
4675:
4656:
4650:
4649:
4646:10.1109/5.241504
4626:
4620:
4619:
4614:. Archived from
4607:
4594:
4593:
4575:
4555:
4549:
4548:
4546:
4544:
4527:
4518:
4517:
4515:
4513:
4493:
4487:
4486:
4479:
4473:
4472:
4470:
4468:
4458:
4450:
4439:
4438:
4436:
4434:
4418:
4395:
4394:
4376:
4363:
4362:
4360:
4358:
4334:
4328:
4327:
4325:
4323:
4318:on 6 August 2010
4304:
4295:
4285:
4279:
4266:
4260:
4247:
4241:
4221:
4215:
4214:
4212:
4210:
4191:
4185:
4184:
4162:
4156:
4155:
4153:
4151:
4141:
4133:
4127:
4126:
4124:
4122:
4106:
4100:
4099:
4097:
4095:
4090:on 8 August 2010
4086:. Archived from
4079:
4073:
4072:
4070:
4068:
4059:. Archived from
4052:
4046:
4045:
4043:
4041:
4022:
4016:
4015:
4013:
4011:
3992:
3986:
3985:
3970:
3964:
3952:
3946:
3945:
3943:
3941:
3922:
3916:
3915:
3895:
3889:
3888:
3862:
3856:
3855:
3853:
3851:
3829:
3820:
3819:
3817:
3815:
3798:
3792:
3791:
3789:
3781:
3775:
3772:
3766:
3765:
3745:
3739:
3738:
3736:
3734:
3716:
3710:
3707:
3696:
3695:
3683:
3674:
3673:
3670:10.1121/1.387544
3645:
3639:
3638:
3636:
3634:
3628:
3615:
3606:
3597:
3586:
3580:
3573:
3567:
3566:
3546:
3540:
3539:
3509:
3503:
3502:
3500:
3498:
3459:(January 1991).
3453:
3447:
3446:
3444:
3437:
3428:
3422:
3421:
3405:
3399:
3398:
3395:10.1121/1.383662
3363:
3357:
3356:
3340:
3334:
3333:
3331:
3329:
3323:
3308:
3290:
3281:
3275:
3274:
3252:
3241:
3240:
3222:
3216:
3215:
3213:
3211:
3189:
3183:
3182:
3150:
3144:
3143:
3115:
3109:
3108:
3106:
3104:
3087:(226): 259–288.
3072:
3066:
3065:
3063:
3061:
3045:
3034:
3033:
3031:
3029:
3013:
3004:
3003:
3001:
2999:
2993:
2987:. Archived from
2986:
2977:
2962:
2961:
2959:
2957:
2941:
2932:
2931:
2929:
2927:
2912:
2906:
2905:
2903:
2901:
2886:
2880:
2879:
2877:
2875:
2866:. 13 July 2015.
2860:
2854:
2853:
2851:
2849:
2836:
2830:
2829:
2827:
2825:
2816:. Archived from
2806:
2800:
2799:
2797:
2795:
2780:
2767:
2766:
2764:
2762:
2747:
2734:
2732:
2730:
2728:
2682:
2676:
2675:
2673:
2671:
2652:
2646:
2645:
2639:
2634:
2632:
2624:
2622:
2620:
2610:
2608:10.17487/RFC5219
2594:
2585:
2584:
2578:
2573:
2571:
2563:
2561:
2559:
2548:10.17487/RFC3555
2535:
2529:
2528:
2522:
2517:
2515:
2507:
2505:
2503:
2492:10.17487/RFC3003
2479:
2473:
2472:
2470:
2468:
2453:
2374:lossless formats
2320:Sony Corporation
2236:
2235:
2215:
2174:'s booth at the
2166:
2160:
2154:
2118:
2112:
2089:software patents
2037:container format
1986:average bit rate
1916:
1909:
1905:
1902:
1896:
1873:
1865:
1782:11.025 kHz
1760:Audio Layer III
1755:Audio Layer III
1750:Audio Layer III
1745:
1739:
1536:Audio Layer III
1531:Audio Layer III
1526:Audio Layer III
1521:
1515:
1448:gapless playback
1354:(FFT), then the
1277:
1240:Zune Marketplace
1156:'s audio player
1096:(MPEG-2 Part 3)
1073:(MPEG-1 Part 3)
1043:
1039:
1031:
988:Further versions
837:
506:transform coding
462:Fumitada Itakura
439:Eberhard Zwicker
430:auditory masking
287:often refers to
235:
222:
165:
163:
158:
142:
140:
135:
98:
97:audio/mpa-robust
93:
88:
72:
68:
56:
49:
45:
21:
9429:
9428:
9424:
9423:
9422:
9420:
9419:
9418:
9379:
9378:
9377:
9372:
9363:
9361:
9354:
9302:
9236:
9202:Record producer
9187:Mixing engineer
9160:
9107:
9073:MIDI controller
9048:Circuit bending
9029:
8971:
8948:
8924:Monitor speaker
8902:
8844:
8792:Recording media
8786:
8777:Music sequencer
8762:Monitor speaker
8708:Sound recording
8702:
8674:
8669:
8639:
8634:
8622:
8601:
8585:
8554:
8518:
8497:
8476:
8460:
8386:
8318:
8266:
8180:
8175:
8145:
8140:
8125:
8099:
7944:
7914:
7772:
7749:
7721:
7698:
7620:
7539:
7437:
7416:
7405:
7201:
7173:(GB/T 33475.3)
7167:(GB/T 20090.10)
7153:
7130:
7102:
7044:
7006:
6921:
6917:MPEG-H 3D Audio
6843:MPEG-1 Layer II
6833:
6816:
6805:
6637:
6606:
6557:
6519:
6467:
6363:
6346:
6339:
6326:
6292:Wayback Machine
6279:Wayback Machine
6265:Wayback Machine
6258:MP3-history.com
6254:
6241:
6239:
6211:
6209:Further reading
6206:
6181:
6177:
6167:
6165:
6156:
6155:
6151:
6141:
6139:
6124:
6120:
6110:
6108:
6107:on 28 June 2019
6097:"AAC Licensors"
6095:
6094:
6090:
6080:
6078:
6063:
6062:
6058:
6050:
6040:
6033:
6025:
6018:
6014:
6013:
6009:
5999:
5997:
5982:
5981:
5977:
5967:
5965:
5950:
5949:
5945:
5935:
5933:
5925:Baker Botts LLP
5918:
5917:
5913:
5903:
5901:
5892:
5891:
5887:
5877:
5875:
5862:
5861:
5857:
5847:
5845:
5828:
5824:
5814:
5812:
5799:
5798:
5794:
5784:
5782:
5778:
5771:
5767:
5766:
5762:
5752:
5750:
5741:
5740:
5736:
5726:
5724:
5711:
5710:
5706:
5696:
5694:
5685:
5684:
5680:
5670:
5668:
5655:
5654:
5650:
5640:
5638:
5627:
5623:
5606:
5605:
5601:
5591:
5589:
5588:on 15 July 2007
5576:
5575:
5571:
5561:
5559:
5550:
5549:
5545:
5535:
5533:
5520:
5519:
5515:
5505:
5503:
5494:
5493:
5489:
5479:
5477:
5468:
5467:
5463:
5456:
5452:
5441:
5439:
5422:
5418:
5408:
5406:
5393:
5392:
5385:
5372:
5371:
5367:
5357:
5355:
5351:
5344:
5336:
5332:
5322:
5320:
5319:on 29 June 2017
5305:
5301:
5291:
5289:
5278:"LAME Y switch"
5276:
5275:
5271:
5261:
5259:
5248:
5244:
5234:
5232:
5223:
5222:
5218:
5208:
5206:
5193:
5192:
5185:
5175:
5173:
5160:
5159:
5155:
5145:
5143:
5130:
5129:
5125:
5115:
5113:
5102:
5098:
5088:
5086:
5079:
5071:. p. 382.
5059:
5055:
5045:
5043:
5026:
5025:
5021:
5008:
5006:
5002:
4995:
4991:
4990:
4986:
4970:
4963:
4959:
4958:
4954:
4944:
4942:
4941:on 8 April 2013
4933:
4932:
4928:
4918:
4916:
4912:
4905:
4901:
4900:
4896:
4886:
4884:
4871:
4870:
4866:
4856:
4854:
4853:on 14 June 2017
4845:
4844:
4840:
4830:
4828:
4815:
4814:
4810:
4800:
4798:
4783:
4779:
4769:
4767:
4756:
4752:
4742:
4740:
4729:
4725:
4714:
4710:
4700:
4698:
4687:
4683:
4673:
4671:
4658:
4657:
4653:
4627:
4623:
4608:
4597:
4573:10.1.1.564.7146
4556:
4552:
4542:
4540:
4528:
4521:
4511:
4509:
4494:
4490:
4481:
4480:
4476:
4466:
4464:
4456:
4452:
4451:
4442:
4432:
4430:
4419:
4398:
4378:
4377:
4366:
4356:
4354:
4335:
4331:
4321:
4319:
4306:
4305:
4298:
4286:
4282:
4276:Wayback Machine
4267:
4263:
4257:Wayback Machine
4248:
4244:
4231:Wayback Machine
4222:
4218:
4208:
4206:
4193:
4192:
4188:
4177:
4163:
4159:
4149:
4147:
4139:
4135:
4134:
4130:
4120:
4118:
4107:
4103:
4093:
4091:
4080:
4076:
4066:
4064:
4063:on 26 July 2010
4053:
4049:
4039:
4037:
4024:
4023:
4019:
4009:
4007:
3994:
3993:
3989:
3972:
3971:
3967:
3953:
3949:
3939:
3937:
3924:
3923:
3919:
3912:
3896:
3892:
3877:
3863:
3859:
3849:
3847:
3830:
3823:
3813:
3811:
3800:
3799:
3795:
3787:
3783:
3782:
3778:
3773:
3769:
3746:
3742:
3732:
3730:
3717:
3713:
3708:
3699:
3685:
3684:
3677:
3646:
3642:
3632:
3630:
3626:
3613:
3607:
3600:
3587:
3583:
3574:
3570:
3564:
3547:
3543:
3510:
3506:
3496:
3494:
3454:
3450:
3442:
3435:
3429:
3425:
3406:
3402:
3367:Schroeder, M.R.
3364:
3360:
3341:
3337:
3327:
3325:
3321:
3288:
3282:
3278:
3271:
3253:
3244:
3237:
3223:
3219:
3209:
3207:
3190:
3186:
3179:
3151:
3147:
3116:
3112:
3102:
3100:
3073:
3069:
3059:
3057:
3046:
3037:
3027:
3025:
3014:
3007:
2997:
2995:
2991:
2984:
2978:
2965:
2955:
2953:
2942:
2935:
2925:
2923:
2914:
2913:
2909:
2899:
2897:
2888:
2887:
2883:
2873:
2871:
2862:
2861:
2857:
2847:
2845:
2838:
2837:
2833:
2823:
2821:
2808:
2807:
2803:
2793:
2791:
2782:
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2770:
2760:
2758:
2749:
2748:
2737:
2726:
2724:
2709:
2683:
2679:
2669:
2667:
2654:
2653:
2649:
2637:
2635:
2626:
2625:
2618:
2616:
2595:
2588:
2576:
2574:
2565:
2564:
2557:
2555:
2536:
2532:
2520:
2518:
2509:
2508:
2501:
2499:
2480:
2476:
2466:
2464:
2455:
2454:
2447:
2443:
2438:
2390:
2264:
2258:
2257:
2249:
2247:
2246:
2245:
2244:
2237:
2229:
2226:
2219:
2213:
2208:
2162:
2156:
2150:
2114:
2108:
2080:
2045:ID3v1 and ID3v2
2029:
2021:Main articles:
2019:
2006:
1942:fast forwarding
1917:
1906:
1900:
1897:
1886:
1874:
1812:22.05 kHz
1759:
1754:
1749:
1742:
1535:
1530:
1525:
1518:
1514:
1456:
1444:CPU clock rates
1412:psychoacoustics
1328:
1303:ISO/IEC 11172-3
1287:
1286:
1285:
1283:
1278:
1269:
1264:
1142:
1126:
1094:Wayback Machine
1087:ISO/IEC 13818-3
1071:Wayback Machine
1064:ISO/IEC 11172-3
1029:
1010:MPEG-2 Audio BC
998:ISO/IEC 13818-3
990:
966:
903:
835:
820:ISO/IEC 11172-3
765:sub-band coding
755:(Netherlands),
697:
695:Standardization
565:, Deutsche and
550:
443:Harvey Fletcher
434:Alfred M. Mayer
422:
412:
383:
346:, and the file-
238:Expired patents
230:
217:
212:
208:ISO/IEC 13818-3
203:ISO/IEC 11172-3
166:
161:
159:
156:
155:April 1998
154:
138:
136:
133:
129:Initial release
101:
69:
42:
35:
28:
23:
22:
15:
12:
11:
5:
9427:
9417:
9416:
9414:Technicolor SA
9411:
9406:
9401:
9396:
9391:
9374:
9373:
9359:
9356:
9355:
9353:
9352:
9347:
9341:
9336:
9331:
9326:
9321:
9316:
9310:
9308:
9307:Related topics
9304:
9303:
9301:
9300:
9295:
9290:
9285:
9280:
9275:
9270:
9265:
9263:Lejaren Hiller
9260:
9255:
9250:
9244:
9242:
9238:
9237:
9235:
9234:
9229:
9224:
9222:Sound operator
9219:
9217:Sound follower
9214:
9212:Sound designer
9209:
9204:
9199:
9194:
9189:
9184:
9179:
9174:
9172:Audio engineer
9168:
9166:
9162:
9161:
9159:
9158:
9153:
9148:
9143:
9138:
9133:
9128:
9123:
9117:
9115:
9109:
9108:
9106:
9105:
9100:
9095:
9090:
9085:
9080:
9075:
9070:
9065:
9060:
9055:
9050:
9045:
9039:
9037:
9031:
9030:
9028:
9027:
9022:
9017:
9012:
9007:
9002:
8997:
8992:
8990:Bass amplifier
8987:
8985:Mixing console
8981:
8979:
8973:
8972:
8970:
8969:
8964:
8958:
8956:
8950:
8949:
8947:
8946:
8941:
8936:
8931:
8926:
8921:
8916:
8910:
8908:
8904:
8903:
8901:
8900:
8895:
8890:
8885:
8880:
8875:
8870:
8865:
8860:
8854:
8852:
8846:
8845:
8843:
8842:
8837:
8832:
8827:
8822:
8817:
8812:
8807:
8802:
8796:
8794:
8788:
8787:
8785:
8784:
8779:
8774:
8769:
8764:
8759:
8754:
8749:
8744:
8739:
8734:
8728:
8723:
8721:Mixing console
8718:
8712:
8710:
8704:
8703:
8701:
8700:
8695:
8690:
8684:
8682:
8676:
8675:
8668:
8667:
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8653:
8645:
8636:
8635:
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8615:
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8511:
8505:
8503:
8499:
8498:
8496:
8495:
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8484:
8482:
8478:
8477:
8475:
8474:
8468:
8466:
8462:
8461:
8459:
8458:
8453:
8448:
8446:Part 20: LASeR
8443:
8438:
8433:
8428:
8423:
8418:
8413:
8408:
8407:
8406:
8394:
8392:
8388:
8387:
8385:
8384:
8379:
8377:Part 6: DSM CC
8374:
8373:
8372:
8367:
8362:
8357:
8347:
8342:
8341:
8340:
8338:Program stream
8335:
8326:
8324:
8320:
8319:
8317:
8316:
8315:
8314:
8309:
8304:
8298:Part 3: Audio
8296:
8295:
8294:
8287:Part 2: Video
8285:
8284:
8283:
8281:Program stream
8274:
8272:
8268:
8267:
8265:
8264:
8259:
8254:
8249:
8246:
8243:
8240:
8235:
8232:
8227:
8224:
8221:
8216:
8211:
8206:
8201:
8196:
8191:
8185:
8182:
8181:
8174:
8173:
8166:
8159:
8151:
8142:
8141:
8130:
8127:
8126:
8124:
8123:
8121:List of codecs
8118:
8113:
8107:
8105:
8101:
8100:
8098:
8097:
8096:
8095:
8094:
8093:
8088:
8078:
8073:
8068:
8058:
8057:
8056:
8051:
8046:
8041:
8031:
8030:
8029:
8024:
8014:
8009:
8004:
8003:
8002:
7997:
7992:
7987:
7977:
7976:
7975:
7970:
7965:
7954:
7952:
7946:
7945:
7943:
7942:
7937:
7932:
7926:
7924:
7923:Collaborations
7920:
7919:
7916:
7915:
7913:
7912:
7907:
7902:
7901:
7900:
7890:
7885:
7880:
7875:
7874:
7873:
7863:
7858:
7853:
7848:
7843:
7838:
7833:
7828:
7827:
7826:
7816:
7811:
7806:
7801:
7796:
7791:
7786:
7780:
7778:
7774:
7773:
7771:
7770:
7765:
7759:
7757:
7751:
7750:
7748:
7747:
7742:
7737:
7731:
7729:
7723:
7722:
7720:
7719:
7714:
7708:
7706:
7700:
7699:
7697:
7696:
7691:
7689:MPEG-21 Part 9
7686:
7681:
7678:MPEG-4 Part 14
7675:
7670:
7665:
7660:
7659:
7658:
7647:
7645:
7632:
7626:
7625:
7622:
7621:
7619:
7618:
7613:
7608:
7603:
7598:
7593:
7588:
7583:
7578:
7573:
7568:
7563:
7558:
7553:
7547:
7545:
7541:
7540:
7538:
7537:
7532:
7527:
7522:
7517:
7512:
7507:
7502:
7497:
7492:
7487:
7482:
7477:
7472:
7467:
7462:
7457:
7451:
7449:
7419:
7411:
7410:
7407:
7406:
7404:
7403:
7398:
7393:
7388:
7383:
7378:
7373:
7368:
7363:
7358:
7353:
7348:
7343:
7338:
7337:
7336:
7330:
7325:
7320:
7315:
7310:
7305:
7300:
7295:
7290:
7285:
7280:
7275:
7270:
7265:
7260:
7258:Monkey's Audio
7255:
7250:
7245:
7240:
7235:
7230:
7225:
7220:
7215:
7209:
7207:
7203:
7202:
7200:
7199:
7198:(SJ/T 11299.4)
7193:
7188:
7182:
7181:
7180:
7168:
7161:
7159:
7155:
7154:
7152:
7151:
7146:
7140:
7138:
7132:
7131:
7129:
7128:
7123:
7118:
7112:
7110:
7104:
7103:
7101:
7100:
7095:
7090:
7085:
7080:
7075:
7070:
7065:
7060:
7054:
7052:
7046:
7045:
7043:
7042:
7037:
7032:
7027:
7022:
7016:
7014:
7008:
7007:
7005:
7004:
6999:
6994:
6989:
6984:
6979:
6974:
6969:
6964:
6959:
6954:
6949:
6948:
6947:
6942:
6931:
6929:
6923:
6922:
6920:
6919:
6914:
6909:
6904:
6899:
6894:
6889:
6884:
6879:
6878:
6877:
6872:
6862:
6857:
6855:MPEG-1 Layer I
6852:
6851:
6850:
6839:
6837:
6819:
6811:
6810:
6807:
6806:
6804:
6803:
6798:
6793:
6788:
6783:
6778:
6773:
6768:
6763:
6758:
6753:
6748:
6747:
6746:
6741:
6733:
6732:
6731:
6726:
6716:
6711:
6706:
6701:
6696:
6691:
6686:
6681:
6676:
6671:
6666:
6661:
6656:
6651:
6645:
6643:
6639:
6638:
6636:
6635:
6632:
6631:
6630:
6621:
6614:
6612:
6608:
6607:
6605:
6604:
6599:
6594:
6589:
6584:
6579:
6574:
6568:
6566:
6559:
6558:
6556:
6555:
6550:
6545:
6540:
6535:
6529:
6527:
6521:
6520:
6518:
6517:
6512:
6507:
6502:
6497:
6492:
6487:
6481:
6479:
6469:
6468:
6466:
6465:
6464:
6463:
6461:Part 2 / LCEVC
6458:
6448:
6447:
6446:
6436:
6435:
6434:
6424:
6423:
6422:
6417:
6412:
6402:
6401:
6400:
6390:
6385:
6380:
6375:
6369:
6367:
6349:
6341:
6340:
6325:
6324:
6317:
6310:
6302:
6296:
6295:
6282:
6268:
6253:
6252:External links
6250:
6249:
6248:
6210:
6207:
6205:
6204:
6175:
6149:
6118:
6088:
6056:
6031:
6007:
5975:
5943:
5911:
5885:
5855:
5822:
5805:www.sisvel.com
5792:
5760:
5734:
5704:
5678:
5648:
5621:
5618:on 4 May 2011.
5599:
5569:
5554:. 5 May 2017.
5543:
5513:
5487:
5472:. OSNews.com.
5461:
5450:
5416:
5383:
5365:
5330:
5299:
5269:
5242:
5216:
5183:
5153:
5123:
5096:
5077:
5053:
5019:
4984:
4952:
4926:
4894:
4864:
4838:
4808:
4791:O'Reilly Radar
4777:
4750:
4723:
4708:
4681:
4651:
4621:
4595:
4582:10.1086/522098
4566:(6): 739–753.
4550:
4519:
4488:
4474:
4440:
4396:
4384:Fraunhofer IIS
4364:
4329:
4296:
4280:
4261:
4242:
4216:
4205:on 4 July 2008
4186:
4175:
4157:
4128:
4101:
4074:
4047:
4017:
3987:
3965:
3947:
3917:
3910:
3890:
3875:
3857:
3821:
3793:
3776:
3767:
3762:10.1109/49.608
3756:(2): 314–323.
3740:
3711:
3697:
3675:
3640:
3598:
3581:
3568:
3562:
3541:
3504:
3448:
3423:
3400:
3358:
3335:
3299:(4): 203–303.
3276:
3269:
3242:
3235:
3217:
3184:
3177:
3145:
3110:
3067:
3035:
3005:
2963:
2933:
2907:
2881:
2855:
2831:
2814:Fraunhofer IIS
2801:
2768:
2735:
2707:
2677:
2660:Fraunhofer IIS
2656:"The mp3 team"
2647:
2638:|journal=
2586:
2577:|journal=
2530:
2521:|journal=
2474:
2444:
2442:
2439:
2437:
2436:
2431:
2426:
2421:
2415:
2409:
2403:
2397:
2391:
2389:
2386:
2382:Apple Lossless
2304:LG Electronics
2262:List of codecs
2260:Main article:
2248:
2238:
2227:
2222:
2221:
2220:
2211:
2210:
2209:
2207:
2204:
2187:Alcatel-Lucent
2079:
2076:
2018:
2015:
2005:
2004:Ancillary data
2002:
1919:
1918:
1877:
1875:
1868:
1861:
1860:
1857:
1854:
1850:
1849:
1846:
1843:
1842:44.1 kHz
1839:
1838:
1835:
1832:
1828:
1827:
1824:
1821:
1817:
1816:
1813:
1810:
1806:
1805:
1802:
1799:
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1780:
1777:
1773:
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1732:
1729:
1725:
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1721:
1718:
1714:
1713:
1710:
1707:
1703:
1702:
1699:
1696:
1692:
1691:
1688:
1685:
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1680:
1677:
1674:
1670:
1669:
1666:
1663:
1659:
1658:
1655:
1652:
1648:
1647:
1644:
1641:
1637:
1636:
1633:
1630:
1626:
1625:
1622:
1619:
1615:
1614:
1611:
1608:
1604:
1603:
1600:
1597:
1593:
1592:
1589:
1586:
1582:
1581:
1578:
1575:
1571:
1570:
1567:
1564:
1560:
1559:
1556:
1553:
1549:
1548:
1545:
1542:
1538:
1537:
1532:
1527:
1513:
1510:
1455:
1452:
1380:ancillary data
1356:psychoacoustic
1336:psychoacoustic
1327:
1324:
1280:
1279:
1272:
1271:
1270:
1268:
1267:File structure
1265:
1263:
1260:
1141:
1138:
1121:
1118:
1117:
1114:
1111:
1108:
1104:
1103:
1100:
1097:
1084:
1080:
1079:
1077:
1074:
1061:
1057:
1056:
1053:
1050:
1047:
989:
986:
965:
962:
902:
899:
759:(France), the
696:
693:
671:Bernhard Grill
638:Motorola 56001
615:Motorola 56000
567:Thomson-Brandt
563:France Telecom
549:
546:
535:for its time.
490:psychoacoustic
488:, that used a
474:Bishnu S. Atal
411:
408:
382:
379:
304:audio channels
240:
239:
236:
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172:
171:Type of format
168:
167:
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150:
148:Latest release
144:
143:
130:
126:
125:
114:Bernhard Grill
107:
103:
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89:
83:
81:
75:
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64:
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26:
9:
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2:
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9397:
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9387:
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9384:
9371:
9370:
9357:
9351:
9350:Vehicle audio
9348:
9345:
9342:
9340:
9337:
9335:
9332:
9330:
9327:
9325:
9322:
9320:
9319:High fidelity
9317:
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8959:
8957:
8955:
8954:Digital audio
8951:
8945:
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8940:
8937:
8935:
8932:
8930:
8927:
8925:
8922:
8920:
8917:
8915:
8912:
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8909:
8905:
8899:
8898:Tape recorder
8896:
8894:
8891:
8889:
8886:
8884:
8881:
8879:
8876:
8874:
8871:
8869:
8868:Cassette deck
8866:
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8859:
8856:
8855:
8853:
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8847:
8841:
8838:
8836:
8833:
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8813:
8811:
8808:
8806:
8805:Magnetic tape
8803:
8801:
8798:
8797:
8795:
8793:
8789:
8783:
8782:Outboard gear
8780:
8778:
8775:
8773:
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8758:
8755:
8753:
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8743:
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8729:
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8717:
8716:Audio channel
8714:
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8510:
8507:
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8494:
8491:
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8486:
8485:
8483:
8481:MPEG-21 Parts
8479:
8473:
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8463:
8457:
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8452:
8449:
8447:
8444:
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8424:
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8412:
8411:Part 3: Audio
8409:
8405:
8401:
8400:
8399:
8398:Part 2: Video
8396:
8395:
8393:
8389:
8383:
8380:
8378:
8375:
8371:
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8363:
8361:
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8351:
8350:Part 3: Audio
8348:
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7481:
7478:
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7468:
7466:
7463:
7461:
7458:
7456:
7455:CCITT Group 4
7453:
7452:
7450:
7448:
7444:
7440:
7435:
7431:
7427:
7423:
7420:
7418:
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7397:
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7392:
7389:
7387:
7386:aptX Adaptive
7384:
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7141:
7139:
7137:
7136:Bluetooth SIG
7133:
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7117:
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6900:
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6890:
6888:
6885:
6883:
6882:MPEG Surround
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6440:
6437:
6433:
6432:Part 2 / HEVC
6430:
6429:
6428:
6425:
6421:
6420:Part 33 / IVC
6418:
6416:
6415:Part 10 / AVC
6413:
6411:
6408:
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6070:Business Wire
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5137:
5136:linux.die.net
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4635:
4631:
4630:Jayant, Nikil
4625:
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4385:
4381:
4375:
4373:
4371:
4369:
4352:
4349:(1/2): 4–21.
4348:
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4333:
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4089:
4085:
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4027:
4021:
4005:
4001:
4000:AES E-Library
3997:
3991:
3983:
3979:
3975:
3969:
3961:
3960:3-540-76357-0
3957:
3951:
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2952:on 3 May 2011
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2786:. ISO. 1995.
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2753:. ISO. 1993.
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1878:This section
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1361:
1360:sound masking
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1007:
1003:
1002:MPEG-2 Part 3
999:
995:
985:
983:
979:
975:
971:
961:
959:
956:notation, or
955:
951:
947:
943:
939:
935:
932:
928:
923:
921:
918:, television
917:
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883:
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871:
866:
864:
860:
856:
852:
848:
847:sampling rate
844:
839:
833:
829:
828:MPEG-1 Part 3
825:
821:
817:
813:
808:
806:
802:
797:
793:
789:
788:working group
784:
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459:
455:
454:speech coding
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261:digital audio
258:
257:coding format
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124:), and others
123:
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95:
90:
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84:
82:
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76:
73:(before 1995)
65:
63:
59:
55:
50:
44:
40:
33:
19:
9399:Audio codecs
9360:
9093:Sound module
9053:Drum machine
8995:Effects unit
8888:Player piano
8834:
8815:Compact disc
8737:Effects unit
8606:MPEG-5 Parts
8590:MPEG-I Parts
8559:MPEG-H Parts
8540:Part 3: APIs
8523:MPEG-G Parts
8502:MPEG-D Parts
8465:MPEG-7 Parts
8416:Part 6: DMIF
8391:MPEG-4 Parts
8364:
8323:MPEG-2 Parts
8311:
8271:MPEG-1 Parts
7187:(GB/T 22726)
6859:
6848:Multichannel
6704:MSU Lossless
6618:AVS1 P2/AVS+
6572:TrueMotion S
6510:H.265 / HEVC
6456:Part 1 / EVC
6444:Part 3 / VVC
6410:Part 2 / ASP
6240:. Retrieved
6223:
6216:Geert Lovink
6198:
6184:
6178:
6168:24 September
6166:. Retrieved
6152:
6142:24 September
6140:. Retrieved
6131:
6121:
6109:. Retrieved
6105:the original
6100:
6091:
6079:. Retrieved
6068:
6059:
6048:the original
6023:the original
6010:
5998:. Retrieved
5987:
5978:
5966:. Retrieved
5955:
5946:
5936:15 September
5934:. Retrieved
5930:the original
5923:
5914:
5902:. Retrieved
5897:
5888:
5876:. Retrieved
5867:
5858:
5846:. Retrieved
5842:the original
5835:
5825:
5815:15 September
5813:. Retrieved
5809:the original
5804:
5795:
5783:. Retrieved
5776:the original
5763:
5751:. Retrieved
5747:the original
5737:
5725:. Retrieved
5721:the original
5716:
5707:
5695:. Retrieved
5681:
5669:. Retrieved
5665:the original
5651:
5639:. Retrieved
5635:the original
5624:
5616:the original
5602:
5590:. Retrieved
5586:the original
5572:
5560:. Retrieved
5546:
5534:. Retrieved
5525:
5516:
5504:. Retrieved
5490:
5478:. Retrieved
5464:
5453:
5440:. Retrieved
5429:
5419:
5407:. Retrieved
5398:
5378:the original
5368:
5356:. Retrieved
5340:
5333:
5321:. Retrieved
5317:the original
5312:
5307:Rae, Casey.
5302:
5290:. Retrieved
5281:
5272:
5260:. Retrieved
5245:
5233:. Retrieved
5219:
5207:. Retrieved
5198:
5174:. Retrieved
5165:
5156:
5144:. Retrieved
5135:
5126:
5116:15 September
5114:. Retrieved
5099:
5087:. Retrieved
5063:
5056:
5044:. Retrieved
5032:www.sony.com
5031:
5022:
5014:
5007:. Retrieved
4987:
4974:
4968:the original
4955:
4943:. Retrieved
4939:the original
4929:
4917:. Retrieved
4897:
4885:. Retrieved
4876:
4867:
4855:. Retrieved
4851:the original
4841:
4829:. Retrieved
4820:
4811:
4799:. Retrieved
4790:
4780:
4768:. Retrieved
4753:
4741:. Retrieved
4726:
4717:
4711:
4699:. Retrieved
4684:
4672:. Retrieved
4654:
4637:
4633:
4624:
4616:the original
4563:
4559:
4553:
4541:. Retrieved
4535:
4510:. Retrieved
4501:
4491:
4477:
4465:. Retrieved
4431:. Retrieved
4391:
4388:the original
4355:. Retrieved
4346:
4342:
4332:
4320:. Retrieved
4316:the original
4283:
4264:
4245:
4237:
4235:The Atlantic
4219:
4209:15 September
4207:. Retrieved
4203:the original
4198:
4189:
4180:
4166:
4160:
4148:. Retrieved
4131:
4119:. Retrieved
4104:
4092:. Retrieved
4088:the original
4077:
4065:. Retrieved
4061:the original
4050:
4038:. Retrieved
4029:
4020:
4008:. Retrieved
3999:
3990:
3982:the original
3968:
3950:
3938:. Retrieved
3929:
3920:
3900:
3893:
3880:
3866:
3860:
3848:. Retrieved
3837:
3812:. Retrieved
3802:
3796:
3779:
3770:
3753:
3749:
3743:
3731:. Retrieved
3721:
3714:
3691:
3687:
3653:
3649:
3643:
3631:. Retrieved
3617:
3593:
3589:
3584:
3576:
3571:
3553:
3544:
3523:(1): 90–93,
3520:
3516:
3513:Ahmed, Nasir
3507:
3495:. Retrieved
3470:
3464:
3457:Ahmed, Nasir
3451:
3426:
3418:1721.1/16011
3409:
3403:
3378:
3374:
3361:
3344:
3338:
3326:. Retrieved
3296:
3292:
3279:
3260:
3226:
3220:
3208:. Retrieved
3204:the original
3199:
3194:
3187:
3155:
3148:
3123:
3119:
3113:
3101:. Retrieved
3084:
3080:
3070:
3058:. Retrieved
3026:. Retrieved
3022:the original
2996:. Retrieved
2989:the original
2954:. Retrieved
2950:the original
2924:. Retrieved
2910:
2898:. Retrieved
2884:
2872:. Retrieved
2858:
2846:. Retrieved
2840:
2834:
2822:. Retrieved
2818:the original
2813:
2804:
2792:. Retrieved
2759:. Retrieved
2725:. Retrieved
2690:
2680:
2668:. Retrieved
2659:
2650:
2629:cite journal
2617:. Retrieved
2568:cite journal
2556:. Retrieved
2533:
2512:cite journal
2500:. Retrieved
2477:
2465:. Retrieved
2461:the original
2395:MP3 Surround
2371:
2359:
2344:
2265:
2250:
2185:
2169:
2147:
2142:
2133:
2101:
2093:
2081:
2053:
2040:
2030:
2007:
1994:
1990:
1974:
1958:
1954:
1946:
1939:
1926:
1922:
1907:
1898:
1887:Please help
1882:verification
1879:
1853:48 kHz
1831:32 kHz
1823:24 kHz
1801:16 kHz
1793:12 kHz
1506:Ryan Maguire
1503:
1495:
1482:
1478:
1457:
1420:
1416:
1400:
1384:
1348:
1346:algorithms.
1329:
1320:Joint stereo
1318:
1302:
1288:
1232:Juno Records
1217:
1209:music piracy
1197:peer-to-peer
1189:file sharing
1182:
1143:
1133:
1127:
1122:
1035:
1020:
1016:
1014:
1009:
1006:MPEG-2 Audio
1005:
1001:
997:
991:
967:
937:
933:
924:
906:
904:
901:Going public
889:, triangle,
887:glockenspiel
870:Suzanne Vega
867:
862:
851:compact disc
840:
827:
824:MPEG-1 Audio
823:
819:
809:
785:
769:
748:
744:
740:
736:
732:
728:
724:
720:
716:
712:
708:
704:
698:
688:Suzanne Vega
655:
647:
630:
622:
611:
551:
540:
539:'s refereed
526:
522:
499:
451:
423:
393:, and later
384:
372:
344:music piracy
297:
284:
273:uncompressed
252:
248:
244:
243:
43:
9334:Music store
9329:Home cinema
9288:Robert Moog
9273:Max Mathews
9197:Piano tuner
9165:Professions
9141:Scorewriter
9098:Synthesizer
8914:Loudspeaker
7905:MOD and TOD
7846:Flash Video
7784:3GP and 3G2
7465:HEIC / HEIF
7417:compression
7177:Audio Vivid
6912:MPEG-D USAC
6907:MPEG-4 CELP
6902:MPEG-4 HVXC
6817:compression
6649:Apple Video
6565:and AOMedia
6515:H.266 / VVC
6505:H.264 / AVC
6347:compression
6332:compression
5717:ZDNet India
5612:Technicolor
5323:12 December
5089:16 November
4543:22 November
4292:Archive.org
3883:Harald Popp
3497:19 November
3381:(6): 1647.
3126:(9): 1253.
2727:15 December
2328:JVC Kenwood
2135:Technicolor
2121:Technicolor
1771:8 kHz
1490:transparent
1372:error check
1244:Walmart.com
1170:South Korea
970:source code
946:hard drives
907:ISO 11172-5
874:Tom's Diner
836:14 × 3 = 42
832:MP3 players
684:Tom's Diner
548:Development
510:Nasir Ahmed
368:smartphones
312:file format
293:file format
232:Free format
219:Open format
118:Harald Popp
9383:Categories
9324:Home audio
9314:Audiophile
9131:GarageBand
8977:Live music
8919:Headphones
8883:Phonograph
8752:Microphone
8747:Headphones
8693:Electrical
8688:Mechanical
8139:for codecs
8086:Daubechies
8061:Transforms
7963:Arithmetic
7630:Containers
7335:True Audio
7179:(GY/T 363)
6897:MPEG-4 DST
6892:MPEG-4 SLS
6887:MPEG-4 ALS
6761:SheerVideo
6735:QuickTime
6563:TrueMotion
6329:Multimedia
6194:1602.04845
5753:18 January
5697:8 February
5506:21 January
4701:9 December
4512:8 December
3940:17 January
3814:8 February
3656:(3): 679.
3550:Rao, K. R.
3473:(1): 4–5.
3371:Atal, B.S.
3060:28 October
2926:9 November
2848:1 December
2619:4 December
2558:7 December
2502:7 December
2441:References
2312:NTT Docomo
2253:media help
2064:ReplayGain
2056:tag editor
1376:audio data
1256:Amazon.com
1174:Rio PMP300
1030:3 × 8 = 24
982:CD ripping
882:monophonic
743:erceptual
719:ntegrated
609:and BTRL.
581:, ITT and
575:Matsushita
410:Background
328:file sizes
247:(formally
139:1991-12-06
87:audio/mpeg
9088:Sequencer
9015:PA system
8944:Subwoofer
8929:PA system
8863:Amplifier
8825:Hard disk
8742:Equalizer
8632:MPEG-DASH
8402:based on
8365:Layer III
8312:Layer III
8290:based on
7888:RealMedia
7490:JPEG 2000
7293:RealAudio
7273:OptimFROG
6751:RealVideo
6739:Animation
6709:OMS Video
6336:container
6242:14 August
6232:2047-2390
6000:17 August
5904:16 August
5898:IP Law360
5868:IPEG blog
5837:CNET News
5442:6 October
5399:tunequest
5176:22 August
5146:22 August
5046:11 August
5009:20 August
4877:UVA Today
4674:27 August
4590:145796529
4568:CiteSeerX
4502:cybernews
4010:24 August
3537:149806273
3315:1932-8346
2900:2 January
2874:2 January
2336:Microsoft
2316:Panasonic
2200:Microsoft
2096:prior art
2027:APEv2 tag
1965:bandwidth
1901:July 2020
1427:bitstream
1408:transient
1364:bitstream
1295:sync word
1191:of music
891:accordion
872:'s song "
843:bit depth
711:niversal
514:K. R. Rao
484:, called
447:Bell Labs
354:services
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