These assumptions have been detailed in theĪppendices and will be raised up-front where appropriate. Discussion is important, and the complexity of the issues This paper is a discussion document, and contains many assumptions. That guide our adoption of new formats and empowering the reader with a grasp of the technical terms used.
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Uncompressed 6 Digital Rights Management (DRM) 7 Present situation .8 Codecs .9 Advanced Audio Coding (AAC) 10 AACPlus (High Efficiency AAC, AAC+, HE-AAC) 10 MPEG audio layer-3 (MP3) 11 Real Audio (RA) 11 Vorbis (Ogg Vorbis, Xiph Vorbis, Ogg) 12 Windows Media Audio (WMA) 12 Adaptive Multi-rate Family (AMR) 13 Summary 13 Conclusions .14 Appendix A: Codecs matrix .15 Appendix B: Codecs not covered.19 Appendix C: Assumptions .21 Appendix D: Current Bit-rates .23īBC A&M / DISTTECH ALAN OGILVIE Version C.3 3/25 We also recommended that the BBC should form closer relationships with the ‘major players’ in this area – Apple, Microsoft, Real Player, Adobe.īBC A&M / DISTTECH ALAN OGILVIE Version C.2 2/25Ĭontents Introduction .4 Definitions .5 Codec 5 Container 5 Streaming Media 5 Progressive Download Media 6 Bit rate 6 Sample rate 6 Lossy vs. Other than specialist uses with clear business cases. We giveĪ balanced view of supporting MP3 as a possible streaming format, but do not recommend supporting for anything Our conclusions deliver recommendations for adoption of AACPlus as a third supported codec for our internet services and how we may go about providing this on new Multicast and Unicast services, by means of a trial. Adaptive Multi-rate (AMR Narrowband) / Adaptive Multi-rate Wideband (AMR-WB) / Adaptive Multi-rate Wideband Plus (AMR-WB+, AMR-WBPlus).AACPlus (High Efficiency AAC, AAC+, HE-AAC).The main body of the paper presents our coverage of a group of common Audio Codecs including key assumptions: The BBC’s Streaming Strategy and Audio/Video Standards groups delivered the strategy for our present situation: ‘dualįormat’ codec use as a minimum Windows Media Audio and Real Media Audio. We cover important ‘buzz-words’ surrounding audio codec discussions by way of definitions with examples to aid Providers to protect their audio content using Digital Rights Management (DRM). WiFi Radio, Networked Media Appliances), pressure for adoption of non-proprietary codecs and pressure from content Includes uptake of codecs by software players, uptake of codecs by manufacturers of embedded audio devices (e.g. The listening quality of the codecs is not of primary focus here, but rather the business logic surrounding them – this Changing business practices in the world of audio codecs have a direct impact on how we should beĭelivering our content, and it’s not necessarily the best quality codec that wins. It is important to BBC Audio & Music (A&M) that we stay informed to keep our audience’s access to our content as
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That guide our adoption of new formats and to provide recommendations.Īudio codecs are hardware or software processes which allow us to transform an audio signal into something suitableįor digital transmission over the internet, digital radio, digital TV, etc. The purpose of this paper is to discuss common formats for streaming audio, informing the reader of important factors Version C.3 / October 30th – March 22nd 2007īBC A&M / DISTTECH ALAN OGILVIE Version C.3 1/25
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