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This provides great benefit to the overall compression ratio, and psychoacoustic analysis routinely leads to compressed music files that are one-tenth to one-twelfth the size of high-quality masters, but with discernibly less proportional quality loss. Such compression is a feature of nearly all modern lossy audio compression formats.
Where SR = suppression Ratio, D = responding during CS and B = responding before CS. If SR = 0, there were no responses during the CS and conditioning is strong. If SR = 1/2, the response rate did not change when the CS was presented and there is no evidence of conditioning; It would be unusual for SR to be greater than 1/2.
Lossless compression of digitized data such as video, digitized film, and audio preserves all the information, but it does not generally achieve compression ratio much better than 2:1 because of the intrinsic entropy of the data. Compression algorithms which provide higher ratios either incur very large overheads or work only for specific data ...
Introduction to Compression Theory (PDF), Wiley, archived (PDF) from the original on 2007-09-28; EBU subjective listening tests on low-bitrate audio codecs; Audio Archiving Guide: Music Formats (Guide for helping a user pick out the right codec) MPEG 1&2 video compression intro (pdf format) at the Wayback Machine (archived September 28, 2007)
Compression artifacts in compressed audio typically show up as ringing, pre-echo, "birdie artifacts", drop-outs, rattling, warbling, metallic ringing, an underwater feeling, hissing, or "graininess". An example of compression artifacts in audio is applause in a relatively highly compressed audio file (e.g. 96 kbit/sec MP3).
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Stevens' power law is an empirical relationship in psychophysics between an increased intensity or strength in a physical stimulus and the perceived magnitude increase in the sensation created by the stimulus.
The Psychological Record is a quarterly peer-reviewed scientific journal covering behavior analysis. It was established in 1937 by Jacob Robert Kantor , with B.F. Skinner serving as founding editor of the journal's experimental department. [ 1 ]