diff --git a/.opus.metadata b/.opus.metadata
new file mode 100644
index 0000000..e32ca83
--- /dev/null
+++ b/.opus.metadata
@@ -0,0 +1 @@
+37dd3d69b10612cd513ccf26675ef6d61eda24b4 SOURCES/opus-1.0.2.tar.gz
diff --git a/README.md b/README.md
deleted file mode 100644
index 0e7897f..0000000
--- a/README.md
+++ /dev/null
@@ -1,5 +0,0 @@
-The master branch has no content
-
-Look at the c7 branch if you are working with CentOS-7, or the c4/c5/c6 branch for CentOS-4, 5 or 6
-
-If you find this file in a distro specific branch, it means that no content has been checked in yet
diff --git a/SOURCES/0001-Fix-several-memory-errors-in-the-SILK-resampler.patch b/SOURCES/0001-Fix-several-memory-errors-in-the-SILK-resampler.patch
new file mode 100644
index 0000000..cdb005d
--- /dev/null
+++ b/SOURCES/0001-Fix-several-memory-errors-in-the-SILK-resampler.patch
@@ -0,0 +1,120 @@
+From dc58579c2c7e060084554018e9a2e8c25097a255 Mon Sep 17 00:00:00 2001
+From: "Timothy B. Terriberry" <tterribe@xiph.org>
+Date: Wed, 8 May 2013 10:25:52 -0700
+Subject: [PATCH] Fix several memory errors in the SILK resampler.
+
+1) The memcpy's were using sizeof(opus_int32), but the type of the
+ local buffer was opus_int16.
+2) Because the size was wrong, this potentially allowed the source
+ and destination regions of the memcpy overlap.
+ I _believe_ that nSamplesIn is at least fs_in_khZ, which is at
+ least 8.
+ Since RESAMPLER_ORDER_FIR_12 is only 8, I don't think that's a
+ problem once you fix the type size.
+3) The size of the buffer used RESAMPLER_MAX_BATCH_SIZE_IN, but the
+ data stored in it was actually _twice_ the input batch size
+ (nSamplesIn<<1).
+
+Because this never blew up in testing, I suspect that in practice
+ the batch sizes are reasonable enough that none of these things
+ was ever a problem, but proving that seems non-obvious.
+
+This patch just converts the whole thing to use CELT's vararrays.
+This fixes the buffer size problems (since we allocate a buffer
+ with the actual size we use) and gets these large buffers off the
+ stack on devices using the pseudo-stack.
+It also fixes the memcpy problems by changing the sizeof to
+ opus_int16.
+It turns out sFIR, which saved state between calls, was being used
+ elsewhere as opus_int32, so this converts it to a union to make
+ this sharing explicit.
+---
+ silk/resampler_private_IIR_FIR.c | 14 +++++++++-----
+ silk/resampler_private_down_FIR.c | 4 ++--
+ silk/resampler_structs.h | 5 ++++-
+ 3 files changed, 15 insertions(+), 8 deletions(-)
+
+diff --git a/silk/resampler_private_IIR_FIR.c b/silk/resampler_private_IIR_FIR.c
+index d9e42ca..2b9602d 100644
+--- a/silk/resampler_private_IIR_FIR.c
++++ b/silk/resampler_private_IIR_FIR.c
+@@ -31,6 +31,7 @@ POSSIBILITY OF SUCH DAMAGE.
+
+ #include "SigProc_FIX.h"
+ #include "resampler_private.h"
++#include "stack_alloc.h"
+
+ static inline opus_int16 *silk_resampler_private_IIR_FIR_INTERPOL(
+ opus_int16 *out,
+@@ -71,10 +72,13 @@ void silk_resampler_private_IIR_FIR(
+ silk_resampler_state_struct *S = (silk_resampler_state_struct *)SS;
+ opus_int32 nSamplesIn;
+ opus_int32 max_index_Q16, index_increment_Q16;
+- opus_int16 buf[ RESAMPLER_MAX_BATCH_SIZE_IN + RESAMPLER_ORDER_FIR_12 ];
++ VARDECL( opus_int16, buf );
++ SAVE_STACK;
++
++ ALLOC( buf, 2 * S->batchSize + RESAMPLER_ORDER_FIR_12, opus_int16 );
+
+ /* Copy buffered samples to start of buffer */
+- silk_memcpy( buf, S->sFIR, RESAMPLER_ORDER_FIR_12 * sizeof( opus_int32 ) );
++ silk_memcpy( buf, S->sFIR.i16, RESAMPLER_ORDER_FIR_12 * sizeof( opus_int16 ) );
+
+ /* Iterate over blocks of frameSizeIn input samples */
+ index_increment_Q16 = S->invRatio_Q16;
+@@ -91,13 +95,13 @@ void silk_resampler_private_IIR_FIR(
+
+ if( inLen > 0 ) {
+ /* More iterations to do; copy last part of filtered signal to beginning of buffer */
+- silk_memcpy( buf, &buf[ nSamplesIn << 1 ], RESAMPLER_ORDER_FIR_12 * sizeof( opus_int32 ) );
++ silk_memcpy( buf, &buf[ nSamplesIn << 1 ], RESAMPLER_ORDER_FIR_12 * sizeof( opus_int16 ) );
+ } else {
+ break;
+ }
+ }
+
+ /* Copy last part of filtered signal to the state for the next call */
+- silk_memcpy( S->sFIR, &buf[ nSamplesIn << 1 ], RESAMPLER_ORDER_FIR_12 * sizeof( opus_int32 ) );
++ silk_memcpy( S->sFIR.i16, &buf[ nSamplesIn << 1 ], RESAMPLER_ORDER_FIR_12 * sizeof( opus_int16 ) );
++ RESTORE_STACK;
+ }
+-
+diff --git a/silk/resampler_private_down_FIR.c b/silk/resampler_private_down_FIR.c
+index 5d24564..8bedb0d 100644
+--- a/silk/resampler_private_down_FIR.c
++++ b/silk/resampler_private_down_FIR.c
+@@ -155,7 +155,7 @@ void silk_resampler_private_down_FIR(
+ const opus_int16 *FIR_Coefs;
+
+ /* Copy buffered samples to start of buffer */
+- silk_memcpy( buf, S->sFIR, S->FIR_Order * sizeof( opus_int32 ) );
++ silk_memcpy( buf, S->sFIR.i32, S->FIR_Order * sizeof( opus_int32 ) );
+
+ FIR_Coefs = &S->Coefs[ 2 ];
+
+@@ -185,5 +185,5 @@ void silk_resampler_private_down_FIR(
+ }
+
+ /* Copy last part of filtered signal to the state for the next call */
+- silk_memcpy( S->sFIR, &buf[ nSamplesIn ], S->FIR_Order * sizeof( opus_int32 ) );
++ silk_memcpy( S->sFIR.i32, &buf[ nSamplesIn ], S->FIR_Order * sizeof( opus_int32 ) );
+ }
+diff --git a/silk/resampler_structs.h b/silk/resampler_structs.h
+index 4c28bd0..d1a0b95 100644
+--- a/silk/resampler_structs.h
++++ b/silk/resampler_structs.h
+@@ -37,7 +37,10 @@ extern "C" {
+
+ typedef struct _silk_resampler_state_struct{
+ opus_int32 sIIR[ SILK_RESAMPLER_MAX_IIR_ORDER ]; /* this must be the first element of this struct */
+- opus_int32 sFIR[ SILK_RESAMPLER_MAX_FIR_ORDER ];
++ union{
++ opus_int32 i32[ SILK_RESAMPLER_MAX_FIR_ORDER ];
++ opus_int16 i16[ SILK_RESAMPLER_MAX_FIR_ORDER ];
++ } sFIR;
+ opus_int16 delayBuf[ 48 ];
+ opus_int resampler_function;
+ opus_int batchSize;
+--
+1.8.4.2
+
diff --git a/SOURCES/0001-Fixes-an-assertion-failure-in-SILK.patch b/SOURCES/0001-Fixes-an-assertion-failure-in-SILK.patch
new file mode 100644
index 0000000..cb8f5e5
--- /dev/null
+++ b/SOURCES/0001-Fixes-an-assertion-failure-in-SILK.patch
@@ -0,0 +1,74 @@
+From ac76b1503f759201f03dc6acb7bf00bd39f560d3 Mon Sep 17 00:00:00 2001
+From: Jean-Marc Valin <jmvalin@jmvalin.ca>
+Date: Thu, 9 May 2013 16:17:13 -0400
+Subject: [PATCH] Fixes an assertion failure in SILK
+
+We stop the schur recursion before any reflection coefficient
+goes outside of ]-1,1[ and we force reporting a residual energy
+of at least 1.
+Assertion was:
+Fatal (internal) error in ../silk/fixed/noise_shape_analysis_FIX.c, line 290: assertion failed: nrg >= 0
+triggered by:
+opus_demo voip 16000 1 12500 -bandwidth WB -complexity 10 pl04f087.stp-crash out.pcm
+---
+ silk/fixed/schur64_FIX.c | 11 ++++++++++-
+ silk/fixed/schur_FIX.c | 10 +++++++++-
+ 2 files changed, 19 insertions(+), 2 deletions(-)
+
+diff --git a/silk/fixed/schur64_FIX.c b/silk/fixed/schur64_FIX.c
+index 5ff2756..c75f96a 100644
+--- a/silk/fixed/schur64_FIX.c
++++ b/silk/fixed/schur64_FIX.c
+@@ -56,6 +56,11 @@ opus_int32 silk_schur64( /* O returns residual ene
+ }
+
+ for( k = 0; k < order; k++ ) {
++ /* Check that we won't be getting an unstable rc, otherwise stop here. */
++ if (silk_abs_int32(C[ k + 1 ][ 0 ]) >= C[ 0 ][ 1 ]) {
++ break;
++ }
++
+ /* Get reflection coefficient: divide two Q30 values and get result in Q31 */
+ rc_tmp_Q31 = silk_DIV32_varQ( -C[ k + 1 ][ 0 ], C[ 0 ][ 1 ], 31 );
+
+@@ -73,5 +78,9 @@ opus_int32 silk_schur64( /* O returns residual ene
+ }
+ }
+
+- return( C[ 0 ][ 1 ] );
++ for(; k < order; k++ ) {
++ rc_Q16[ k ] = 0;
++ }
++
++ return silk_max_32( 1, C[ 0 ][ 1 ] );
+ }
+diff --git a/silk/fixed/schur_FIX.c b/silk/fixed/schur_FIX.c
+index 43db501..788ad3f 100644
+--- a/silk/fixed/schur_FIX.c
++++ b/silk/fixed/schur_FIX.c
+@@ -68,6 +68,10 @@ opus_int32 silk_schur( /* O Returns residual ene
+ }
+
+ for( k = 0; k < order; k++ ) {
++ /* Check that we won't be getting an unstable rc, otherwise stop here. */
++ if (silk_abs_int32(C[ k + 1 ][ 0 ]) >= C[ 0 ][ 1 ]) {
++ break;
++ }
+
+ /* Get reflection coefficient */
+ rc_tmp_Q15 = -silk_DIV32_16( C[ k + 1 ][ 0 ], silk_max_32( silk_RSHIFT( C[ 0 ][ 1 ], 15 ), 1 ) );
+@@ -87,6 +91,10 @@ opus_int32 silk_schur( /* O Returns residual ene
+ }
+ }
+
++ for(; k < order; k++ ) {
++ rc_Q15[ k ] = 0;
++ }
++
+ /* return residual energy */
+- return C[ 0 ][ 1 ];
++ return silk_max_32( 1, C[ 0 ][ 1 ] );
+ }
+--
+1.8.4.2
+
diff --git a/SOURCES/rfc6716.txt b/SOURCES/rfc6716.txt
new file mode 100644
index 0000000..21b690f
--- /dev/null
+++ b/SOURCES/rfc6716.txt
@@ -0,0 +1,18259 @@
+
+
+
+
+
+
+Internet Engineering Task Force (IETF) JM. Valin
+Request for Comments: 6716 Mozilla Corporation
+Category: Standards Track K. Vos
+ISSN: 2070-1721 Skype Technologies S.A.
+ T. Terriberry
+ Mozilla Corporation
+ September 2012
+
+
+ Definition of the Opus Audio Codec
+
+Abstract
+
+ This document defines the Opus interactive speech and audio codec.
+ Opus is designed to handle a wide range of interactive audio
+ applications, including Voice over IP, videoconferencing, in-game
+ chat, and even live, distributed music performances. It scales from
+ low bitrate narrowband speech at 6 kbit/s to very high quality stereo
+ music at 510 kbit/s. Opus uses both Linear Prediction (LP) and the
+ Modified Discrete Cosine Transform (MDCT) to achieve good compression
+ of both speech and music.
+
+Status of This Memo
+
+ This is an Internet Standards Track document.
+
+ This document is a product of the Internet Engineering Task Force
+ (IETF). It represents the consensus of the IETF community. It has
+ received public review and has been approved for publication by the
+ Internet Engineering Steering Group (IESG). Further information on
+ Internet Standards is available in Section 2 of RFC 5741.
+
+ Information about the current status of this document, any errata,
+ and how to provide feedback on it may be obtained at
+ http://www.rfc-editor.org/info/rfc6716.
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+Valin, et al. Standards Track [Page 1]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+Copyright Notice
+
+ Copyright (c) 2012 IETF Trust and the persons identified as the
+ document authors. All rights reserved.
+
+ This document is subject to BCP 78 and the IETF Trust's Legal
+ Provisions Relating to IETF Documents
+ (http://trustee.ietf.org/license-info) in effect on the date of
+ publication of this document. Please review these documents
+ carefully, as they describe your rights and restrictions with respect
+ to this document. Code Components extracted from this document must
+ include Simplified BSD License text as described in Section 4.e of
+ the Trust Legal Provisions and are provided without warranty as
+ described in the Simplified BSD License.
+
+ The licenses granted by the IETF Trust to this RFC under Section 3.c
+ of the Trust Legal Provisions shall also include the right to extract
+ text from Sections 1 through 8 and Appendix A and Appendix B of this
+ RFC and create derivative works from these extracts, and to copy,
+ publish, display and distribute such derivative works in any medium
+ and for any purpose, provided that no such derivative work shall be
+ presented, displayed or published in a manner that states or implies
+ that it is part of this RFC or any other IETF Document.
+
+Table of Contents
+
+ 1. Introduction ....................................................5
+ 1.1. Notation and Conventions ...................................6
+ 2. Opus Codec Overview .............................................8
+ 2.1. Control Parameters ........................................10
+ 2.1.1. Bitrate ............................................10
+ 2.1.2. Number of Channels (Mono/Stereo) ...................11
+ 2.1.3. Audio Bandwidth ....................................11
+ 2.1.4. Frame Duration .....................................11
+ 2.1.5. Complexity .........................................11
+ 2.1.6. Packet Loss Resilience .............................12
+ 2.1.7. Forward Error Correction (FEC) .....................12
+ 2.1.8. Constant/Variable Bitrate ..........................12
+ 2.1.9. Discontinuous Transmission (DTX) ...................13
+ 3. Internal Framing ...............................................13
+ 3.1. The TOC Byte ..............................................13
+ 3.2. Frame Packing .............................................16
+ 3.2.1. Frame Length Coding ................................16
+ 3.2.2. Code 0: One Frame in the Packet ....................16
+ 3.2.3. Code 1: Two Frames in the Packet, Each with
+ Equal Compressed Size ..............................17
+ 3.2.4. Code 2: Two Frames in the Packet, with
+ Different Compressed Sizes .........................17
+
+
+
+Valin, et al. Standards Track [Page 2]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ 3.2.5. Code 3: A Signaled Number of Frames in the Packet ..18
+ 3.3. Examples ..................................................21
+ 3.4. Receiving Malformed Packets ...............................22
+ 4. Opus Decoder ...................................................23
+ 4.1. Range Decoder .............................................23
+ 4.1.1. Range Decoder Initialization .......................25
+ 4.1.2. Decoding Symbols ...................................25
+ 4.1.3. Alternate Decoding Methods .........................27
+ 4.1.4. Decoding Raw Bits ..................................29
+ 4.1.5. Decoding Uniformly Distributed Integers ............29
+ 4.1.6. Current Bit Usage ..................................30
+ 4.2. SILK Decoder ..............................................32
+ 4.2.1. SILK Decoder Modules ...............................32
+ 4.2.2. LP Layer Organization ..............................33
+ 4.2.3. Header Bits ........................................35
+ 4.2.4. Per-Frame LBRR Flags ...............................36
+ 4.2.5. LBRR Frames ........................................36
+ 4.2.6. Regular SILK Frames ................................37
+ 4.2.7. SILK Frame Contents ................................37
+ 4.2.7.1. Stereo Prediction Weights .................40
+ 4.2.7.2. Mid-Only Flag .............................42
+ 4.2.7.3. Frame Type ................................43
+ 4.2.7.4. Subframe Gains ............................44
+ 4.2.7.5. Normalized Line Spectral Frequency
+ (LSF) and Linear Predictive Coding (LPC)
+ Coeffieients ..............................46
+ 4.2.7.6. Long-Term Prediction (LTP) Parameters .....74
+ 4.2.7.7. Linear Congruential Generator (LCG) Seed ..86
+ 4.2.7.8. Excitation ................................86
+ 4.2.7.9. SILK Frame Reconstruction .................98
+ 4.2.8. Stereo Unmixing ...................................102
+ 4.2.9. Resampling ........................................103
+ 4.3. CELT Decoder .............................................104
+ 4.3.1. Transient Decoding ................................108
+ 4.3.2. Energy Envelope Decoding ..........................108
+ 4.3.3. Bit Allocation ....................................110
+ 4.3.4. Shape Decoding ....................................116
+ 4.3.5. Anti-collapse Processing ..........................120
+ 4.3.6. Denormalization ...................................121
+ 4.3.7. Inverse MDCT ......................................121
+ 4.4. Packet Loss Concealment (PLC) ............................122
+ 4.4.1. Clock Drift Compensation ..........................122
+ 4.5. Configuration Switching ..................................123
+ 4.5.1. Transition Side Information (Redundancy) ..........124
+ 4.5.2. State Reset .......................................127
+ 4.5.3. Summary of Transitions ............................128
+ 5. Opus Encoder ..................................................131
+ 5.1. Range Encoder ............................................132
+
+
+
+Valin, et al. Standards Track [Page 3]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ 5.1.1. Encoding Symbols ..................................133
+ 5.1.2. Alternate Encoding Methods ........................134
+ 5.1.3. Encoding Raw Bits .................................135
+ 5.1.4. Encoding Uniformly Distributed Integers ...........135
+ 5.1.5. Finalizing the Stream .............................135
+ 5.1.6. Current Bit Usage .................................136
+ 5.2. SILK Encoder .............................................136
+ 5.2.1. Sample Rate Conversion ............................137
+ 5.2.2. Stereo Mixing .....................................137
+ 5.2.3. SILK Core Encoder .................................138
+ 5.3. CELT Encoder .............................................150
+ 5.3.1. Pitch Pre-filter ..................................150
+ 5.3.2. Bands and Normalization ...........................151
+ 5.3.3. Energy Envelope Quantization ......................151
+ 5.3.4. Bit Allocation ....................................151
+ 5.3.5. Stereo Decisions ..................................152
+ 5.3.6. Time-Frequency Decision ...........................153
+ 5.3.7. Spreading Values Decision .........................153
+ 5.3.8. Spherical Vector Quantization .....................154
+ 6. Conformance ...................................................155
+ 6.1. Testing ..................................................155
+ 6.2. Opus Custom ..............................................156
+ 7. Security Considerations .......................................157
+ 8. Acknowledgements ..............................................158
+ 9. References ....................................................159
+ 9.1. Normative References .....................................159
+ 9.2. Informative References ...................................159
+ Appendix A. Reference Implementation .............................163
+ A.1. Extracting the Source ....................................164
+ A.2. Up-to-Date Implementation ................................164
+ A.3. Base64-Encoded Source Code ...............................164
+ A.4. Test Vectors .............................................321
+ Appendix B. Self-Delimiting Framing ..............................321
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+Valin, et al. Standards Track [Page 4]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+1. Introduction
+
+ The Opus codec is a real-time interactive audio codec designed to
+ meet the requirements described in [REQUIREMENTS]. It is composed of
+ a layer based on Linear Prediction (LP) [LPC] and a layer based on
+ the Modified Discrete Cosine Transform (MDCT) [MDCT]. The main idea
+ behind using two layers is as follows: in speech, linear prediction
+ techniques (such as Code-Excited Linear Prediction, or CELP) code low
+ frequencies more efficiently than transform (e.g., MDCT) domain
+ techniques, while the situation is reversed for music and higher
+ speech frequencies. Thus, a codec with both layers available can
+ operate over a wider range than either one alone and can achieve
+ better quality by combining them than by using either one
+ individually.
+
+ The primary normative part of this specification is provided by the
+ source code in Appendix A. Only the decoder portion of this software
+ is normative, though a significant amount of code is shared by both
+ the encoder and decoder. Section 6 provides a decoder conformance
+ test. The decoder contains a great deal of integer and fixed-point
+ arithmetic that needs to be performed exactly, including all rounding
+ considerations, so any useful specification requires domain-specific
+ symbolic language to adequately define these operations.
+ Additionally, any conflict between the symbolic representation and
+ the included reference implementation must be resolved. For the
+ practical reasons of compatibility and testability, it would be
+ advantageous to give the reference implementation priority in any
+ disagreement. The C language is also one of the most widely
+ understood, human-readable symbolic representations for machine
+ behavior. For these reasons, this RFC uses the reference
+ implementation as the sole symbolic representation of the codec.
+
+ While the symbolic representation is unambiguous and complete, it is
+ not always the easiest way to understand the codec's operation. For
+ this reason, this document also describes significant parts of the
+ codec in prose and takes the opportunity to explain the rationale
+ behind many of the more surprising elements of the design. These
+ descriptions are intended to be accurate and informative, but the
+ limitations of common English sometimes result in ambiguity, so it is
+ expected that the reader will always read them alongside the symbolic
+ representation. Numerous references to the implementation are
+ provided for this purpose. The descriptions sometimes differ from
+ the reference in ordering or through mathematical simplification
+ wherever such deviation makes an explanation easier to understand.
+ For example, the right shift and left shift operations in the
+ reference implementation are often described using division and
+
+
+
+
+
+Valin, et al. Standards Track [Page 5]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ multiplication in the text. In general, the text is focused on the
+ "what" and "why" while the symbolic representation most clearly
+ provides the "how".
+
+1.1. Notation and Conventions
+
+ The key words "MUST", "MUST NOT", "REQUIRED", "SHALL", "SHALL NOT",
+ "SHOULD", "SHOULD NOT", "RECOMMENDED", "MAY", and "OPTIONAL" in this
+ document are to be interpreted as described in RFC 2119 [RFC2119].
+
+ Various operations in the codec require bit-exact fixed-point
+ behavior, even when writing a floating point implementation. The
+ notation "Q<n>", where n is an integer, denotes the number of binary
+ digits to the right of the decimal point in a fixed-point number.
+ For example, a signed Q14 value in a 16-bit word can represent values
+ from -2.0 to 1.99993896484375, inclusive. This notation is for
+ informational purposes only. Arithmetic, when described, always
+ operates on the underlying integer. For example, the text will
+ explicitly indicate any shifts required after a multiplication.
+
+ Expressions, where included in the text, follow C operator rules and
+ precedence, with the exception that the syntax "x**y" indicates x
+ raised to the power y. The text also makes use of the following
+ functions.
+
+1.1.1. min(x,y)
+
+ The smallest of two values x and y.
+
+1.1.2. max(x,y)
+
+ The largest of two values x and y.
+
+1.1.3. clamp(lo,x,hi)
+
+ clamp(lo,x,hi) = max(lo,min(x,hi))
+
+ With this definition, if lo > hi, then lo is returned.
+
+1.1.4. sign(x)
+
+ The sign of x, i.e.,
+
+ ( -1, x < 0
+ sign(x) = < 0, x == 0
+ ( 1, x > 0
+
+
+
+
+
+Valin, et al. Standards Track [Page 6]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+1.1.5. abs(x)
+
+ The absolute value of x, i.e.,
+
+ abs(x) = sign(x)*x
+
+1.1.6. floor(f)
+
+ The largest integer z such that z <= f.
+
+1.1.7. ceil(f)
+
+ The smallest integer z such that z >= f.
+
+1.1.8. round(f)
+
+ The integer z nearest to f, with ties rounded towards negative
+ infinity, i.e.,
+
+ round(f) = ceil(f - 0.5)
+
+1.1.9. log2(f)
+
+ The base-two logarithm of f.
+
+1.1.10. ilog(n)
+
+ The minimum number of bits required to store a positive integer n in
+ binary, or 0 for a non-positive integer n.
+
+ ( 0, n <= 0
+ ilog(n) = <
+ ( floor(log2(n))+1, n > 0
+
+ Examples:
+
+ o ilog(-1) = 0
+
+ o ilog(0) = 0
+
+ o ilog(1) = 1
+
+ o ilog(2) = 2
+
+ o ilog(3) = 2
+
+ o ilog(4) = 3
+
+
+
+
+Valin, et al. Standards Track [Page 7]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ o ilog(7) = 3
+
+2. Opus Codec Overview
+
+ The Opus codec scales from 6 kbit/s narrowband mono speech to
+ 510 kbit/s fullband stereo music, with algorithmic delays ranging
+ from 5 ms to 65.2 ms. At any given time, either the LP layer, the
+ MDCT layer, or both, may be active. It can seamlessly switch between
+ all of its various operating modes, giving it a great deal of
+ flexibility to adapt to varying content and network conditions
+ without renegotiating the current session. The codec allows input
+ and output of various audio bandwidths, defined as follows:
+
+ +----------------------+-----------------+-------------------------+
+ | Abbreviation | Audio Bandwidth | Sample Rate (Effective) |
+ +----------------------+-----------------+-------------------------+
+ | NB (narrowband) | 4 kHz | 8 kHz |
+ | | | |
+ | MB (medium-band) | 6 kHz | 12 kHz |
+ | | | |
+ | WB (wideband) | 8 kHz | 16 kHz |
+ | | | |
+ | SWB (super-wideband) | 12 kHz | 24 kHz |
+ | | | |
+ | FB (fullband) | 20 kHz (*) | 48 kHz |
+ +----------------------+-----------------+-------------------------+
+
+ Table 1
+
+ (*) Although the sampling theorem allows a bandwidth as large as half
+ the sampling rate, Opus never codes audio above 20 kHz, as that is
+ the generally accepted upper limit of human hearing.
+
+ Opus defines super-wideband (SWB) with an effective sample rate of
+ 24 kHz, unlike some other audio coding standards that use 32 kHz.
+ This was chosen for a number of reasons. The band layout in the MDCT
+ layer naturally allows skipping coefficients for frequencies over
+ 12 kHz, but does not allow cleanly dropping just those frequencies
+ over 16 kHz. A sample rate of 24 kHz also makes resampling in the
+ MDCT layer easier, as 24 evenly divides 48, and when 24 kHz is
+ sufficient, it can save computation in other processing, such as
+ Acoustic Echo Cancellation (AEC). Experimental changes to the band
+ layout to allow a 16 kHz cutoff (32 kHz effective sample rate) showed
+ potential quality degradations at other sample rates, and, at typical
+ bitrates, the number of bits saved by using such a cutoff instead of
+ coding in fullband (FB) mode is very small. Therefore, if an
+ application wishes to process a signal sampled at 32 kHz, it should
+ just use FB.
+
+
+
+Valin, et al. Standards Track [Page 8]
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+RFC 6716 Interactive Audio Codec September 2012
+
+
+ The LP layer is based on the SILK codec [SILK]. It supports NB, MB,
+ or WB audio and frame sizes from 10 ms to 60 ms, and requires an
+ additional 5 ms look-ahead for noise shaping estimation. A small
+ additional delay (up to 1.5 ms) may be required for sampling rate
+ conversion. Like Vorbis [VORBIS-WEBSITE] and many other modern
+ codecs, SILK is inherently designed for variable bitrate (VBR)
+ coding, though the encoder can also produce constant bitrate (CBR)
+ streams. The version of SILK used in Opus is substantially modified
+ from, and not compatible with, the stand-alone SILK codec previously
+ deployed by Skype. This document does not serve to define that
+ format, but those interested in the original SILK codec should see
+ [SILK] instead.
+
+ The MDCT layer is based on the Constrained-Energy Lapped Transform
+ (CELT) codec [CELT]. It supports NB, WB, SWB, or FB audio and frame
+ sizes from 2.5 ms to 20 ms, and requires an additional 2.5 ms look-
+ ahead due to the overlapping MDCT windows. The CELT codec is
+ inherently designed for CBR coding, but unlike many CBR codecs, it is
+ not limited to a set of predetermined rates. It internally allocates
+ bits to exactly fill any given target budget, and an encoder can
+ produce a VBR stream by varying the target on a per-frame basis. The
+ MDCT layer is not used for speech when the audio bandwidth is WB or
+ less, as it is not useful there. On the other hand, non-speech
+ signals are not always adequately coded using linear prediction.
+ Therefore, the MDCT layer should be used for music signals.
+
+ A "Hybrid" mode allows the use of both layers simultaneously with a
+ frame size of 10 or 20 ms and an SWB or FB audio bandwidth. The LP
+ layer codes the low frequencies by resampling the signal down to WB.
+ The MDCT layer follows, coding the high frequency portion of the
+ signal. The cutoff between the two lies at 8 kHz, the maximum WB
+ audio bandwidth. In the MDCT layer, all bands below 8 kHz are
+ discarded, so there is no coding redundancy between the two layers.
+
+ The sample rate (in contrast to the actual audio bandwidth) can be
+ chosen independently on the encoder and decoder side, e.g., a
+ fullband signal can be decoded as wideband, or vice versa. This
+ approach ensures a sender and receiver can always interoperate,
+ regardless of the capabilities of their actual audio hardware.
+ Internally, the LP layer always operates at a sample rate of twice
+ the audio bandwidth, up to a maximum of 16 kHz, which it continues to
+ use for SWB and FB. The decoder simply resamples its output to
+ support different sample rates. The MDCT layer always operates
+ internally at a sample rate of 48 kHz. Since all the supported
+ sample rates evenly divide this rate, and since the decoder may
+ easily zero out the high frequency portion of the spectrum in the
+ frequency domain, it can simply decimate the MDCT layer output to
+ achieve the other supported sample rates very cheaply.
+
+
+
+Valin, et al. Standards Track [Page 9]
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+RFC 6716 Interactive Audio Codec September 2012
+
+
+ After conversion to the common, desired output sample rate, the
+ decoder simply adds the output from the two layers together. To
+ compensate for the different look-ahead required by each layer, the
+ CELT encoder input is delayed by an additional 2.7 ms. This ensures
+ that low frequencies and high frequencies arrive at the same time.
+ This extra delay may be reduced by an encoder by using less look-
+ ahead for noise shaping or using a simpler resampler in the LP layer,
+ but this will reduce quality. However, the base 2.5 ms look-ahead in
+ the CELT layer cannot be reduced in the encoder because it is needed
+ for the MDCT overlap, whose size is fixed by the decoder.
+
+ Both layers use the same entropy coder, avoiding any waste from
+ "padding bits" between them. The hybrid approach makes it easy to
+ support both CBR and VBR coding. Although the LP layer is VBR, the
+ bit allocation of the MDCT layer can produce a final stream that is
+ CBR by using all the bits left unused by the LP layer.
+
+2.1. Control Parameters
+
+ The Opus codec includes a number of control parameters that can be
+ changed dynamically during regular operation of the codec, without
+ interrupting the audio stream from the encoder to the decoder. These
+ parameters only affect the encoder since any impact they have on the
+ bitstream is signaled in-band such that a decoder can decode any Opus
+ stream without any out-of-band signaling. Any Opus implementation
+ can add or modify these control parameters without affecting
+ interoperability. The most important encoder control parameters in
+ the reference encoder are listed below.
+
+2.1.1. Bitrate
+
+ Opus supports all bitrates from 6 kbit/s to 510 kbit/s. All other
+ parameters being equal, higher bitrate results in higher quality.
+ For a frame size of 20 ms, these are the bitrate "sweet spots" for
+ Opus in various configurations:
+
+ o 8-12 kbit/s for NB speech,
+
+ o 16-20 kbit/s for WB speech,
+
+ o 28-40 kbit/s for FB speech,
+
+ o 48-64 kbit/s for FB mono music, and
+
+ o 64-128 kbit/s for FB stereo music.
+
+
+
+
+
+
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+RFC 6716 Interactive Audio Codec September 2012
+
+
+2.1.2. Number of Channels (Mono/Stereo)
+
+ Opus can transmit either mono or stereo frames within a single
+ stream. When decoding a mono frame in a stereo decoder, the left and
+ right channels are identical, and when decoding a stereo frame in a
+ mono decoder, the mono output is the average of the left and right
+ channels. In some cases, it is desirable to encode a stereo input
+ stream in mono (e.g., because the bitrate is too low to encode stereo
+ with sufficient quality). The number of channels encoded can be
+ selected in real-time, but by default the reference encoder attempts
+ to make the best decision possible given the current bitrate.
+
+2.1.3. Audio Bandwidth
+
+ The audio bandwidths supported by Opus are listed in Table 1. Just
+ like for the number of channels, any decoder can decode audio that is
+ encoded at any bandwidth. For example, any Opus decoder operating at
+ 8 kHz can decode an FB Opus frame, and any Opus decoder operating at
+ 48 kHz can decode an NB frame. Similarly, the reference encoder can
+ take a 48 kHz input signal and encode it as NB. The higher the audio
+ bandwidth, the higher the required bitrate to achieve acceptable
+ quality. The audio bandwidth can be explicitly specified in real-
+ time, but, by default, the reference encoder attempts to make the
+ best bandwidth decision possible given the current bitrate.
+
+2.1.4. Frame Duration
+
+ Opus can encode frames of 2.5, 5, 10, 20, 40, or 60 ms. It can also
+ combine multiple frames into packets of up to 120 ms. For real-time
+ applications, sending fewer packets per second reduces the bitrate,
+ since it reduces the overhead from IP, UDP, and RTP headers.
+ However, it increases latency and sensitivity to packet losses, as
+ losing one packet constitutes a loss of a bigger chunk of audio.
+ Increasing the frame duration also slightly improves coding
+ efficiency, but the gain becomes small for frame sizes above 20 ms.
+ For this reason, 20 ms frames are a good choice for most
+ applications.
+
+2.1.5. Complexity
+
+ There are various aspects of the Opus encoding process where trade-
+ offs can be made between CPU complexity and quality/bitrate. In the
+ reference encoder, the complexity is selected using an integer from 0
+ to 10, where 0 is the lowest complexity and 10 is the highest.
+ Examples of computations for which such trade-offs may occur are:
+
+ o The order of the pitch analysis whitening filter [WHITENING],
+
+
+
+
+Valin, et al. Standards Track [Page 11]
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+RFC 6716 Interactive Audio Codec September 2012
+
+
+ o The order of the short-term noise shaping filter,
+
+ o The number of states in delayed decision quantization of the
+ residual signal, and
+
+ o The use of certain bitstream features such as variable time-
+ frequency resolution and the pitch post-filter.
+
+2.1.6. Packet Loss Resilience
+
+ Audio codecs often exploit inter-frame correlations to reduce the
+ bitrate at a cost in error propagation: after losing one packet,
+ several packets need to be received before the decoder is able to
+ accurately reconstruct the speech signal. The extent to which Opus
+ exploits inter-frame dependencies can be adjusted on the fly to
+ choose a trade-off between bitrate and amount of error propagation.
+
+2.1.7. Forward Error Correction (FEC)
+
+ Another mechanism providing robustness against packet loss is the in-
+ band Forward Error Correction (FEC). Packets that are determined to
+ contain perceptually important speech information, such as onsets or
+ transients, are encoded again at a lower bitrate and this re-encoded
+ information is added to a subsequent packet.
+
+2.1.8. Constant/Variable Bitrate
+
+ Opus is more efficient when operating with variable bitrate (VBR),
+ which is the default. When low-latency transmission is required over
+ a relatively slow connection, then constrained VBR can also be used.
+ This uses VBR in a way that simulates a "bit reservoir" and is
+ equivalent to what MP3 (MPEG 1, Layer 3) and AAC (Advanced Audio
+ Coding) call CBR (i.e., not true CBR due to the bit reservoir). In
+ some (rare) applications, constant bitrate (CBR) is required. There
+ are two main reasons to operate in CBR mode:
+
+ o When the transport only supports a fixed size for each compressed
+ frame, or
+
+ o When encryption is used for an audio stream that is either highly
+ constrained (e.g., yes/no, recorded prompts) or highly sensitive
+ [SRTP-VBR].
+
+ Bitrate may still be allowed to vary, even with sensitive data, as
+ long as the variation is not driven by the input signal (for example,
+ to match changing network conditions). To achieve this, an
+ application should still run Opus in CBR mode, but change the target
+ rate before each packet.
+
+
+
+Valin, et al. Standards Track [Page 12]
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+RFC 6716 Interactive Audio Codec September 2012
+
+
+2.1.9. Discontinuous Transmission (DTX)
+
+ Discontinuous Transmission (DTX) reduces the bitrate during silence
+ or background noise. When DTX is enabled, only one frame is encoded
+ every 400 milliseconds.
+
+3. Internal Framing
+
+ The Opus encoder produces "packets", which are each a contiguous set
+ of bytes meant to be transmitted as a single unit. The packets
+ described here do not include such things as IP, UDP, or RTP headers,
+ which are normally found in a transport-layer packet. A single
+ packet may contain multiple audio frames, so long as they share a
+ common set of parameters, including the operating mode, audio
+ bandwidth, frame size, and channel count (mono vs. stereo). This
+ section describes the possible combinations of these parameters and
+ the internal framing used to pack multiple frames into a single
+ packet. This framing is not self-delimiting. Instead, it assumes
+ that a lower layer (such as UDP or RTP [RFC3550] or Ogg [RFC3533] or
+ Matroska [MATROSKA-WEBSITE]) will communicate the length, in bytes,
+ of the packet, and it uses this information to reduce the framing
+ overhead in the packet itself. A decoder implementation MUST support
+ the framing described in this section. An alternative, self-
+ delimiting variant of the framing is described in Appendix B.
+ Support for that variant is OPTIONAL.
+
+ All bit diagrams in this document number the bits so that bit 0 is
+ the most significant bit of the first byte, and bit 7 is the least
+ significant. Bit 8 is thus the most significant bit of the second
+ byte, etc. Well-formed Opus packets obey certain requirements,
+ marked [R1] through [R7] below. These are summarized in Section 3.4
+ along with appropriate means of handling malformed packets.
+
+3.1. The TOC Byte
+
+ A well-formed Opus packet MUST contain at least one byte [R1]. This
+ byte forms a table-of-contents (TOC) header that signals which of the
+ various modes and configurations a given packet uses. It is composed
+ of a configuration number, "config", a stereo flag, "s", and a frame
+ count code, "c", arranged as illustrated in Figure 1. A description
+ of each of these fields follows.
+
+
+
+
+
+
+
+
+
+
+Valin, et al. Standards Track [Page 13]
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+RFC 6716 Interactive Audio Codec September 2012
+
+
+ 0
+ 0 1 2 3 4 5 6 7
+ +-+-+-+-+-+-+-+-+
+ | config |s| c |
+ +-+-+-+-+-+-+-+-+
+
+ Figure 1: The TOC Byte
+
+ The top five bits of the TOC byte, labeled "config", encode one of 32
+ possible configurations of operating mode, audio bandwidth, and frame
+ size. As described, the LP (SILK) layer and MDCT (CELT) layer can be
+ combined in three possible operating modes:
+
+ 1. A SILK-only mode for use in low bitrate connections with an audio
+ bandwidth of WB or less,
+
+ 2. A Hybrid (SILK+CELT) mode for SWB or FB speech at medium
+ bitrates, and
+
+ 3. A CELT-only mode for very low delay speech transmission as well
+ as music transmission (NB to FB).
+
+ The 32 possible configurations each identify which one of these
+ operating modes the packet uses, as well as the audio bandwidth and
+ the frame size. Table 2 lists the parameters for each configuration.
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+Valin, et al. Standards Track [Page 14]
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+RFC 6716 Interactive Audio Codec September 2012
+
+
+ +-----------------------+-----------+-----------+-------------------+
+ | Configuration | Mode | Bandwidth | Frame Sizes |
+ | Number(s) | | | |
+ +-----------------------+-----------+-----------+-------------------+
+ | 0...3 | SILK-only | NB | 10, 20, 40, 60 ms |
+ | | | | |
+ | 4...7 | SILK-only | MB | 10, 20, 40, 60 ms |
+ | | | | |
+ | 8...11 | SILK-only | WB | 10, 20, 40, 60 ms |
+ | | | | |
+ | 12...13 | Hybrid | SWB | 10, 20 ms |
+ | | | | |
+ | 14...15 | Hybrid | FB | 10, 20 ms |
+ | | | | |
+ | 16...19 | CELT-only | NB | 2.5, 5, 10, 20 ms |
+ | | | | |
+ | 20...23 | CELT-only | WB | 2.5, 5, 10, 20 ms |
+ | | | | |
+ | 24...27 | CELT-only | SWB | 2.5, 5, 10, 20 ms |
+ | | | | |
+ | 28...31 | CELT-only | FB | 2.5, 5, 10, 20 ms |
+ +-----------------------+-----------+-----------+-------------------+
+
+ Table 2: TOC Byte Configuration Parameters
+
+ The configuration numbers in each range (e.g., 0...3 for NB SILK-
+ only) correspond to the various choices of frame size, in the same
+ order. For example, configuration 0 has a 10 ms frame size and
+ configuration 3 has a 60 ms frame size.
+
+ One additional bit, labeled "s", signals mono vs. stereo, with 0
+ indicating mono and 1 indicating stereo.
+
+ The remaining two bits of the TOC byte, labeled "c", code the number
+ of frames per packet (codes 0 to 3) as follows:
+
+ o 0: 1 frame in the packet
+
+ o 1: 2 frames in the packet, each with equal compressed size
+
+ o 2: 2 frames in the packet, with different compressed sizes
+
+ o 3: an arbitrary number of frames in the packet
+
+ This document refers to a packet as a code 0 packet, code 1 packet,
+ etc., based on the value of "c".
+
+
+
+
+
+Valin, et al. Standards Track [Page 15]
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+RFC 6716 Interactive Audio Codec September 2012
+
+
+3.2. Frame Packing
+
+ This section describes how frames are packed according to each
+ possible value of "c" in the TOC byte.
+
+3.2.1. Frame Length Coding
+
+ When a packet contains multiple VBR frames (i.e., code 2 or 3), the
+ compressed length of one or more of these frames is indicated with a
+ one- or two-byte sequence, with the meaning of the first byte as
+ follows:
+
+ o 0: No frame (Discontinuous Transmission (DTX) or lost packet)
+
+ o 1...251: Length of the frame in bytes
+
+ o 252...255: A second byte is needed. The total length is
+ (second_byte*4)+first_byte
+
+ The special length 0 indicates that no frame is available, either
+ because it was dropped during transmission by some intermediary or
+ because the encoder chose not to transmit it. Any Opus frame in any
+ mode MAY have a length of 0.
+
+ The maximum representable length is 255*4+255=1275 bytes. For 20 ms
+ frames, this represents a bitrate of 510 kbit/s, which is
+ approximately the highest useful rate for lossily compressed fullband
+ stereo music. Beyond this point, lossless codecs are more
+ appropriate. It is also roughly the maximum useful rate of the MDCT
+ layer as, shortly thereafter, quality no longer improves with
+ additional bits due to limitations on the codebook sizes.
+
+ No length is transmitted for the last frame in a VBR packet, or for
+ any of the frames in a CBR packet, as it can be inferred from the
+ total size of the packet and the size of all other data in the
+ packet. However, the length of any individual frame MUST NOT exceed
+ 1275 bytes [R2] to allow for repacketization by gateways, conference
+ bridges, or other software.
+
+3.2.2. Code 0: One Frame in the Packet
+
+ For code 0 packets, the TOC byte is immediately followed by N-1 bytes
+ of compressed data for a single frame (where N is the size of the
+ packet), as illustrated in Figure 2.
+
+
+
+
+
+
+
+Valin, et al. Standards Track [Page 16]
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+RFC 6716 Interactive Audio Codec September 2012
+
+
+ 0 1 2 3
+ 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1
+ +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
+ | config |s|0|0| |
+ +-+-+-+-+-+-+-+-+ |
+ | Compressed frame 1 (N-1 bytes)... :
+ : |
+ | |
+ +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
+
+ Figure 2: A Code 0 Packet
+
+3.2.3. Code 1: Two Frames in the Packet, Each with Equal Compressed
+ Size
+
+ For code 1 packets, the TOC byte is immediately followed by the
+ (N-1)/2 bytes of compressed data for the first frame, followed by
+ (N-1)/2 bytes of compressed data for the second frame, as illustrated
+ in Figure 3. The number of payload bytes available for compressed
+ data, N-1, MUST be even for all code 1 packets [R3].
+
+ 0 1 2 3
+ 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1
+ +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
+ | config |s|0|1| |
+ +-+-+-+-+-+-+-+-+ :
+ | Compressed frame 1 ((N-1)/2 bytes)... |
+ : +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
+ | | |
+ +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+ :
+ | Compressed frame 2 ((N-1)/2 bytes)... |
+ : +-+-+-+-+-+-+-+-+
+ | |
+ +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
+
+ Figure 3: A Code 1 Packet
+
+3.2.4. Code 2: Two Frames in the Packet, with Different Compressed
+ Sizes
+
+ For code 2 packets, the TOC byte is followed by a one- or two-byte
+ sequence indicating the length of the first frame (marked N1 in
+ Figure 4), followed by N1 bytes of compressed data for the first
+ frame. The remaining N-N1-2 or N-N1-3 bytes are the compressed data
+ for the second frame. This is illustrated in Figure 4. A code 2
+ packet MUST contain enough bytes to represent a valid length. For
+ example, a 1-byte code 2 packet is always invalid, and a 2-byte code
+ 2 packet whose second byte is in the range 252...255 is also invalid.
+
+
+
+Valin, et al. Standards Track [Page 17]
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+RFC 6716 Interactive Audio Codec September 2012
+
+
+ The length of the first frame, N1, MUST also be no larger than the
+ size of the payload remaining after decoding that length for all code
+ 2 packets [R4]. This makes, for example, a 2-byte code 2 packet with
+ a second byte in the range 1...251 invalid as well (the only valid
+ 2-byte code 2 packet is one where the length of both frames is zero).
+
+ 0 1 2 3
+ 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1
+ +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
+ | config |s|1|0| N1 (1-2 bytes): |
+ +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+ :
+ | Compressed frame 1 (N1 bytes)... |
+ : +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
+ | | |
+ +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+ |
+ | Compressed frame 2... :
+ : |
+ | |
+ +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
+
+ Figure 4: A Code 2 Packet
+
+3.2.5. Code 3: A Signaled Number of Frames in the Packet
+
+ Code 3 packets signal the number of frames, as well as additional
+ padding, called "Opus padding" to indicate that this padding is added
+ at the Opus layer rather than at the transport layer. Code 3 packets
+ MUST have at least 2 bytes [R6,R7]. The TOC byte is followed by a
+ byte encoding the number of frames in the packet in bits 2 to 7
+ (marked "M" in Figure 5), with bit 1 indicating whether or not Opus
+ padding is inserted (marked "p" in Figure 5), and bit 0 indicating
+ VBR (marked "v" in Figure 5). M MUST NOT be zero, and the audio
+ duration contained within a packet MUST NOT exceed 120 ms [R5]. This
+ limits the maximum frame count for any frame size to 48 (for 2.5 ms
+ frames), with lower limits for longer frame sizes. Figure 5
+ illustrates the layout of the frame count byte.
+
+ 0
+ 0 1 2 3 4 5 6 7
+ +-+-+-+-+-+-+-+-+
+ |v|p| M |
+ +-+-+-+-+-+-+-+-+
+
+ Figure 5: The frame count byte
+
+ When Opus padding is used, the number of bytes of padding is encoded
+ in the bytes following the frame count byte. Values from 0...254
+ indicate that 0...254 bytes of padding are included, in addition to
+
+
+
+Valin, et al. Standards Track [Page 18]
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+RFC 6716 Interactive Audio Codec September 2012
+
+
+ the byte(s) used to indicate the size of the padding. If the value
+ is 255, then the size of the additional padding is 254 bytes, plus
+ the padding value encoded in the next byte. There MUST be at least
+ one more byte in the packet in this case [R6,R7]. The additional
+ padding bytes appear at the end of the packet and MUST be set to zero
+ by the encoder to avoid creating a covert channel. The decoder MUST
+ accept any value for the padding bytes, however.
+
+ Although this encoding provides multiple ways to indicate a given
+ number of padding bytes, each uses a different number of bytes to
+ indicate the padding size and thus will increase the total packet
+ size by a different amount. For example, to add 255 bytes to a
+ packet, set the padding bit, p, to 1, insert a single byte after the
+ frame count byte with a value of 254, and append 254 padding bytes
+ with the value zero to the end of the packet. To add 256 bytes to a
+ packet, set the padding bit to 1, insert two bytes after the frame
+ count byte with the values 255 and 0, respectively, and append 254
+ padding bytes with the value zero to the end of the packet. By using
+ the value 255 multiple times, it is possible to create a packet of
+ any specific, desired size. Let P be the number of header bytes used
+ to indicate the padding size plus the number of padding bytes
+ themselves (i.e., P is the total number of bytes added to the
+ packet). Then, P MUST be no more than N-2 [R6,R7].
+
+ In the CBR case, let R=N-2-P be the number of bytes remaining in the
+ packet after subtracting the (optional) padding. Then, the
+ compressed length of each frame in bytes is equal to R/M. The value
+ R MUST be a non-negative integer multiple of M [R6]. The compressed
+ data for all M frames follows, each of size R/M bytes, as illustrated
+ in Figure 6.
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
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+Valin, et al. Standards Track [Page 19]
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+RFC 6716 Interactive Audio Codec September 2012
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+
+ 0 1 2 3
+ 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1
+ +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
+ | config |s|1|1|0|p| M | Padding length (Optional) :
+ +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
+ | |
+ : Compressed frame 1 (R/M bytes)... :
+ | |
+ +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
+ | |
+ : Compressed frame 2 (R/M bytes)... :
+ | |
+ +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
+ | |
+ : ... :
+ | |
+ +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
+ | |
+ : Compressed frame M (R/M bytes)... :
+ | |
+ +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
+ : Opus Padding (Optional)... |
+ +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
+
+ Figure 6: A CBR Code 3 Packet
+
+ In the VBR case, the (optional) padding length is followed by M-1
+ frame lengths (indicated by "N1" to "N[M-1]" in Figure 7), each
+ encoded in a one- or two-byte sequence as described above. The
+ packet MUST contain enough data for the M-1 lengths after removing
+ the (optional) padding, and the sum of these lengths MUST be no
+ larger than the number of bytes remaining in the packet after
+ decoding them [R7]. The compressed data for all M frames follows,
+ each frame consisting of the indicated number of bytes, with the
+ final frame consuming any remaining bytes before the final padding,
+ as illustrated in Figure 6. The number of header bytes (TOC byte,
+ frame count byte, padding length bytes, and frame length bytes), plus
+ the signaled length of the first M-1 frames themselves, plus the
+ signaled length of the padding MUST be no larger than N, the total
+ size of the packet.
+
+
+
+
+
+
+
+
+
+
+
+Valin, et al. Standards Track [Page 20]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ 0 1 2 3
+ 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1
+ +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
+ | config |s|1|1|1|p| M | Padding length (Optional) :
+ +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
+ : N1 (1-2 bytes): N2 (1-2 bytes): ... : N[M-1] |
+ +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
+ | |
+ : Compressed frame 1 (N1 bytes)... :
+ | |
+ +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
+ | |
+ : Compressed frame 2 (N2 bytes)... :
+ | |
+ +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
+ | |
+ : ... :
+ | |
+ +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
+ | |
+ : Compressed frame M... :
+ | |
+ +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
+ : Opus Padding (Optional)... |
+ +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
+
+ Figure 7: A VBR Code 3 Packet
+
+3.3. Examples
+
+ Simplest case, one NB mono 20 ms SILK frame:
+
+ 0 1 2 3
+ 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1
+ +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
+ | 1 |0|0|0| compressed data... :
+ +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
+
+ Figure 8
+
+
+
+
+
+
+
+
+
+
+
+
+Valin, et al. Standards Track [Page 21]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ Two FB mono 5 ms CELT frames of the same compressed size:
+
+ 0 1 2 3
+ 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1
+ +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
+ | 29 |0|0|1| compressed data... :
+ +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
+
+ Figure 9
+
+ Two FB mono 20 ms Hybrid frames of different compressed size:
+
+ 0 1 2 3
+ 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1
+ +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
+ | 15 |0|1|1|1|0| 2 | N1 | |
+ +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+ |
+ | compressed data... :
+ +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
+
+ Figure 10
+
+ Four FB stereo 20 ms CELT frames of the same compressed size:
+
+ 0 1 2 3
+ 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1
+ +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
+ | 31 |1|1|1|0|0| 4 | compressed data... :
+ +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
+
+ Figure 11
+
+3.4. Receiving Malformed Packets
+
+ A receiver MUST NOT process packets that violate any of the rules
+ above as normal Opus packets. They are reserved for future
+ applications, such as in-band headers (containing metadata, etc.).
+ Packets that violate these constraints may cause implementations of
+ _this_ specification to treat them as malformed and discard them.
+
+ These constraints are summarized here for reference:
+
+ [R1] Packets are at least one byte.
+
+ [R2] No implicit frame length is larger than 1275 bytes.
+
+ [R3] Code 1 packets have an odd total length, N, so that (N-1)/2 is
+ an integer.
+
+
+
+Valin, et al. Standards Track [Page 22]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ [R4] Code 2 packets have enough bytes after the TOC for a valid
+ frame length, and that length is no larger than the number of
+ bytes remaining in the packet.
+
+ [R5] Code 3 packets contain at least one frame, but no more than
+ 120 ms of audio total.
+
+ [R6] The length of a CBR code 3 packet, N, is at least two bytes,
+ the number of bytes added to indicate the padding size plus the
+ trailing padding bytes themselves, P, is no more than N-2, and
+ the frame count, M, satisfies the constraint that (N-2-P) is a
+ non-negative integer multiple of M.
+
+ [R7] VBR code 3 packets are large enough to contain all the header
+ bytes (TOC byte, frame count byte, any padding length bytes,
+ and any frame length bytes), plus the length of the first M-1
+ frames, plus any trailing padding bytes.
+
+4. Opus Decoder
+
+ The Opus decoder consists of two main blocks: the SILK decoder and
+ the CELT decoder. At any given time, one or both of the SILK and
+ CELT decoders may be active. The output of the Opus decode is the
+ sum of the outputs from the SILK and CELT decoders with proper sample
+ rate conversion and delay compensation on the SILK side, and optional
+ decimation (when decoding to sample rates less than 48 kHz) on the
+ CELT side, as illustrated in the block diagram below.
+
+
+ +---------+ +------------+
+ | SILK | | Sample |
+ +->| Decoder |--->| Rate |----+
+ Bit- +---------+ | | | | Conversion | v
+ stream | Range |---+ +---------+ +------------+ /---\ Audio
+ ------->| Decoder | | + |------>
+ | |---+ +---------+ +------------+ \---/
+ +---------+ | | CELT | | Decimation | ^
+ +->| Decoder |--->| (Optional) |----+
+ | | | |
+ +---------+ +------------+
+
+
+4.1. Range Decoder
+
+ Opus uses an entropy coder based on range coding [RANGE-CODING]
+ [MARTIN79], which is itself a rediscovery of the FIFO arithmetic code
+ introduced by [CODING-THESIS]. It is very similar to arithmetic
+ encoding, except that encoding is done with digits in any base
+
+
+
+Valin, et al. Standards Track [Page 23]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ instead of with bits, so it is faster when using larger bases (i.e.,
+ a byte). All of the calculations in the range coder must use bit-
+ exact integer arithmetic.
+
+ Symbols may also be coded as "raw bits" packed directly into the
+ bitstream, bypassing the range coder. These are packed backwards
+ starting at the end of the frame, as illustrated in Figure 12. This
+ reduces complexity and makes the stream more resilient to bit errors,
+ as corruption in the raw bits will not desynchronize the decoding
+ process, unlike corruption in the input to the range decoder. Raw
+ bits are only used in the CELT layer.
+
+ 0 1 2 3
+ 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1
+ +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
+ | Range coder data (packed MSB to LSB) -> :
+ + +
+ : :
+ + +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
+ : | <- Boundary occurs at an arbitrary bit position :
+ +-+-+-+ +
+ : <- Raw bits data (packed LSB to MSB) |
+ +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
+
+ Legend:
+
+ LSB = Least Significant Bit
+ MSB = Most Significant Bit
+
+ Figure 12: Illustrative Example of Packing Range Coder
+ and Raw Bits Data
+
+ Each symbol coded by the range coder is drawn from a finite alphabet
+ and coded in a separate "context", which describes the size of the
+ alphabet and the relative frequency of each symbol in that alphabet.
+
+ Suppose there is a context with n symbols, identified with an index
+ that ranges from 0 to n-1. The parameters needed to encode or decode
+ symbol k in this context are represented by a three-tuple
+ (fl[k], fh[k], ft), all 16-bit unsigned integers, with
+ 0 <= fl[k] < fh[k] <= ft <= 65535. The values of this tuple are
+ derived from the probability model for the symbol, represented by
+ traditional "frequency counts". Because Opus uses static contexts,
+ those are not updated as symbols are decoded. Let f[i] be the
+ frequency of symbol i. Then, the three-tuple corresponding to symbol
+ k is given by the following:
+
+
+
+
+
+Valin, et al. Standards Track [Page 24]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ k-1 n-1
+ __ __
+ fl[k] = \ f[i], fh[k] = fl[k] + f[k], ft = \ f[i]
+ /_ /_
+ i=0 i=0
+
+ The range decoder extracts the symbols and integers encoded using the
+ range encoder in Section 5.1. The range decoder maintains an
+ internal state vector composed of the two-tuple (val, rng), where val
+ represents the difference between the high end of the current range
+ and the actual coded value, minus one, and rng represents the size of
+ the current range. Both val and rng are 32-bit unsigned integer
+ values.
+
+4.1.1. Range Decoder Initialization
+
+ Let b0 be an 8-bit unsigned integer containing first input byte (or
+ containing zero if there are no bytes in this Opus frame). The
+ decoder initializes rng to 128 and initializes val to (127 -
+ (b0>>1)), where (b0>>1) is the top 7 bits of the first input byte.
+ It saves the remaining bit, (b0&1), for use in the renormalization
+ procedure described in Section 4.1.2.1, which the decoder invokes
+ immediately after initialization to read additional bits and
+ establish the invariant that rng > 2**23.
+
+4.1.2. Decoding Symbols
+
+ Decoding a symbol is a two-step process. The first step determines a
+ 16-bit unsigned value fs, which lies within the range of some symbol
+ in the current context. The second step updates the range decoder
+ state with the three-tuple (fl[k], fh[k], ft) corresponding to that
+ symbol.
+
+ The first step is implemented by ec_decode() (entdec.c), which
+ computes
+
+ val
+ fs = ft - min(------ + 1, ft)
+ rng/ft
+
+ The divisions here are integer division.
+
+ The decoder then identifies the symbol in the current context
+ corresponding to fs; i.e., the value of k whose three-tuple
+ (fl[k], fh[k], ft) satisfies fl[k] <= fs < fh[k]. It uses this tuple
+ to update val according to
+
+
+
+
+
+Valin, et al. Standards Track [Page 25]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ rng
+ val = val - --- * (ft - fh[k])
+ ft
+
+ If fl[k] is greater than zero, then the decoder updates rng using
+
+ rng
+ rng = --- * (fh[k] - fl[k])
+ ft
+
+ Otherwise, it updates rng using
+
+ rng
+ rng = rng - --- * (ft - fh[k])
+ ft
+
+ Using a special case for the first symbol (rather than the last
+ symbol, as is commonly done in other arithmetic coders) ensures that
+ all the truncation error from the finite precision arithmetic
+ accumulates in symbol 0. This makes the cost of coding a 0 slightly
+ smaller, on average, than its estimated probability indicates and
+ makes the cost of coding any other symbol slightly larger. When
+ contexts are designed so that 0 is the most probable symbol, which is
+ often the case, this strategy minimizes the inefficiency introduced
+ by the finite precision. It also makes some of the special-case
+ decoding routines in Section 4.1.3 particularly simple.
+
+ After the updates, implemented by ec_dec_update() (entdec.c), the
+ decoder normalizes the range using the procedure in the next section,
+ and returns the index k.
+
+4.1.2.1. Renormalization
+
+ To normalize the range, the decoder repeats the following process,
+ implemented by ec_dec_normalize() (entdec.c), until rng > 2**23. If
+ rng is already greater than 2**23, the entire process is skipped.
+ First, it sets rng to (rng<<8). Then, it reads the next byte of the
+ Opus frame and forms an 8-bit value sym, using the leftover bit
+ buffered from the previous byte as the high bit and the top 7 bits of
+ the byte just read as the other 7 bits of sym. The remaining bit in
+ the byte just read is buffered for use in the next iteration. If no
+ more input bytes remain, it uses zero bits instead. See
+ Section 4.1.1 for the initialization used to process the first byte.
+ Then, it sets
+
+ val = ((val<<8) + (255-sym)) & 0x7FFFFFFF
+
+
+
+
+
+Valin, et al. Standards Track [Page 26]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ It is normal and expected that the range decoder will read several
+ bytes into the data of the raw bits (if any) at the end of the frame
+ by the time the frame is completely decoded, as illustrated in
+ Figure 13. This same data MUST also be returned as raw bits when
+ requested. The encoder is expected to terminate the stream in such a
+ way that the range decoder will decode the intended values regardless
+ of the data contained in the raw bits. Section 5.1.5 describes a
+ procedure for doing this. If the range decoder consumes all of the
+ bytes belonging to the current frame, it MUST continue to use zero
+ when any further input bytes are required, even if there is
+ additional data in the current packet from padding or other frames.
+
+ n n+1 n+2 n+3
+ 0 1 2 3 4 5 6 7 0 1 2 3 4 5 6 7 0 1 2 3 4 5 6 7 0 1 2 3 4 5 6 7
+ +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
+ : | <----------- Overlap region ------------> | :
+ +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
+ ^ ^
+ | End of data buffered by the range coder |
+ ...-----------------------------------------------+
+ |
+ | End of data consumed by raw bits
+ +-------------------------------------------------------...
+
+ Figure 13: Illustrative Example of Raw Bits Overlapping
+ Range Coder Data
+
+4.1.3. Alternate Decoding Methods
+
+ The reference implementation uses three additional decoding methods
+ that are exactly equivalent to the above but make assumptions and
+ simplifications that allow for a more efficient implementation.
+
+4.1.3.1. ec_decode_bin()
+
+ The first is ec_decode_bin() (entdec.c), defined using the parameter
+ ftb instead of ft. It is mathematically equivalent to calling
+ ec_decode() with ft = (1<<ftb), but it avoids one of the divisions.
+
+4.1.3.2. ec_dec_bit_logp()
+
+ The next is ec_dec_bit_logp() (entdec.c), which decodes a single
+ binary symbol, replacing both the ec_decode() and ec_dec_update()
+ steps. The context is described by a single parameter, logp, which
+ is the absolute value of the base-2 logarithm of the probability of a
+ "1". It is mathematically equivalent to calling ec_decode() with
+ ft = (1<<logp), followed by ec_dec_update() with the 3-tuple
+ (fl[k] = 0, fh[k] = (1<<logp) - 1, ft = (1<<logp)) if the returned
+
+
+
+Valin, et al. Standards Track [Page 27]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ value of fs is less than (1<<logp) - 1 (a "0" was decoded), and with
+ (fl[k] = (1<<logp) - 1, fh[k] = ft = (1<<logp)) otherwise (a "1" was
+ decoded). The implementation requires no multiplications or
+ divisions.
+
+4.1.3.3. ec_dec_icdf()
+
+ The last is ec_dec_icdf() (entdec.c), which decodes a single symbol
+ with a table-based context of up to 8 bits, also replacing both the
+ ec_decode() and ec_dec_update() steps, as well as the search for the
+ decoded symbol in between. The context is described by two
+ parameters, an icdf ("inverse" cumulative distribution function)
+ table and ftb. As with ec_decode_bin(), (1<<ftb) is equivalent to
+ ft. idcf[k], on the other hand, stores (1<<ftb)-fh[k], which is equal
+ to (1<<ftb) - fl[k+1]. fl[0] is assumed to be 0, and the table is
+ terminated by a value of 0 (where fh[k] == ft).
+
+ The function is mathematically equivalent to calling ec_decode() with
+ ft = (1<<ftb), using the returned value fs to search the table for
+ the first entry where fs < (1<<ftb)-icdf[k], and calling
+ ec_dec_update() with fl[k] = (1<<ftb) - icdf[k-1] (or 0 if k == 0),
+ fh[k] = (1<<ftb) - idcf[k], and ft = (1<<ftb). Combining the search
+ with the update allows the division to be replaced by a series of
+ multiplications (which are usually much cheaper), and using an
+ inverse CDF allows the use of an ftb as large as 8 in an 8-bit table
+ without any special cases. This is the primary interface with the
+ range decoder in the SILK layer, though it is used in a few places in
+ the CELT layer as well.
+
+ Although icdf[k] is more convenient for the code, the frequency
+ counts, f[k], are a more natural representation of the probability
+ distribution function (PDF) for a given symbol. Therefore, this
+ document lists the latter, not the former, when describing the
+ context in which a symbol is coded as a list, e.g., {4, 4, 4, 4}/16
+ for a uniform context with four possible values and ft = 16. The
+ value of ft after the slash is always the sum of the entries in the
+ PDF, but is included for convenience. Contexts with identical
+ probabilities, f[k]/ft, but different values of ft (or equivalently,
+ ftb) are not the same, and cannot, in general, be used in place of
+ one another. An icdf table is also not capable of representing a PDF
+ where the first symbol has 0 probability. In such contexts,
+ ec_dec_icdf() can decode the symbol by using a table that drops the
+ entries for any initial zero-probability values and by adding the
+ constant offset of the first value with a non-zero probability to its
+ return value.
+
+
+
+
+
+
+Valin, et al. Standards Track [Page 28]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+4.1.4. Decoding Raw Bits
+
+ The raw bits used by the CELT layer are packed at the end of the
+ frame, with the least significant bit of the first value packed in
+ the least significant bit of the last byte, filling up to the most
+ significant bit in the last byte, continuing on to the least
+ significant bit of the penultimate byte, and so on. The reference
+ implementation reads them using ec_dec_bits() (entdec.c). Because
+ the range decoder must read several bytes ahead in the stream, as
+ described in Section 4.1.2.1, the input consumed by the raw bits may
+ overlap with the input consumed by the range coder, and a decoder
+ MUST allow this. The format should render it impossible to attempt
+ to read more raw bits than there are actual bits in the frame, though
+ a decoder may wish to check for this and report an error.
+
+4.1.5. Decoding Uniformly Distributed Integers
+
+ The function ec_dec_uint() (entdec.c) decodes one of ft equiprobable
+ values in the range 0 to (ft - 1), inclusive, each with a frequency
+ of 1, where ft may be as large as (2**32 - 1). Because ec_decode()
+ is limited to a total frequency of (2**16 - 1), it splits up the
+ value into a range coded symbol representing up to 8 of the high
+ bits, and, if necessary, raw bits representing the remainder of the
+ value. The limit of 8 bits in the range coded symbol is a trade-off
+ between implementation complexity, modeling error (since the symbols
+ no longer truly have equal coding cost), and rounding error
+ introduced by the range coder itself (which gets larger as more bits
+ are included). Using raw bits reduces the maximum number of
+ divisions required in the worst case, but means that it may be
+ possible to decode a value outside the range 0 to (ft - 1),
+ inclusive.
+
+ ec_dec_uint() takes a single, positive parameter, ft, which is not
+ necessarily a power of two, and returns an integer, t, whose value
+ lies between 0 and (ft - 1), inclusive. Let ftb = ilog(ft - 1),
+ i.e., the number of bits required to store (ft - 1) in two's
+ complement notation. If ftb is 8 or less, then t is decoded with
+ t = ec_decode(ft), and the range coder state is updated using the
+ three-tuple (t, t + 1, ft).
+
+ If ftb is greater than 8, then the top 8 bits of t are decoded using
+
+ t = ec_decode(((ft - 1) >> (ftb - 8)) + 1)
+
+ the decoder state is updated using the three-tuple (t, t + 1, ((ft -
+ 1) >> (ftb - 8)) + 1), and the remaining bits are decoded as raw
+ bits, setting
+
+
+
+
+Valin, et al. Standards Track [Page 29]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ t = (t << (ftb - 8)) | ec_dec_bits(ftb - 8)
+
+ If, at this point, t >= ft, then the current frame is corrupt. In
+ that case, the decoder should assume there has been an error in the
+ coding, decoding, or transmission and SHOULD take measures to conceal
+ the error (e.g., saturate to ft-1 or use the Packet Loss Concealment
+ (PLC)) and/or report to the application that the error has occurred.
+
+4.1.6. Current Bit Usage
+
+ The bit allocation routines in the CELT decoder need a conservative
+ upper bound on the number of bits that have been used from the
+ current frame thus far, including both range coder bits and raw bits.
+ This drives allocation decisions that must match those made in the
+ encoder. The upper bound is computed in the reference implementation
+ to whole-bit precision by the function ec_tell() (entcode.h) and to
+ fractional 1/8th bit precision by the function ec_tell_frac()
+ (entcode.c). Like all operations in the range coder, it must be
+ implemented in a bit-exact manner, and it must produce exactly the
+ same value returned by the same functions in the encoder after
+ encoding the same symbols.
+
+ ec_tell() is guaranteed to return ceil(ec_tell_frac()/8.0). In
+ various places, the codec will check to ensure there is enough room
+ to contain a symbol before attempting to decode it. In practice,
+ although the number of bits used so far is an upper bound, decoding a
+ symbol whose probability model suggests it has a worst-case cost of p
+ 1/8th bits may actually advance the return value of ec_tell_frac() by
+ p-1, p, or p+1 1/8th bits, due to approximation error in that upper
+ bound, truncation error in the range coder, and for large values of
+ ft, modeling error in ec_dec_uint().
+
+ However, this error is bounded, and periodic calls to ec_tell() or
+ ec_tell_frac() at precisely defined points in the decoding process
+ prevent it from accumulating. For a range coder symbol that requires
+ a whole number of bits (i.e., for which ft/(fh[k] - fl[k]) is a power
+ of two), where there are at least p 1/8th bits available, decoding
+ the symbol will never cause ec_tell() or ec_tell_frac() to exceed the
+ size of the frame ("bust the budget"). In this case, the return
+ value of ec_tell_frac() will only advance by more than p 1/8th bits
+ if there were an additional, fractional number of bits remaining, and
+ it will never advance beyond the next whole-bit boundary, which is
+ safe, since frames always contain a whole number of bits. However,
+ when p is not a whole number of bits, an extra 1/8th bit is required
+ to ensure that decoding the symbol will not bust the budget.
+
+
+
+
+
+
+Valin, et al. Standards Track [Page 30]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ The reference implementation keeps track of the total number of whole
+ bits that have been processed by the decoder so far in the variable
+ nbits_total, including the (possibly fractional) number of bits that
+ are currently buffered, but not consumed, inside the range coder.
+ nbits_total is initialized to 9 just before the initial range
+ renormalization process completes (or equivalently, it can be
+ initialized to 33 after the first renormalization). The extra two
+ bits over the actual amount buffered by the range coder guarantees
+ that it is an upper bound and that there is enough room for the
+ encoder to terminate the stream. Each iteration through the range
+ coder's renormalization loop increases nbits_total by 8. Reading raw
+ bits increases nbits_total by the number of raw bits read.
+
+4.1.6.1. ec_tell()
+
+ The whole number of bits buffered in rng may be estimated via
+ lg = ilog(rng). ec_tell() then becomes a simple matter of removing
+ these bits from the total. It returns (nbits_total - lg).
+
+ In a newly initialized decoder, before any symbols have been read,
+ this reports that 1 bit has been used. This is the bit reserved for
+ termination of the encoder.
+
+4.1.6.2. ec_tell_frac()
+
+ ec_tell_frac() estimates the number of bits buffered in rng to
+ fractional precision. Since rng must be greater than 2**23 after
+ renormalization, lg must be at least 24. Let
+
+ r_Q15 = rng >> (lg-16)
+
+ so that 32768 <= r_Q15 < 65536, an unsigned Q15 value representing
+ the fractional part of rng. Then, the following procedure can be
+ used to add one bit of precision to lg. First, update
+
+ r_Q15 = (r_Q15*r_Q15) >> 15
+
+ Then, add the 16th bit of r_Q15 to lg via
+
+ lg = 2*lg + (r_Q15 >> 16)
+
+ Finally, if this bit was a 1, reduce r_Q15 by a factor of two via
+
+ r_Q15 = r_Q15 >> 1
+
+ so that it once again lies in the range 32768 <= r_Q15 < 65536. This
+ procedure is repeated three times to extend lg to 1/8th bit
+ precision. ec_tell_frac() then returns (nbits_total*8 - lg).
+
+
+
+Valin, et al. Standards Track [Page 31]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+4.2. SILK Decoder
+
+ The decoder's LP layer uses a modified version of the SILK codec
+ (herein simply called "SILK"), which runs a decoded excitation signal
+ through adaptive long-term and short-term prediction synthesis
+ filters. It runs at NB, MB, and WB sample rates internally. When
+ used in a SWB or FB Hybrid frame, the LP layer itself still only runs
+ in WB.
+
+4.2.1. SILK Decoder Modules
+
+ An overview of the decoder is given in Figure 14.
+
+ +---------+ +------------+
+ -->| Range |--->| Decode |---------------------------+
+ 1 | Decoder | 2 | Parameters |----------+ 5 |
+ +---------+ +------------+ 4 | |
+ 3 | | |
+ \/ \/ \/
+ +------------+ +------------+ +------------+
+ | Generate |-->| LTP |-->| LPC |
+ | Excitation | | Synthesis | | Synthesis |
+ +------------+ +------------+ +------------+
+ ^ |
+ | |
+ +-------------------+----------------+
+ | 6
+ | +------------+ +-------------+
+ +-->| Stereo |-->| Sample Rate |-->
+ | Unmixing | 7 | Conversion | 8
+ +------------+ +-------------+
+
+ 1: Range encoded bitstream
+ 2: Coded parameters
+ 3: Pulses, LSBs, and signs
+ 4: Pitch lags, Long-Term Prediction (LTP) coefficients
+ 5: Linear Predictive Coding (LPC) coefficients and gains
+ 6: Decoded signal (mono or mid-side stereo)
+ 7: Unmixed signal (mono or left-right stereo)
+ 8: Resampled signal
+
+
+ Figure 14: SILK Decoder
+
+
+
+
+
+
+
+
+Valin, et al. Standards Track [Page 32]
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+RFC 6716 Interactive Audio Codec September 2012
+
+
+ The decoder feeds the bitstream (1) to the range decoder from
+ Section 4.1 and then decodes the parameters in it (2) using the
+ procedures detailed in Sections 4.2.3 through 4.2.7.8.5. These
+ parameters (3, 4, 5) are used to generate an excitation signal (see
+ Section 4.2.7.8.6), which is fed to an optional Long-Term Prediction
+ (LTP) filter (voiced frames only, see Section 4.2.7.9.1) and then a
+ short-term prediction filter (see Section 4.2.7.9.2), producing the
+ decoded signal (6). For stereo streams, the mid-side representation
+ is converted to separate left and right channels (7). The result is
+ finally resampled to the desired output sample rate (e.g., 48 kHz) so
+ that the resampled signal (8) can be mixed with the CELT layer.
+
+4.2.2. LP Layer Organization
+
+ Internally, the LP layer of a single Opus frame is composed of either
+ a single 10 ms regular SILK frame or between one and three 20 ms
+ regular SILK frames. A stereo Opus frame may double the number of
+ regular SILK frames (up to a total of six), since it includes
+ separate frames for a mid channel and, optionally, a side channel.
+ Optional Low Bit-Rate Redundancy (LBRR) frames, which are reduced-
+ bitrate encodings of previous SILK frames, may be included to aid in
+ recovery from packet loss. If present, these appear before the
+ regular SILK frames. They are, in most respects, identical to
+ regular, active SILK frames, except that they are usually encoded
+ with a lower bitrate. This document uses "SILK frame" to refer to
+ either one and "regular SILK frame" if it needs to draw a distinction
+ between the two.
+
+ Logically, each SILK frame is, in turn, composed of either two or
+ four 5 ms subframes. Various parameters, such as the quantization
+ gain of the excitation and the pitch lag and filter coefficients can
+ vary on a subframe-by-subframe basis. Physically, the parameters for
+ each subframe are interleaved in the bitstream, as described in the
+ relevant sections for each parameter.
+
+ All of these frames and subframes are decoded from the same range
+ coder, with no padding between them. Thus, packing multiple SILK
+ frames in a single Opus frame saves, on average, half a byte per SILK
+ frame. It also allows some parameters to be predicted from prior
+ SILK frames in the same Opus frame, since this does not degrade
+ packet loss robustness (beyond any penalty for merely using fewer,
+ larger packets to store multiple frames).
+
+ Stereo support in SILK uses a variant of mid-side coding, allowing a
+ mono decoder to simply decode the mid channel. However, the data for
+ the two channels is interleaved, so a mono decoder must still unpack
+
+
+
+
+
+Valin, et al. Standards Track [Page 33]
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+RFC 6716 Interactive Audio Codec September 2012
+
+
+ the data for the side channel. It would be required to do so anyway
+ for Hybrid Opus frames or to support decoding individual 20 ms
+ frames.
+
+ Table 3 summarizes the overall grouping of the contents of the LP
+ layer. Figures 15 and 16 illustrate the ordering of the various SILK
+ frames for a 60 ms Opus frame, for both mono and stereo,
+ respectively.
+
+ +-----------------------------------+---------------+---------------+
+ | Symbol(s) | PDF(s) | Condition |
+ +-----------------------------------+---------------+---------------+
+ | Voice Activity Detection (VAD) | {1, 1}/2 | |
+ | Flags | | |
+ | | | |
+ | LBRR Flag | {1, 1}/2 | |
+ | | | |
+ | Per-Frame LBRR Flags | Table 4 | Section 4.2.4 |
+ | | | |
+ | LBRR Frame(s) | Section 4.2.7 | Section 4.2.4 |
+ | | | |
+ | Regular SILK Frame(s) | Section 4.2.7 | |
+ +-----------------------------------+---------------+---------------+
+
+ Table 3: Organization of the SILK layer of an Opus Frame
+
+
+ +---------------------------------+
+ | VAD Flags |
+ +---------------------------------+
+ | LBRR Flag |
+ +---------------------------------+
+ | Per-Frame LBRR Flags (Optional) |
+ +---------------------------------+
+ | LBRR Frame 1 (Optional) |
+ +---------------------------------+
+ | LBRR Frame 2 (Optional) |
+ +---------------------------------+
+ | LBRR Frame 3 (Optional) |
+ +---------------------------------+
+ | Regular SILK Frame 1 |
+ +---------------------------------+
+ | Regular SILK Frame 2 |
+ +---------------------------------+
+ | Regular SILK Frame 3 |
+ +---------------------------------+
+
+ Figure 15: A 60 ms Mono Frame
+
+
+
+Valin, et al. Standards Track [Page 34]
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+RFC 6716 Interactive Audio Codec September 2012
+
+
+ +---------------------------------------+
+ | Mid VAD Flags |
+ +---------------------------------------+
+ | Mid LBRR Flag |
+ +---------------------------------------+
+ | Side VAD Flags |
+ +---------------------------------------+
+ | Side LBRR Flag |
+ +---------------------------------------+
+ | Mid Per-Frame LBRR Flags (Optional) |
+ +---------------------------------------+
+ | Side Per-Frame LBRR Flags (Optional) |
+ +---------------------------------------+
+ | Mid LBRR Frame 1 (Optional) |
+ +---------------------------------------+
+ | Side LBRR Frame 1 (Optional) |
+ +---------------------------------------+
+ | Mid LBRR Frame 2 (Optional) |
+ +---------------------------------------+
+ | Side LBRR Frame 2 (Optional) |
+ +---------------------------------------+
+ | Mid LBRR Frame 3 (Optional) |
+ +---------------------------------------+
+ | Side LBRR Frame 3 (Optional) |
+ +---------------------------------------+
+ | Mid Regular SILK Frame 1 |
+ +---------------------------------------+
+ | Side Regular SILK Frame 1 (Optional) |
+ +---------------------------------------+
+ | Mid Regular SILK Frame 2 |
+ +---------------------------------------+
+ | Side Regular SILK Frame 2 (Optional) |
+ +---------------------------------------+
+ | Mid Regular SILK Frame 3 |
+ +---------------------------------------+
+ | Side Regular SILK Frame 3 (Optional) |
+ +---------------------------------------+
+
+ Figure 16: A 60 ms Stereo Frame
+
+4.2.3. Header Bits
+
+ The LP layer begins with two to eight header bits, decoded in
+ silk_Decode() (dec_API.c). These consist of one Voice Activity
+ Detection (VAD) bit per frame (up to 3), followed by a single flag
+ indicating the presence of LBRR frames. For a stereo packet, these
+ first flags correspond to the mid channel, and a second set of flags
+ is included for the side channel.
+
+
+
+Valin, et al. Standards Track [Page 35]
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+RFC 6716 Interactive Audio Codec September 2012
+
+
+ Because these are the first symbols decoded by the range coder and
+ because they are coded as binary values with uniform probability,
+ they can be extracted directly from the most significant bits of the
+ first byte of compressed data. Thus, a receiver can determine if an
+ Opus frame contains any active SILK frames without the overhead of
+ using the range decoder.
+
+4.2.4. Per-Frame LBRR Flags
+
+ For Opus frames longer than 20 ms, a set of LBRR flags is decoded for
+ each channel that has its LBRR flag set. Each set contains one flag
+ per 20 ms SILK frame. 40 ms Opus frames use the 2-frame LBRR flag PDF
+ from Table 4, and 60 ms Opus frames use the 3-frame LBRR flag PDF.
+ For each channel, the resulting 2- or 3-bit integer contains the
+ corresponding LBRR flag for each frame, packed in order from the LSB
+ to the MSB.
+
+ +------------+-------------------------------------+
+ | Frame Size | PDF |
+ +------------+-------------------------------------+
+ | 40 ms | {0, 53, 53, 150}/256 |
+ | | |
+ | 60 ms | {0, 41, 20, 29, 41, 15, 28, 82}/256 |
+ +------------+-------------------------------------+
+
+ Table 4: LBRR Flag PDFs
+
+ A 10 or 20 ms Opus frame does not contain any per-frame LBRR flags,
+ as there may be at most one LBRR frame per channel. The global LBRR
+ flag in the header bits (see Section 4.2.3) is already sufficient to
+ indicate the presence of that single LBRR frame.
+
+4.2.5. LBRR Frames
+
+ The LBRR frames, if present, contain an encoded representation of the
+ signal immediately prior to the current Opus frame as if it were
+ encoded with the current mode, frame size, audio bandwidth, and
+ channel count, even if those differ from the prior Opus frame. When
+ one of these parameters changes from one Opus frame to the next, this
+ implies that the LBRR frames of the current Opus frame may not be
+ simple drop-in replacements for the contents of the previous Opus
+ frame.
+
+ For example, when switching from 20 ms to 60 ms, the 60 ms Opus frame
+ may contain LBRR frames covering up to three prior 20 ms Opus frames,
+ even if those frames already contained LBRR frames covering some of
+ the same time periods. When switching from 20 ms to 10 ms, the 10 ms
+ Opus frame can contain an LBRR frame covering at most half the prior
+
+
+
+Valin, et al. Standards Track [Page 36]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ 20 ms Opus frame, potentially leaving a hole that needs to be
+ concealed from even a single packet loss (see Section 4.4). When
+ switching from mono to stereo, the LBRR frames in the first stereo
+ Opus frame MAY contain a non-trivial side channel.
+
+ In order to properly produce LBRR frames under all conditions, an
+ encoder might need to buffer up to 60 ms of audio and re-encode it
+ during these transitions. However, the reference implementation opts
+ to disable LBRR frames at the transition point for simplicity. Since
+ transitions are relatively infrequent in normal usage, this does not
+ have a significant impact on packet loss robustness.
+
+ The LBRR frames immediately follow the LBRR flags, prior to any
+ regular SILK frames. Section 4.2.7 describes their exact contents.
+ LBRR frames do not include their own separate VAD flags. LBRR frames
+ are only meant to be transmitted for active speech, thus all LBRR
+ frames are treated as active.
+
+ In a stereo Opus frame longer than 20 ms, although the per-frame LBRR
+ flags for the mid channel are coded as a unit before the per-frame
+ LBRR flags for the side channel, the LBRR frames themselves are
+ interleaved. The decoder parses an LBRR frame for the mid channel of
+ a given 20 ms interval (if present) and then immediately parses the
+ corresponding LBRR frame for the side channel (if present), before
+ proceeding to the next 20 ms interval.
+
+4.2.6. Regular SILK Frames
+
+ The regular SILK frame(s) follow the LBRR frames (if any).
+ Section 4.2.7 describes their contents, as well. Unlike the LBRR
+ frames, a regular SILK frame is coded for each time interval in an
+ Opus frame, even if the corresponding VAD flags are unset. For
+ stereo Opus frames longer than 20 ms, the regular mid and side SILK
+ frames for each 20 ms interval are interleaved, just as with the LBRR
+ frames. The side frame may be skipped by coding an appropriate flag,
+ as detailed in Section 4.2.7.2.
+
+4.2.7. SILK Frame Contents
+
+ Each SILK frame includes a set of side information that encodes
+
+ o The frame type and quantization type (Section 4.2.7.3),
+
+ o Quantization gains (Section 4.2.7.4),
+
+ o Short-term prediction filter coefficients (Section 4.2.7.5),
+
+
+
+
+
+Valin, et al. Standards Track [Page 37]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ o A Line Spectral Frequencies (LSFs) interpolation weight
+ (Section 4.2.7.5.5),
+
+ o LTP filter lags and gains (Section 4.2.7.6), and
+
+ o A Linear Congruential Generator (LCG) seed (Section 4.2.7.7).
+
+ The quantized excitation signal (see Section 4.2.7.8) follows these
+ at the end of the frame. Table 5 details the overall organization of
+ a SILK frame.
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+Valin, et al. Standards Track [Page 38]
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+RFC 6716 Interactive Audio Codec September 2012
+
+
+ +---------------------------+-------------------+-------------------+
+ | Symbol(s) | PDF(s) | Condition |
+ +---------------------------+-------------------+-------------------+
+ | Stereo Prediction Weights | Table 6 | Section 4.2.7.1 |
+ | | | |
+ | Mid-only Flag | Table 8 | Section 4.2.7.2 |
+ | | | |
+ | Frame Type | Section 4.2.7.3 | |
+ | | | |
+ | Subframe Gains | Section 4.2.7.4 | |
+ | | | |
+ | Normalized LSF Stage-1 | Table 14 | |
+ | Index | | |
+ | | | |
+ | Normalized LSF Stage-2 | Section 4.2.7.5.2 | |
+ | Residual | | |
+ | | | |
+ | Normalized LSF | Table 26 | 20 ms frame |
+ | Interpolation Weight | | |
+ | | | |
+ | Primary Pitch Lag | Section 4.2.7.6.1 | Voiced frame |
+ | | | |
+ | Subframe Pitch Contour | Table 32 | Voiced frame |
+ | | | |
+ | Periodicity Index | Table 37 | Voiced frame |
+ | | | |
+ | LTP Filter | Table 38 | Voiced frame |
+ | | | |
+ | LTP Scaling | Table 42 | Section 4.2.7.6.3 |
+ | | | |
+ | LCG Seed | Table 43 | |
+ | | | |
+ | Excitation Rate Level | Table 45 | |
+ | | | |
+ | Excitation Pulse Counts | Table 46 | |
+ | | | |
+ | Excitation Pulse | Section 4.2.7.8.3 | Non-zero pulse |
+ | Locations | | count |
+ | | | |
+ | Excitation LSBs | Table 51 | Section 4.2.7.8.2 |
+ | | | |
+ | Excitation Signs | Table 52 | |
+ +---------------------------+-------------------+-------------------+
+
+ Table 5: Order of the Symbols in an Individual SILK Frame
+
+
+
+
+
+
+Valin, et al. Standards Track [Page 39]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+4.2.7.1. Stereo Prediction Weights
+
+ A SILK frame corresponding to the mid channel of a stereo Opus frame
+ begins with a pair of side channel prediction weights, designed such
+ that zeros indicate normal mid-side coupling. Since these weights
+ can change on every frame, the first portion of each frame linearly
+ interpolates between the previous weights and the current ones, using
+ zeros for the previous weights if none are available. These
+ prediction weights are never included in a mono Opus frame, and the
+ previous weights are reset to zeros on any transition from mono to
+ stereo. They are also not included in an LBRR frame for the side
+ channel, even if the LBRR flags indicate the corresponding mid
+ channel was not coded. In that case, the previous weights are used,
+ again substituting in zeros if no previous weights are available
+ since the last decoder reset (see Section 4.5.2).
+
+ To summarize, these weights are coded if and only if
+
+ o This is a stereo Opus frame (Section 3.1), and
+
+ o The current SILK frame corresponds to the mid channel.
+
+ The prediction weights are coded in three separate pieces, which are
+ decoded by silk_stereo_decode_pred() (stereo_decode_pred.c). The
+ first piece jointly codes the high-order part of a table index for
+ both weights. The second piece codes the low-order part of each
+ table index. The third piece codes an offset used to linearly
+ interpolate between table indices. The details are as follows.
+
+ Let n be an index decoded with the 25-element stage-1 PDF in Table 6.
+ Then, let i0 and i1 be indices decoded with the stage-2 and stage-3
+ PDFs in Table 6, respectively, and let i2 and i3 be two more indices
+ decoded with the stage-2 and stage-3 PDFs, all in that order.
+
+ +-------+-----------------------------------------------------------+
+ | Stage | PDF |
+ +-------+-----------------------------------------------------------+
+ | Stage | {7, 2, 1, 1, 1, 10, 24, 8, 1, 1, 3, 23, 92, 23, 3, 1, 1, |
+ | 1 | 8, 24, 10, 1, 1, 1, 2, 7}/256 |
+ | | |
+ | Stage | {85, 86, 85}/256 |
+ | 2 | |
+ | | |
+ | Stage | {51, 51, 52, 51, 51}/256 |
+ | 3 | |
+ +-------+-----------------------------------------------------------+
+
+ Table 6: Stereo Weight PDFs
+
+
+
+Valin, et al. Standards Track [Page 40]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ Then, use n, i0, and i2 to form two table indices, wi0 and wi1,
+ according to
+
+ wi0 = i0 + 3*(n/5)
+ wi1 = i2 + 3*(n%5)
+
+ where the division is integer division. The range of these indices
+ is 0 to 14, inclusive. Let w_Q13[i] be the i'th weight from Table 7.
+ Then, the two prediction weights, w0_Q13 and w1_Q13, are
+
+ w1_Q13 = w_Q13[wi1]
+ + (((w_Q13[wi1+1] - w_Q13[wi1])*6554) >> 16)*(2*i3 + 1)
+
+ w0_Q13 = w_Q13[wi0]
+ + (((w_Q13[wi0+1] - w_Q13[wi0])*6554) >> 16)*(2*i1 + 1)
+ - w1_Q13
+
+ N.B., w1_Q13 is computed first here, because w0_Q13 depends on it.
+ The constant 6554 is approximately 0.1 in Q16. Although wi0 and wi1
+ only have 15 possible values, Table 7 contains 16 entries to allow
+ interpolation between entry wi0 and (wi0 + 1) (and likewise for wi1).
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+Valin, et al. Standards Track [Page 41]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ +-------+--------------+
+ | Index | Weight (Q13) |
+ +-------+--------------+
+ | 0 | -13732 |
+ | | |
+ | 1 | -10050 |
+ | | |
+ | 2 | -8266 |
+ | | |
+ | 3 | -7526 |
+ | | |
+ | 4 | -6500 |
+ | | |
+ | 5 | -5000 |
+ | | |
+ | 6 | -2950 |
+ | | |
+ | 7 | -820 |
+ | | |
+ | 8 | 820 |
+ | | |
+ | 9 | 2950 |
+ | | |
+ | 10 | 5000 |
+ | | |
+ | 11 | 6500 |
+ | | |
+ | 12 | 7526 |
+ | | |
+ | 13 | 8266 |
+ | | |
+ | 14 | 10050 |
+ | | |
+ | 15 | 13732 |
+ +-------+--------------+
+
+ Table 7: Stereo Weight Table
+
+4.2.7.2. Mid-Only Flag
+
+ A flag appears after the stereo prediction weights that indicates if
+ only the mid channel is coded for this time interval. It appears
+ only when
+
+ o This is a stereo Opus frame (see Section 3.1),
+
+ o The current SILK frame corresponds to the mid channel, and
+
+
+
+
+Valin, et al. Standards Track [Page 42]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ o Either
+
+ * This is a regular SILK frame where the VAD flags (see
+ Section 4.2.3) indicate that the corresponding side channel is
+ not active.
+
+ * This is an LBRR frame where the LBRR flags (see Sections 4.2.3
+ and 4.2.4) indicate that the corresponding side channel is not
+ coded.
+
+ It is omitted when there are no stereo weights, for all of the same
+ reasons. It is also omitted for a regular SILK frame when the VAD
+ flag of the corresponding side channel frame is set (indicating it is
+ active). The side channel must be coded in this case, making the
+ mid-only flag redundant. It is also omitted for an LBRR frame when
+ the corresponding LBRR flags indicate the side channel is coded.
+
+ When the flag is present, the decoder reads a single value using the
+ PDF in Table 8, as implemented in silk_stereo_decode_mid_only()
+ (stereo_decode_pred.c). If the flag is set, then there is no
+ corresponding SILK frame for the side channel, the entire decoding
+ process for the side channel is skipped, and zeros are fed to the
+ stereo unmixing process (see Section 4.2.8) instead. As stated
+ above, LBRR frames still include this flag when the LBRR flag
+ indicates that the side channel is not coded. In that case, if this
+ flag is zero (indicating that there should be a side channel), then
+ Packet Loss Concealment (PLC, see Section 4.4) SHOULD be invoked to
+ recover a side channel signal. Otherwise, the stereo image will
+ collapse.
+
+ +---------------+
+ | PDF |
+ +---------------+
+ | {192, 64}/256 |
+ +---------------+
+
+ Table 8: Mid-only Flag PDF
+
+4.2.7.3. Frame Type
+
+ Each SILK frame contains a single "frame type" symbol that jointly
+ codes the signal type and quantization offset type of the
+ corresponding frame. If the current frame is a regular SILK frame
+ whose VAD bit was not set (an "inactive" frame), then the frame type
+ symbol takes on a value of either 0 or 1 and is decoded using the
+ first PDF in Table 9. If the frame is an LBRR frame or a regular
+ SILK frame whose VAD flag was set (an "active" frame), then the value
+ of the symbol may range from 2 to 5, inclusive, and is decoded using
+
+
+
+Valin, et al. Standards Track [Page 43]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ the second PDF in Table 9. Table 10 translates between the value of
+ the frame type symbol and the corresponding signal type and
+ quantization offset type.
+
+ +----------+-----------------------------+
+ | VAD Flag | PDF |
+ +----------+-----------------------------+
+ | Inactive | {26, 230, 0, 0, 0, 0}/256 |
+ | | |
+ | Active | {0, 0, 24, 74, 148, 10}/256 |
+ +----------+-----------------------------+
+
+ Table 9: Frame Type PDFs
+
+ +------------+-------------+--------------------------+
+ | Frame Type | Signal Type | Quantization Offset Type |
+ +------------+-------------+--------------------------+
+ | 0 | Inactive | Low |
+ | | | |
+ | 1 | Inactive | High |
+ | | | |
+ | 2 | Unvoiced | Low |
+ | | | |
+ | 3 | Unvoiced | High |
+ | | | |
+ | 4 | Voiced | Low |
+ | | | |
+ | 5 | Voiced | High |
+ +------------+-------------+--------------------------+
+
+ Table 10: Signal Type and Quantization Offset Type from Frame Type
+
+4.2.7.4. Subframe Gains
+
+ A separate quantization gain is coded for each 5 ms subframe. These
+ gains control the step size between quantization levels of the
+ excitation signal and, therefore, the quality of the reconstruction.
+ They are independent of and unrelated to the pitch contours coded for
+ voiced frames. The quantization gains are themselves uniformly
+ quantized to 6 bits on a log scale, giving them a resolution of
+ approximately 1.369 dB and a range of approximately 1.94 dB to
+ 88.21 dB.
+
+ The subframe gains are either coded independently, or relative to the
+ gain from the most recent coded subframe in the same channel.
+ Independent coding is used if and only if
+
+
+
+
+
+Valin, et al. Standards Track [Page 44]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ o This is the first subframe in the current SILK frame, and
+
+ o Either
+
+ * This is the first SILK frame of its type (LBRR or regular) for
+ this channel in the current Opus frame, or
+
+ * The previous SILK frame of the same type (LBRR or regular) for
+ this channel in the same Opus frame was not coded.
+
+ In an independently coded subframe gain, the 3 most significant bits
+ of the quantization gain are decoded using a PDF selected from
+ Table 11 based on the decoded signal type (see Section 4.2.7.3).
+
+ +-------------+------------------------------------+
+ | Signal Type | PDF |
+ +-------------+------------------------------------+
+ | Inactive | {32, 112, 68, 29, 12, 1, 1, 1}/256 |
+ | | |
+ | Unvoiced | {2, 17, 45, 60, 62, 47, 19, 4}/256 |
+ | | |
+ | Voiced | {1, 3, 26, 71, 94, 50, 9, 2}/256 |
+ +-------------+------------------------------------+
+
+ Table 11: PDFs for Independent Quantization Gain MSB Coding
+
+ The 3 least significant bits are decoded using a uniform PDF:
+
+ +--------------------------------------+
+ | PDF |
+ +--------------------------------------+
+ | {32, 32, 32, 32, 32, 32, 32, 32}/256 |
+ +--------------------------------------+
+
+ Table 12: PDF for Independent Quantization Gain LSB Coding
+
+ These 6 bits are combined to form a value, gain_index, between 0 and
+ 63. When the gain for the previous subframe is available, then the
+ current gain is limited as follows:
+
+ log_gain = max(gain_index, previous_log_gain - 16)
+
+ This may help some implementations limit the change in precision of
+ their internal LTP history. The indices to which this clamp applies
+ cannot simply be removed from the codebook, because previous_log_gain
+ will not be available after packet loss. The clamping is skipped
+ after a decoder reset, and in the side channel if the previous frame
+
+
+
+
+Valin, et al. Standards Track [Page 45]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ in the side channel was not coded, since there is no value for
+ previous_log_gain available. It MAY also be skipped after packet
+ loss.
+
+ For subframes that do not have an independent gain (including the
+ first subframe of frames not listed as using independent coding
+ above), the quantization gain is coded relative to the gain from the
+ previous subframe (in the same channel). The PDF in Table 13 yields
+ a delta_gain_index value between 0 and 40, inclusive.
+
+ +-------------------------------------------------------------------+
+ | PDF |
+ +-------------------------------------------------------------------+
+ | {6, 5, 11, 31, 132, 21, 8, 4, 3, 2, 2, 2, 1, 1, 1, 1, 1, 1, 1, 1, |
+ | 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, |
+ | 1}/256 |
+ +-------------------------------------------------------------------+
+
+ Table 13: PDF for Delta Quantization Gain Coding
+
+ The following formula translates this index into a quantization gain
+ for the current subframe using the gain from the previous subframe:
+
+ log_gain = clamp(0, max(2*delta_gain_index - 16,
+ previous_log_gain + delta_gain_index - 4), 63)
+
+ silk_gains_dequant() (gain_quant.c) dequantizes log_gain for the k'th
+ subframe and converts it into a linear Q16 scale factor via
+
+ gain_Q16[k] = silk_log2lin((0x1D1C71*log_gain>>16) + 2090)
+
+ The function silk_log2lin() (log2lin.c) computes an approximation of
+ 2**(inLog_Q7/128.0), where inLog_Q7 is its Q7 input. Let i =
+ inLog_Q7>>7 be the integer part of inLogQ7 and f = inLog_Q7&127 be
+ the fractional part. Then,
+
+ (1<<i) + ((-174*f*(128-f)>>16)+f)*((1<<i)>>7)
+
+ yields the approximate exponential. The final Q16 gain values lies
+ between 81920 and 1686110208, inclusive (representing scale factors
+ of 1.25 to 25728, respectively).
+
+4.2.7.5. Normalized Line Spectral Frequency (LSF) and Linear Predictive
+ Coding (LPC) Coefficients
+
+ A set of normalized Line Spectral Frequency (LSF) coefficients follow
+ the quantization gains in the bitstream and represent the Linear
+ Predictive Coding (LPC) coefficients for the current SILK frame.
+
+
+
+Valin, et al. Standards Track [Page 46]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ Once decoded, the normalized LSFs form an increasing list of Q15
+ values between 0 and 1. These represent the interleaved zeros on the
+ upper half of the unit circle (between 0 and pi, hence "normalized")
+ in the standard decomposition [SPECTRAL-PAIRS] of the LPC filter into
+ a symmetric part and an anti-symmetric part (P and Q in
+ Section 4.2.7.5.6). Because of non-linear effects in the decoding
+ process, an implementation SHOULD match the fixed-point arithmetic
+ described in this section exactly. An encoder SHOULD also use the
+ same process.
+
+ The normalized LSFs are coded using a two-stage vector quantizer (VQ)
+ (Sections 4.2.7.5.1 and 4.2.7.5.2). NB and MB frames use an order-10
+ predictor, while WB frames use an order-16 predictor. Thus, each of
+ these two cases uses a different set of tables. After reconstructing
+ the normalized LSFs (Section 4.2.7.5.3), the decoder runs them
+ through a stabilization process (Section 4.2.7.5.4), interpolates
+ them between frames (Section 4.2.7.5.5), converts them back into LPC
+ coefficients (Section 4.2.7.5.6), and then runs them through further
+ processes to limit the range of the coefficients (Section 4.2.7.5.7)
+ and the gain of the filter (Section 4.2.7.5.8). All of this is
+ necessary to ensure the reconstruction process is stable.
+
+4.2.7.5.1. Normalized LSF Stage 1 Decoding
+
+ The first VQ stage uses a 32-element codebook, coded with one of the
+ PDFs in Table 14, depending on the audio bandwidth and the signal
+ type of the current SILK frame. This yields a single index, I1, for
+ the entire frame, which
+
+ 1. Indexes an element in a coarse codebook,
+
+ 2. Selects the PDFs for the second stage of the VQ, and
+
+ 3. Selects the prediction weights used to remove intra-frame
+ redundancy from the second stage.
+
+ The actual codebook elements are listed in Tables 23 and 24, but they
+ are not needed until the last stages of reconstructing the LSF
+ coefficients.
+
+
+
+
+
+
+
+
+
+
+
+
+Valin, et al. Standards Track [Page 47]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ +-----------+----------+--------------------------------------------+
+ | Audio | Signal | PDF |
+ | Bandwidth | Type | |
+ +-----------+----------+--------------------------------------------+
+ | NB or MB | Inactive | {44, 34, 30, 19, 21, 12, 11, 3, 3, 2, 16, |
+ | | or | 2, 2, 1, 5, 2, 1, 3, 3, 1, 1, 2, 2, 2, 3, |
+ | | unvoiced | 1, 9, 9, 2, 7, 2, 1}/256 |
+ | | | |
+ | NB or MB | Voiced | {1, 10, 1, 8, 3, 8, 8, 14, 13, 14, 1, 14, |
+ | | | 12, 13, 11, 11, 12, 11, 10, 10, 11, 8, 9, |
+ | | | 8, 7, 8, 1, 1, 6, 1, 6, 5}/256 |
+ | | | |
+ | WB | Inactive | {31, 21, 3, 17, 1, 8, 17, 4, 1, 18, 16, 4, |
+ | | or | 2, 3, 1, 10, 1, 3, 16, 11, 16, 2, 2, 3, 2, |
+ | | unvoiced | 11, 1, 4, 9, 8, 7, 3}/256 |
+ | | | |
+ | WB | Voiced | {1, 4, 16, 5, 18, 11, 5, 14, 15, 1, 3, 12, |
+ | | | 13, 14, 14, 6, 14, 12, 2, 6, 1, 12, 12, |
+ | | | 11, 10, 3, 10, 5, 1, 1, 1, 3}/256 |
+ +-----------+----------+--------------------------------------------+
+
+ Table 14: PDFs for Normalized LSF Stage-1 Index Decoding
+
+4.2.7.5.2. Normalized LSF Stage 2 Decoding
+
+ A total of 16 PDFs are available for the LSF residual in the second
+ stage: the 8 (a...h) for NB and MB frames given in Table 15, and the
+ 8 (i...p) for WB frames given in Table 16. Which PDF is used for
+ which coefficient is driven by the index, I1, decoded in the first
+ stage. Table 17 lists the letter of the corresponding PDF for each
+ normalized LSF coefficient for NB and MB, and Table 18 lists the same
+ information for WB.
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+Valin, et al. Standards Track [Page 48]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ +----------+--------------------------------------+
+ | Codebook | PDF |
+ +----------+--------------------------------------+
+ | a | {1, 1, 1, 15, 224, 11, 1, 1, 1}/256 |
+ | | |
+ | b | {1, 1, 2, 34, 183, 32, 1, 1, 1}/256 |
+ | | |
+ | c | {1, 1, 4, 42, 149, 55, 2, 1, 1}/256 |
+ | | |
+ | d | {1, 1, 8, 52, 123, 61, 8, 1, 1}/256 |
+ | | |
+ | e | {1, 3, 16, 53, 101, 74, 6, 1, 1}/256 |
+ | | |
+ | f | {1, 3, 17, 55, 90, 73, 15, 1, 1}/256 |
+ | | |
+ | g | {1, 7, 24, 53, 74, 67, 26, 3, 1}/256 |
+ | | |
+ | h | {1, 1, 18, 63, 78, 58, 30, 6, 1}/256 |
+ +----------+--------------------------------------+
+
+ Table 15: PDFs for NB/MB Normalized LSF Stage-2 Index Decoding
+
+ +----------+---------------------------------------+
+ | Codebook | PDF |
+ +----------+---------------------------------------+
+ | i | {1, 1, 1, 9, 232, 9, 1, 1, 1}/256 |
+ | | |
+ | j | {1, 1, 2, 28, 186, 35, 1, 1, 1}/256 |
+ | | |
+ | k | {1, 1, 3, 42, 152, 53, 2, 1, 1}/256 |
+ | | |
+ | l | {1, 1, 10, 49, 126, 65, 2, 1, 1}/256 |
+ | | |
+ | m | {1, 4, 19, 48, 100, 77, 5, 1, 1}/256 |
+ | | |
+ | n | {1, 1, 14, 54, 100, 72, 12, 1, 1}/256 |
+ | | |
+ | o | {1, 1, 15, 61, 87, 61, 25, 4, 1}/256 |
+ | | |
+ | p | {1, 7, 21, 50, 77, 81, 17, 1, 1}/256 |
+ +----------+---------------------------------------+
+
+ Table 16: PDFs for WB Normalized LSF Stage-2 Index Decoding
+
+
+
+
+
+
+
+
+Valin, et al. Standards Track [Page 49]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ +----+---------------------+
+ | I1 | Coefficient |
+ +----+---------------------+
+ | | 0 1 2 3 4 5 6 7 8 9 |
+ | 0 | a a a a a a a a a a |
+ | | |
+ | 1 | b d b c c b c b b b |
+ | | |
+ | 2 | c b b b b b b b b b |
+ | | |
+ | 3 | b c c c c b c b b b |
+ | | |
+ | 4 | c d d d d c c c c c |
+ | | |
+ | 5 | a f d d c c c c b b |
+ | | |
+ | g | a c c c c c c c c b |
+ | | |
+ | 7 | c d g e e e f e f f |
+ | | |
+ | 8 | c e f f e f e g e e |
+ | | |
+ | 9 | c e e h e f e f f e |
+ | | |
+ | 10 | e d d d c d c c c c |
+ | | |
+ | 11 | b f f g e f e f f f |
+ | | |
+ | 12 | c h e g f f f f f f |
+ | | |
+ | 13 | c h f f f f f g f e |
+ | | |
+ | 14 | d d f e e f e f e e |
+ | | |
+ | 15 | c d d f f e e e e e |
+ | | |
+ | 16 | c e e g e f e f f f |
+ | | |
+ | 17 | c f e g f f f e f e |
+ | | |
+ | 18 | c h e f e f e f f f |
+ | | |
+ | 19 | c f e g h g f g f e |
+ | | |
+ | 20 | d g h e g f f g e f |
+ | | |
+ | 21 | c h g e e e f e f f |
+ | | |
+
+
+
+Valin, et al. Standards Track [Page 50]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ | 22 | e f f e g g f g f e |
+ | | |
+ | 23 | c f f g f g e g e e |
+ | | |
+ | 24 | e f f f d h e f f e |
+ | | |
+ | 25 | c d e f f g e f f e |
+ | | |
+ | 26 | c d c d d e c d d d |
+ | | |
+ | 27 | b b c c c c c d c c |
+ | | |
+ | 28 | e f f g g g f g e f |
+ | | |
+ | 29 | d f f e e e e d d c |
+ | | |
+ | 30 | c f d h f f e e f e |
+ | | |
+ | 31 | e e f e f g f g f e |
+ +----+---------------------+
+
+ Table 17: Codebook Selection for NB/MB Normalized LSF Stage-2 Index
+ Decoding
+
+ +----+------------------------------------------------+
+ | I1 | Coefficient |
+ +----+------------------------------------------------+
+ | | 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 |
+ | | |
+ | 0 | i i i i i i i i i i i i i i i i |
+ | | |
+ | 1 | k l l l l l k k k k k j j j i l |
+ | | |
+ | 2 | k n n l p m m n k n m n n m l l |
+ | | |
+ | 3 | i k j k k j j j j j i i i i i j |
+ | | |
+ | 4 | i o n m o m p n m m m n n m m l |
+ | | |
+ | 5 | i l n n m l l n l l l l l l k m |
+ | | |
+ | 6 | i i i i i i i i i i i i i i i i |
+ | | |
+ | 7 | i k o l p k n l m n n m l l k l |
+ | | |
+ | 8 | i o k o o m n m o n m m n l l l |
+ | | |
+ | 9 | k j i i i i i i i i i i i i i i |
+
+
+
+Valin, et al. Standards Track [Page 51]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ | | |
+ | 10 | i j i i i i i i i i i i i i i j |
+ | | |
+ | 11 | k k l m n l l l l l l l k k j l |
+ | | |
+ | 12 | k k l l m l l l l l l l l k j l |
+ | | |
+ | 13 | l m m m o m m n l n m m n m l m |
+ | | |
+ | 14 | i o m n m p n k o n p m m l n l |
+ | | |
+ | 15 | i j i j j j j j j j i i i i j i |
+ | | |
+ | 16 | j o n p n m n l m n m m m l l m |
+ | | |
+ | 17 | j l l m m l l n k l l n n n l m |
+ | | |
+ | 18 | k l l k k k l k j k j k j j j m |
+ | | |
+ | 19 | i k l n l l k k k j j i i i i i |
+ | | |
+ | 20 | l m l n l l k k j j j j j k k m |
+ | | |
+ | 21 | k o l p p m n m n l n l l k l l |
+ | | |
+ | 22 | k l n o o l n l m m l l l l k m |
+ | | |
+ | 23 | j l l m m m m l n n n l j j j j |
+ | | |
+ | 24 | k n l o o m p m m n l m m l l l |
+ | | |
+ | 25 | i o j j i i i i i i i i i i i i |
+ | | |
+ | 26 | i o o l n k n n l m m p p m m m |
+ | | |
+ | 27 | l l p l n m l l l k k l l l k l |
+ | | |
+ | 28 | i i j i i i k j k j j k k k j j |
+ | | |
+ | 29 | i l k n l l k l k j i i j i i j |
+ | | |
+ | 30 | l n n m p n l l k l k k j i j i |
+ | | |
+ | 31 | k l n l m l l l k j k o m i i i |
+ +----+------------------------------------------------+
+
+ Table 18: Codebook Selection for WB Normalized LSF Stage-2 Index
+ Decoding
+
+
+
+Valin, et al. Standards Track [Page 52]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ Decoding the second stage residual proceeds as follows. For each
+ coefficient, the decoder reads a symbol using the PDF corresponding
+ to I1 from either Table 17 or Table 18, and subtracts 4 from the
+ result to give an index in the range -4 to 4, inclusive. If the
+ index is either -4 or 4, it reads a second symbol using the PDF in
+ Table 19, and adds the value of this second symbol to the index,
+ using the same sign. This gives the index, I2[k], a total range of
+ -10 to 10, inclusive.
+
+ +-------------------------------+
+ | PDF |
+ +-------------------------------+
+ | {156, 60, 24, 9, 4, 2, 1}/256 |
+ +-------------------------------+
+
+ Table 19: PDF for Normalized LSF Index Extension Decoding
+
+ The decoded indices from both stages are translated back into
+ normalized LSF coefficients in silk_NLSF_decode() (NLSF_decode.c).
+ The stage-2 indices represent residuals after both the first stage of
+ the VQ and a separate backwards-prediction step. The backwards
+ prediction process in the encoder subtracts a prediction from each
+ residual formed by a multiple of the coefficient that follows it.
+ The decoder must undo this process. Table 20 contains lists of
+ prediction weights for each coefficient. There are two lists for NB
+ and MB, and another two lists for WB, giving two possible prediction
+ weights for each coefficient.
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+Valin, et al. Standards Track [Page 53]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ +-------------+-----+-----+-----+-----+
+ | Coefficient | A | B | C | D |
+ +-------------+-----+-----+-----+-----+
+ | 0 | 179 | 116 | 175 | 68 |
+ | | | | | |
+ | 1 | 138 | 67 | 148 | 62 |
+ | | | | | |
+ | 2 | 140 | 82 | 160 | 66 |
+ | | | | | |
+ | 3 | 148 | 59 | 176 | 60 |
+ | | | | | |
+ | 4 | 151 | 92 | 178 | 72 |
+ | | | | | |
+ | 5 | 149 | 72 | 173 | 117 |
+ | | | | | |
+ | 6 | 153 | 100 | 174 | 85 |
+ | | | | | |
+ | 7 | 151 | 89 | 164 | 90 |
+ | | | | | |
+ | 8 | 163 | 92 | 177 | 118 |
+ | | | | | |
+ | 9 | | | 174 | 136 |
+ | | | | | |
+ | 10 | | | 196 | 151 |
+ | | | | | |
+ | 11 | | | 182 | 142 |
+ | | | | | |
+ | 12 | | | 198 | 160 |
+ | | | | | |
+ | 13 | | | 192 | 142 |
+ | | | | | |
+ | 14 | | | 182 | 155 |
+ +-------------+-----+-----+-----+-----+
+
+ Table 20: Prediction Weights for Normalized LSF Decoding
+
+ The prediction is undone using the procedure implemented in
+ silk_NLSF_residual_dequant() (NLSF_decode.c), which is as follows.
+ Each coefficient selects its prediction weight from one of the two
+ lists based on the stage-1 index, I1. Table 21 gives the selections
+ for each coefficient for NB and MB, and Table 22 gives the selections
+ for WB. Let d_LPC be the order of the codebook, i.e., 10 for NB and
+ MB, and 16 for WB, and let pred_Q8[k] be the weight for the k'th
+ coefficient selected by this process for 0 <= k < d_LPC-1. Then, the
+ stage-2 residual for each coefficient is computed via
+
+ res_Q10[k] = (k+1 < d_LPC ? (res_Q10[k+1]*pred_Q8[k])>>8 : 0)
+ + ((((I2[k]<<10) - sign(I2[k])*102)*qstep)>>16) ,
+
+
+
+Valin, et al. Standards Track [Page 54]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ where qstep is the Q16 quantization step size, which is 11796 for NB
+ and MB and 9830 for WB (representing step sizes of approximately 0.18
+ and 0.15, respectively).
+
+ +----+-------------------+
+ | I1 | Coefficient |
+ +----+-------------------+
+ | | 0 1 2 3 4 5 6 7 8 |
+ | | |
+ | 0 | A B A A A A A A A |
+ | | |
+ | 1 | B A A A A A A A A |
+ | | |
+ | 2 | A A A A A A A A A |
+ | | |
+ | 3 | B B B A A A A B A |
+ | | |
+ | 4 | A B A A A A A A A |
+ | | |
+ | 5 | A B A A A A A A A |
+ | | |
+ | 6 | B A B B A A A B A |
+ | | |
+ | 7 | A B B A A B B A A |
+ | | |
+ | 8 | A A B B A B A B B |
+ | | |
+ | 9 | A A B B A A B B B |
+ | | |
+ | 10 | A A A A A A A A A |
+ | | |
+ | 11 | A B A B B B B B A |
+ | | |
+ | 12 | A B A B B B B B A |
+ | | |
+ | 13 | A B B B B B B B A |
+ | | |
+ | 14 | B A B B A B B B B |
+ | | |
+ | 15 | A B B B B B A B A |
+ | | |
+ | 16 | A A B B A B A B A |
+ | | |
+ | 17 | A A B B B A B B B |
+ | | |
+ | 18 | A B B A A B B B A |
+ | | |
+ | 19 | A A A B B B A B A |
+
+
+
+Valin, et al. Standards Track [Page 55]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ | | |
+ | 20 | A B B A A B A B A |
+ | | |
+ | 21 | A B B A A A B B A |
+ | | |
+ | 22 | A A A A A B B B B |
+ | | |
+ | 23 | A A B B A A A B B |
+ | | |
+ | 24 | A A A B A B B B B |
+ | | |
+ | 25 | A B B B B B B B A |
+ | | |
+ | 26 | A A A A A A A A A |
+ | | |
+ | 27 | A A A A A A A A A |
+ | | |
+ | 28 | A A B A B B A B A |
+ | | |
+ | 29 | B A A B A A A A A |
+ | | |
+ | 30 | A A A B B A B A B |
+ | | |
+ | 31 | B A B B A B B B B |
+ +----+-------------------+
+
+ Table 21: Prediction Weight Selection for NB/MB Normalized LSF
+ Decoding
+
+ +----+---------------------------------------------+
+ | I1 | Coefficient |
+ +----+---------------------------------------------+
+ | | 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 |
+ | | |
+ | 0 | C C C C C C C C C C C C C C D |
+ | | |
+ | 1 | C C C C C C C C C C C C C C C |
+ | | |
+ | 2 | C C D C C D D D C D D D D C C |
+ | | |
+ | 3 | C C C C C C C C C C C C D C C |
+ | | |
+ | 4 | C D D C D C D D C D D D D D C |
+ | | |
+ | 5 | C C D C C C C C C C C C C C C |
+
+
+
+
+
+
+Valin, et al. Standards Track [Page 56]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ | | |
+ | 6 | D C C C C C C C C C C D C D C |
+ | | |
+ | 7 | C D D C C C D C D D D C D C D |
+ | | |
+ | 8 | C D C D D C D C D C D D D D D |
+ | | |
+ | 9 | C C C C C C C C C C C C C C D |
+ | | |
+ | 10 | C D C C C C C C C C C C C C C |
+ | | |
+ | 11 | C C D C D D D D D D D C D C C |
+ | | |
+ | 12 | C C D C C D C D C D C C D C C |
+ | | |
+ | 13 | C C C C D D C D C D D D D C C |
+ | | |
+ | 14 | C D C C C D D C D D D C D D D |
+ | | |
+ | 15 | C C D D C C C C C C C C D D C |
+ | | |
+ | 16 | C D D C D C D D D D D C D C C |
+ | | |
+ | 17 | C C D C C C C D C C D D D C C |
+ | | |
+ | 18 | C C C C C C C C C C C C C C D |
+ | | |
+ | 19 | C C C C C C C C C C C C D C C |
+ | | |
+ | 20 | C C C C C C C C C C C C C C C |
+ | | |
+ | 21 | C D C D C D D C D C D C D D C |
+ | | |
+ | 22 | C C D D D D C D D C C D D C C |
+ | | |
+ | 23 | C D D C D C D C D C C C C D C |
+ | | |
+ | 24 | C C C D D C D C D D D D D D D |
+ | | |
+ | 25 | C C C C C C C C C C C C C C D |
+ | | |
+ | 26 | C D D C C C D D C C D D D D D |
+ | | |
+ | 27 | C C C C C D C D D D D C D D D |
+ | | |
+ | 28 | C C C C C C C C C C C C C C D |
+ | | |
+ | 29 | C C C C C C C C C C C C C C D |
+
+
+
+Valin, et al. Standards Track [Page 57]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ | | |
+ | 30 | D C C C C C C C C C C D C C C |
+ | | |
+ | 31 | C C D C C D D D C C D C C D C |
+ +----+---------------------------------------------+
+
+ Table 22: Prediction Weight Selection for WB Normalized LSF Decoding
+
+4.2.7.5.3. Reconstructing the Normalized LSF Coefficients
+
+ Once the stage-1 index I1 and the stage-2 residual res_Q10[] have
+ been decoded, the final normalized LSF coefficients can be
+ reconstructed.
+
+ The spectral distortion introduced by the quantization of each LSF
+ coefficient varies, so the stage-2 residual is weighted accordingly,
+ using the low-complexity Inverse Harmonic Mean Weighting (IHMW)
+ function proposed in [LAROIA-ICASSP]. The weights are derived
+ directly from the stage-1 codebook vector. Let cb1_Q8[k] be the k'th
+ entry of the stage-1 codebook vector from Table 23 or Table 24.
+ Then, for 0 <= k < d_LPC, the following expression computes the
+ square of the weight as a Q18 value:
+
+
+ w2_Q18[k] = (1024/(cb1_Q8[k] - cb1_Q8[k-1])
+ + 1024/(cb1_Q8[k+1] - cb1_Q8[k])) << 16
+
+
+ where cb1_Q8[-1] = 0 and cb1_Q8[d_LPC] = 256, and the division is
+ integer division. This is reduced to an unsquared, Q9 value using
+ the following square-root approximation:
+
+ i = ilog(w2_Q18[k])
+ f = (w2_Q18[k]>>(i-8)) & 127
+ y = ((i&1) ? 32768 : 46214) >> ((32-i)>>1)
+ w_Q9[k] = y + ((213*f*y)>>16)
+
+ The constant 46214 here is approximately the square root of 2 in Q15.
+ The cb1_Q8[] vector completely determines these weights, and they may
+ be tabulated and stored as 13-bit unsigned values (with a range of
+ 1819 to 5227, inclusive) to avoid computing them when decoding. The
+ reference implementation already requires code to compute these
+ weights on unquantized coefficients in the encoder, in
+ silk_NLSF_VQ_weights_laroia() (NLSF_VQ_weights_laroia.c) and its
+ callers, so it reuses that code in the decoder instead of using a
+ pre-computed table to reduce the amount of ROM required.
+
+
+
+
+
+Valin, et al. Standards Track [Page 58]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ +----+----------------------------------------+
+ | I1 | Codebook (Q8) |
+ +----+----------------------------------------+
+ | | 0 1 2 3 4 5 6 7 8 9 |
+ | | |
+ | 0 | 12 35 60 83 108 132 157 180 206 228 |
+ | | |
+ | 1 | 15 32 55 77 101 125 151 175 201 225 |
+ | | |
+ | 2 | 19 42 66 89 114 137 162 184 209 230 |
+ | | |
+ | 3 | 12 25 50 72 97 120 147 172 200 223 |
+ | | |
+ | 4 | 26 44 69 90 114 135 159 180 205 225 |
+ | | |
+ | 5 | 13 22 53 80 106 130 156 180 205 228 |
+ | | |
+ | 6 | 15 25 44 64 90 115 142 168 196 222 |
+ | | |
+ | 7 | 19 24 62 82 100 120 145 168 190 214 |
+ | | |
+ | 8 | 22 31 50 79 103 120 151 170 203 227 |
+ | | |
+ | 9 | 21 29 45 65 106 124 150 171 196 224 |
+ | | |
+ | 10 | 30 49 75 97 121 142 165 186 209 229 |
+ | | |
+ | 11 | 19 25 52 70 93 116 143 166 192 219 |
+ | | |
+ | 12 | 26 34 62 75 97 118 145 167 194 217 |
+ | | |
+ | 13 | 25 33 56 70 91 113 143 165 196 223 |
+ | | |
+ | 14 | 21 34 51 72 97 117 145 171 196 222 |
+ | | |
+ | 15 | 20 29 50 67 90 117 144 168 197 221 |
+ | | |
+ | 16 | 22 31 48 66 95 117 146 168 196 222 |
+ | | |
+ | 17 | 24 33 51 77 116 134 158 180 200 224 |
+ | | |
+ | 18 | 21 28 70 87 106 124 149 170 194 217 |
+ | | |
+ | 19 | 26 33 53 64 83 117 152 173 204 225 |
+ | | |
+ | 20 | 27 34 65 95 108 129 155 174 210 225 |
+ | | |
+ | 21 | 20 26 72 99 113 131 154 176 200 219 |
+
+
+
+Valin, et al. Standards Track [Page 59]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ | | |
+ | 22 | 34 43 61 78 93 114 155 177 205 229 |
+ | | |
+ | 23 | 23 29 54 97 124 138 163 179 209 229 |
+ | | |
+ | 24 | 30 38 56 89 118 129 158 178 200 231 |
+ | | |
+ | 25 | 21 29 49 63 85 111 142 163 193 222 |
+ | | |
+ | 26 | 27 48 77 103 133 158 179 196 215 232 |
+ | | |
+ | 27 | 29 47 74 99 124 151 176 198 220 237 |
+ | | |
+ | 28 | 33 42 61 76 93 121 155 174 207 225 |
+ | | |
+ | 29 | 29 53 87 112 136 154 170 188 208 227 |
+ | | |
+ | 30 | 24 30 52 84 131 150 166 186 203 229 |
+ | | |
+ | 31 | 37 48 64 84 104 118 156 177 201 230 |
+ +----+----------------------------------------+
+
+ Table 23: NB/MB Normalized LSF Stage-1 Codebook Vectors
+
+ +----+------------------------------------------------------------+
+ | I1 | Codebook (Q8) |
+ +----+------------------------------------------------------------+
+ | | 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 |
+ | | |
+ | 0 | 7 23 38 54 69 85 100 116 131 147 162 178 193 208 223 239 |
+ | | |
+ | 1 | 13 25 41 55 69 83 98 112 127 142 157 171 187 203 220 236 |
+ | | |
+ | 2 | 15 21 34 51 61 78 92 106 126 136 152 167 185 205 225 240 |
+ | | |
+ | 3 | 10 21 36 50 63 79 95 110 126 141 157 173 189 205 221 237 |
+ | | |
+ | 4 | 17 20 37 51 59 78 89 107 123 134 150 164 184 205 224 240 |
+ | | |
+ | 5 | 10 15 32 51 67 81 96 112 129 142 158 173 189 204 220 236 |
+ | | |
+ | 6 | 8 21 37 51 65 79 98 113 126 138 155 168 179 192 209 218 |
+ | | |
+ | 7 | 12 15 34 55 63 78 87 108 118 131 148 167 185 203 219 236 |
+ | | |
+ | 8 | 16 19 32 36 56 79 91 108 118 136 154 171 186 204 220 237 |
+ | | |
+ | 9 | 11 28 43 58 74 89 105 120 135 150 165 180 196 211 226 241 |
+
+
+
+Valin, et al. Standards Track [Page 60]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ | | |
+ | 10 | 6 16 33 46 60 75 92 107 123 137 156 169 185 199 214 225 |
+ | | |
+ | 11 | 11 19 30 44 57 74 89 105 121 135 152 169 186 202 218 234 |
+ | | |
+ | 12 | 12 19 29 46 57 71 88 100 120 132 148 165 182 199 216 233 |
+ | | |
+ | 13 | 17 23 35 46 56 77 92 106 123 134 152 167 185 204 222 237 |
+ | | |
+ | 14 | 14 17 45 53 63 75 89 107 115 132 151 171 188 206 221 240 |
+ | | |
+ | 15 | 9 16 29 40 56 71 88 103 119 137 154 171 189 205 222 237 |
+ | | |
+ | 16 | 16 19 36 48 57 76 87 105 118 132 150 167 185 202 218 236 |
+ | | |
+ | 17 | 12 17 29 54 71 81 94 104 126 136 149 164 182 201 221 237 |
+ | | |
+ | 18 | 15 28 47 62 79 97 115 129 142 155 168 180 194 208 223 238 |
+ | | |
+ | 19 | 8 14 30 45 62 78 94 111 127 143 159 175 192 207 223 239 |
+ | | |
+ | 20 | 17 30 49 62 79 92 107 119 132 145 160 174 190 204 220 235 |
+ | | |
+ | 21 | 14 19 36 45 61 76 91 108 121 138 154 172 189 205 222 238 |
+ | | |
+ | 22 | 12 18 31 45 60 76 91 107 123 138 154 171 187 204 221 236 |
+ | | |
+ | 23 | 13 17 31 43 53 70 83 103 114 131 149 167 185 203 220 237 |
+ | | |
+ | 24 | 17 22 35 42 58 78 93 110 125 139 155 170 188 206 224 240 |
+ | | |
+ | 25 | 8 15 34 50 67 83 99 115 131 146 162 178 193 209 224 239 |
+ | | |
+ | 26 | 13 16 41 66 73 86 95 111 128 137 150 163 183 206 225 241 |
+ | | |
+ | 27 | 17 25 37 52 63 75 92 102 119 132 144 160 175 191 212 231 |
+ | | |
+ | 28 | 19 31 49 65 83 100 117 133 147 161 174 187 200 213 227 242 |
+ | | |
+ | 29 | 18 31 52 68 88 103 117 126 138 149 163 177 192 207 223 239 |
+ | | |
+ | 30 | 16 29 47 61 76 90 106 119 133 147 161 176 193 209 224 240 |
+ | | |
+ | 31 | 15 21 35 50 61 73 86 97 110 119 129 141 175 198 218 237 |
+ +----+------------------------------------------------------------+
+
+ Table 24: WB Normalized LSF Stage-1 Codebook Vectors
+
+
+
+
+Valin, et al. Standards Track [Page 61]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ Given the stage-1 codebook entry cb1_Q8[], the stage-2 residual
+ res_Q10[], and their corresponding weights, w_Q9[], the reconstructed
+ normalized LSF coefficients are
+
+ NLSF_Q15[k] = clamp(0,
+ (cb1_Q8[k]<<7) + (res_Q10[k]<<14)/w_Q9[k], 32767)
+
+ where the division is integer division. However, nothing in either
+ the reconstruction process or the quantization process in the encoder
+ thus far guarantees that the coefficients are monotonically
+ increasing and separated well enough to ensure a stable filter
+ [KABAL86]. When using the reference encoder, roughly 2% of frames
+ violate this constraint. The next section describes a stabilization
+ procedure used to make these guarantees.
+
+4.2.7.5.4. Normalized LSF Stabilization
+
+ The normalized LSF stabilization procedure is implemented in
+ silk_NLSF_stabilize() (NLSF_stabilize.c). This process ensures that
+ consecutive values of the normalized LSF coefficients, NLSF_Q15[],
+ are spaced some minimum distance apart (predetermined to be the 0.01
+ percentile of a large training set). Table 25 gives the minimum
+ spacings for NB and MB and those for WB, where row k is the minimum
+ allowed value of NLSF_Q15[k]-NLSF_Q15[k-1]. For the purposes of
+ computing this spacing for the first and last coefficient,
+ NLSF_Q15[-1] is taken to be 0 and NLSF_Q15[d_LPC] is taken to be
+ 32768.
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+Valin, et al. Standards Track [Page 62]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ +-------------+-----------+-----+
+ | Coefficient | NB and MB | WB |
+ +-------------+-----------+-----+
+ | 0 | 250 | 100 |
+ | | | |
+ | 1 | 3 | 3 |
+ | | | |
+ | 2 | 6 | 40 |
+ | | | |
+ | 3 | 3 | 3 |
+ | | | |
+ | 4 | 3 | 3 |
+ | | | |
+ | 5 | 3 | 3 |
+ | | | |
+ | 6 | 4 | 5 |
+ | | | |
+ | 7 | 3 | 14 |
+ | | | |
+ | 8 | 3 | 14 |
+ | | | |
+ | 9 | 3 | 10 |
+ | | | |
+ | 10 | 461 | 11 |
+ | | | |
+ | 11 | | 3 |
+ | | | |
+ | 12 | | 8 |
+ | | | |
+ | 13 | | 9 |
+ | | | |
+ | 14 | | 7 |
+ | | | |
+ | 15 | | 3 |
+ | | | |
+ | 16 | | 347 |
+ +-------------+-----------+-----+
+
+ Table 25: Minimum Spacing for Normalized LSF Coefficients
+
+ The procedure starts off by trying to make small adjustments that
+ attempt to minimize the amount of distortion introduced. After 20
+ such adjustments, it falls back to a more direct method that
+ guarantees the constraints are enforced but may require large
+ adjustments.
+
+
+
+
+
+
+Valin, et al. Standards Track [Page 63]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ Let NDeltaMin_Q15[k] be the minimum required spacing for the current
+ audio bandwidth from Table 25. First, the procedure finds the index
+ i where NLSF_Q15[i] - NLSF_Q15[i-1] - NDeltaMin_Q15[i] is the
+ smallest, breaking ties by using the lower value of i. If this value
+ is non-negative, then the stabilization stops; the coefficients
+ satisfy all the constraints. Otherwise, if i == 0, it sets
+ NLSF_Q15[0] to NDeltaMin_Q15[0], and if i == d_LPC, it sets
+ NLSF_Q15[d_LPC-1] to (32768 - NDeltaMin_Q15[d_LPC]). For all other
+ values of i, both NLSF_Q15[i-1] and NLSF_Q15[i] are updated as
+ follows:
+
+ i-1
+ __
+ min_center_Q15 = (NDeltaMin_Q15[i]>>1) + \ NDeltaMin_Q15[k]
+ /_
+ k=0
+ d_LPC
+ __
+ max_center_Q15 = 32768 - (NDeltaMin_Q15[i]>>1) - \ NDeltaMin_Q15[k]
+ /_
+ k=i+1
+ center_freq_Q15 = clamp(min_center_Q15[i],
+ (NLSF_Q15[i-1] + NLSF_Q15[i] + 1)>>1
+ max_center_Q15[i])
+
+ NLSF_Q15[i-1] = center_freq_Q15 - (NDeltaMin_Q15[i]>>1)
+
+ NLSF_Q15[i] = NLSF_Q15[i-1] + NDeltaMin_Q15[i]
+
+ Then, the procedure repeats again, until it has either executed 20
+ times or stopped because the coefficients satisfy all the
+ constraints.
+
+ After the 20th repetition of the above procedure, the following
+ fallback procedure executes once. First, the values of NLSF_Q15[k]
+ for 0 <= k < d_LPC are sorted in ascending order. Then, for each
+ value of k from 0 to d_LPC-1, NLSF_Q15[k] is set to
+
+ max(NLSF_Q15[k], NLSF_Q15[k-1] + NDeltaMin_Q15[k])
+
+ Next, for each value of k from d_LPC-1 down to 0, NLSF_Q15[k] is set
+ to
+
+ min(NLSF_Q15[k], NLSF_Q15[k+1] - NDeltaMin_Q15[k+1])
+
+ There is no need to check if the coefficients satisfy all the
+ constraints before applying this fallback procedure. If they do,
+ then it will not change their values.
+
+
+
+Valin, et al. Standards Track [Page 64]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+4.2.7.5.5. Normalized LSF Interpolation
+
+ For 20 ms SILK frames, the first half of the frame (i.e., the first
+ two subframes) may use normalized LSF coefficients that are
+ interpolated between the decoded LSFs for the most recent coded frame
+ (in the same channel) and the current frame. A Q2 interpolation
+ factor follows the LSF coefficient indices in the bitstream, which is
+ decoded using the PDF in Table 26. This happens in
+ silk_decode_indices() (decode_indices.c). After either
+
+ o An uncoded regular SILK frame in the side channel, or
+
+ o A decoder reset (see Section 4.5.2),
+
+ the decoder still decodes this factor, but ignores its value and
+ always uses 4 instead. For 10 ms SILK frames, this factor is not
+ stored at all.
+
+ +---------------------------+
+ | PDF |
+ +---------------------------+
+ | {13, 22, 29, 11, 181}/256 |
+ +---------------------------+
+
+ Table 26: PDF for Normalized LSF Interpolation Index
+
+ Let n2_Q15[k] be the normalized LSF coefficients decoded by the
+ procedure in Section 4.2.7.5, n0_Q15[k] be the LSF coefficients
+ decoded for the prior frame, and w_Q2 be the interpolation factor.
+ Then, the normalized LSF coefficients used for the first half of a
+ 20 ms frame, n1_Q15[k], are
+
+ n1_Q15[k] = n0_Q15[k] + (w_Q2*(n2_Q15[k] - n0_Q15[k]) >> 2)
+
+ This interpolation is performed in silk_decode_parameters()
+ (decode_parameters.c).
+
+4.2.7.5.6. Converting Normalized LSFs to LPC Coefficients
+
+ Any LPC filter A(z) can be split into a symmetric part P(z) and an
+ anti-symmetric part Q(z) such that
+
+ d_LPC
+ __ -k 1
+ A(z) = 1 - \ a[k] * z = - * (P(z) + Q(z))
+ /_ 2
+ k=1
+
+
+
+
+Valin, et al. Standards Track [Page 65]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ with
+
+ -d_LPC-1 -1
+ P(z) = A(z) + z * A(z )
+
+ -d_LPC-1 -1
+ Q(z) = A(z) - z * A(z )
+
+ The even normalized LSF coefficients correspond to a pair of
+ conjugate roots of P(z), while the odd coefficients correspond to a
+ pair of conjugate roots of Q(z), all of which lie on the unit circle.
+ In addition, P(z) has a root at pi and Q(z) has a root at 0. Thus,
+ they may be reconstructed mathematically from a set of normalized LSF
+ coefficients, n[k], as
+
+ d_LPC/2-1
+ -1 ___ -1 -2
+ P(z) = (1 + z ) * | | (1 - 2*cos(pi*n[2*k])*z + z )
+ k=0
+
+ d_LPC/2-1
+ -1 ___ -1 -2
+ Q(z) = (1 - z ) * | | (1 - 2*cos(pi*n[2*k+1])*z + z )
+ k=0
+
+ However, SILK performs this reconstruction using a fixed-point
+ approximation so that all decoders can reproduce it in a bit-exact
+ manner to avoid prediction drift. The function silk_NLSF2A()
+ (NLSF2A.c) implements this procedure.
+
+ To start, it approximates cos(pi*n[k]) using a table lookup with
+ linear interpolation. The encoder SHOULD use the inverse of this
+ piecewise linear approximation, rather than the true inverse of the
+ cosine function, when deriving the normalized LSF coefficients.
+ These values are also re-ordered to improve numerical accuracy when
+ constructing the LPC polynomials.
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+Valin, et al. Standards Track [Page 66]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ +-------------+-----------+----+
+ | Coefficient | NB and MB | WB |
+ +-------------+-----------+----+
+ | 0 | 0 | 0 |
+ | | | |
+ | 1 | 9 | 15 |
+ | | | |
+ | 2 | 6 | 8 |
+ | | | |
+ | 3 | 3 | 7 |
+ | | | |
+ | 4 | 4 | 4 |
+ | | | |
+ | 5 | 5 | 11 |
+ | | | |
+ | 6 | 8 | 12 |
+ | | | |
+ | 7 | 1 | 3 |
+ | | | |
+ | 8 | 2 | 2 |
+ | | | |
+ | 9 | 7 | 13 |
+ | | | |
+ | 10 | | 10 |
+ | | | |
+ | 11 | | 5 |
+ | | | |
+ | 12 | | 6 |
+ | | | |
+ | 13 | | 9 |
+ | | | |
+ | 14 | | 14 |
+ | | | |
+ | 15 | | 1 |
+ +-------------+-----------+----+
+
+ Table 27: LSF Ordering for Polynomial Evaluation
+
+ The top 7 bits of each normalized LSF coefficient index a value in
+ the table, and the next 8 bits interpolate between it and the next
+ value. Let i = (n[k] >> 8) be the integer index and f = (n[k] & 255)
+ be the fractional part of a given coefficient. Then, the re-ordered,
+ approximated cosine, c_Q17[ordering[k]], is
+
+ c_Q17[ordering[k]] = (cos_Q12[i]*256
+ + (cos_Q12[i+1]-cos_Q12[i])*f + 4) >> 3
+
+
+
+
+
+Valin, et al. Standards Track [Page 67]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ where ordering[k] is the k'th entry of the column of Table 27
+ corresponding to the current audio bandwidth and cos_Q12[i] is the
+ i'th entry of Table 28.
+
+ +-----+-------+-------+-------+-------+
+ | i | +0 | +1 | +2 | +3 |
+ +-----+-------+-------+-------+-------+
+ | 0 | 4096 | 4095 | 4091 | 4085 |
+ | | | | | |
+ | 4 | 4076 | 4065 | 4052 | 4036 |
+ | | | | | |
+ | 8 | 4017 | 3997 | 3973 | 3948 |
+ | | | | | |
+ | 12 | 3920 | 3889 | 3857 | 3822 |
+ | | | | | |
+ | 16 | 3784 | 3745 | 3703 | 3659 |
+ | | | | | |
+ | 20 | 3613 | 3564 | 3513 | 3461 |
+ | | | | | |
+ | 24 | 3406 | 3349 | 3290 | 3229 |
+ | | | | | |
+ | 28 | 3166 | 3102 | 3035 | 2967 |
+ | | | | | |
+ | 32 | 2896 | 2824 | 2751 | 2676 |
+ | | | | | |
+ | 36 | 2599 | 2520 | 2440 | 2359 |
+ | | | | | |
+ | 40 | 2276 | 2191 | 2106 | 2019 |
+ | | | | | |
+ | 44 | 1931 | 1842 | 1751 | 1660 |
+ | | | | | |
+ | 48 | 1568 | 1474 | 1380 | 1285 |
+ | | | | | |
+ | 52 | 1189 | 1093 | 995 | 897 |
+ | | | | | |
+ | 56 | 799 | 700 | 601 | 501 |
+ | | | | | |
+ | 60 | 401 | 301 | 201 | 101 |
+ | | | | | |
+ | 64 | 0 | -101 | -201 | -301 |
+ | | | | | |
+ | 68 | -401 | -501 | -601 | -700 |
+ | | | | | |
+ | 72 | -799 | -897 | -995 | -1093 |
+ | | | | | |
+ | 76 | -1189 | -1285 | -1380 | -1474 |
+ | | | | | |
+ | 80 | -1568 | -1660 | -1751 | -1842 |
+
+
+
+Valin, et al. Standards Track [Page 68]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ | | | | | |
+ | 84 | -1931 | -2019 | -2106 | -2191 |
+ | | | | | |
+ | 88 | -2276 | -2359 | -2440 | -2520 |
+ | | | | | |
+ | 92 | -2599 | -2676 | -2751 | -2824 |
+ | | | | | |
+ | 96 | -2896 | -2967 | -3035 | -3102 |
+ | | | | | |
+ | 100 | -3166 | -3229 | -3290 | -3349 |
+ | | | | | |
+ | 104 | -3406 | -3461 | -3513 | -3564 |
+ | | | | | |
+ | 108 | -3613 | -3659 | -3703 | -3745 |
+ | | | | | |
+ | 112 | -3784 | -3822 | -3857 | -3889 |
+ | | | | | |
+ | 116 | -3920 | -3948 | -3973 | -3997 |
+ | | | | | |
+ | 120 | -4017 | -4036 | -4052 | -4065 |
+ | | | | | |
+ | 124 | -4076 | -4085 | -4091 | -4095 |
+ | | | | | |
+ | 128 | -4096 | | | |
+ +-----+-------+-------+-------+-------+
+
+ Table 28: Q12 Cosine Table for LSF Conversion
+
+ Given the list of cosine values, silk_NLSF2A_find_poly() (NLSF2A.c)
+ computes the coefficients of P and Q, described here via a simple
+ recurrence. Let p_Q16[k][j] and q_Q16[k][j] be the coefficients of
+ the products of the first (k+1) root pairs for P and Q, with j
+ indexing the coefficient number. Only the first (k+2) coefficients
+ are needed, as the products are symmetric. Let
+ p_Q16[0][0] = q_Q16[0][0] = 1<<16, p_Q16[0][1] = -c_Q17[0],
+ q_Q16[0][1] = -c_Q17[1], and d2 = d_LPC/2. As boundary conditions,
+ assume p_Q16[k][j] = q_Q16[k][j] = 0 for all j < 0. Also, assume
+ p_Q16[k][k+2] = p_Q16[k][k] and q_Q16[k][k+2] = q_Q16[k][k] (because
+ of the symmetry). Then, for 0 < k < d2 and 0 <= j <= k+1,
+
+ p_Q16[k][j] = p_Q16[k-1][j] + p_Q16[k-1][j-2]
+ - ((c_Q17[2*k]*p_Q16[k-1][j-1] + 32768)>>16)
+
+ q_Q16[k][j] = q_Q16[k-1][j] + q_Q16[k-1][j-2]
+ - ((c_Q17[2*k+1]*q_Q16[k-1][j-1] + 32768)>>16)
+
+
+
+
+
+
+Valin, et al. Standards Track [Page 69]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ The use of Q17 values for the cosine terms in an otherwise Q16
+ expression implicitly scales them by a factor of 2. The
+ multiplications in this recurrence may require up to 48 bits of
+ precision in the result to avoid overflow. In practice, each row of
+ the recurrence only depends on the previous row, so an implementation
+ does not need to store all of them.
+
+ silk_NLSF2A() uses the values from the last row of this recurrence to
+ reconstruct a 32-bit version of the LPC filter (without the leading
+ 1.0 coefficient), a32_Q17[k], 0 <= k < d2:
+
+ a32_Q17[k] = -(q_Q16[d2-1][k+1] - q_Q16[d2-1][k])
+ - (p_Q16[d2-1][k+1] + p_Q16[d2-1][k]))
+
+ a32_Q17[d_LPC-k-1] = (q_Q16[d2-1][k+1] - q_Q16[d2-1][k])
+ - (p_Q16[d2-1][k+1] + p_Q16[d2-1][k]))
+
+ The sum and difference of two terms from each of the p_Q16 and q_Q16
+ coefficient lists reflect the (1 + z**-1) and (1 - z**-1) factors of
+ P and Q, respectively. The promotion of the expression from Q16 to
+ Q17 implicitly scales the result by 1/2.
+
+4.2.7.5.7. Limiting the Range of the LPC Coefficients
+
+ The a32_Q17[] coefficients are too large to fit in a 16-bit value,
+ which significantly increases the cost of applying this filter in
+ fixed-point decoders. Reducing them to Q12 precision doesn't incur
+ any significant quality loss, but still does not guarantee they will
+ fit. silk_NLSF2A() applies up to 10 rounds of bandwidth expansion to
+ limit the dynamic range of these coefficients. Even floating-point
+ decoders SHOULD perform these steps, to avoid mismatch.
+
+ For each round, the process first finds the index k such that
+ abs(a32_Q17[k]) is largest, breaking ties by choosing the lowest
+ value of k. Then, it computes the corresponding Q12 precision value,
+ maxabs_Q12, subject to an upper bound to avoid overflow in subsequent
+ computations:
+
+ maxabs_Q12 = min((maxabs_Q17 + 16) >> 5, 163838)
+
+ If this is larger than 32767, the procedure derives the chirp factor,
+ sc_Q16[0], to use in the bandwidth expansion as
+
+ (maxabs_Q12 - 32767) << 14
+ sc_Q16[0] = 65470 - --------------------------
+ (maxabs_Q12 * (k+1)) >> 2
+
+
+
+
+
+Valin, et al. Standards Track [Page 70]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ where the division here is integer division. This is an
+ approximation of the chirp factor needed to reduce the target
+ coefficient to 32767, though it is both less than 0.999 and, for
+ k > 0 when maxabs_Q12 is much greater than 32767, still slightly too
+ large. The upper bound on maxabs_Q12, 163838, was chosen because it
+ is equal to ((2**31 - 1) >> 14) + 32767, i.e., the largest value of
+ maxabs_Q12 that would not overflow the numerator in the equation
+ above when stored in a signed 32-bit integer.
+
+ silk_bwexpander_32() (bwexpander_32.c) performs the bandwidth
+ expansion (again, only when maxabs_Q12 is greater than 32767) using
+ the following recurrence:
+
+ a32_Q17[k] = (a32_Q17[k]*sc_Q16[k]) >> 16
+
+ sc_Q16[k+1] = (sc_Q16[0]*sc_Q16[k] + 32768) >> 16
+
+ The first multiply may require up to 48 bits of precision in the
+ result to avoid overflow. The second multiply must be unsigned to
+ avoid overflow with only 32 bits of precision. The reference
+ implementation uses a slightly more complex formulation that avoids
+ the 32-bit overflow using signed multiplication, but is otherwise
+ equivalent.
+
+ After 10 rounds of bandwidth expansion are performed, they are simply
+ saturated to 16 bits:
+
+ a32_Q17[k] = clamp(-32768, (a32_Q17[k] + 16) >> 5, 32767) << 5
+
+ Because this performs the actual saturation in the Q12 domain, but
+ converts the coefficients back to the Q17 domain for the purposes of
+ prediction gain limiting, this step must be performed after the 10th
+ round of bandwidth expansion, regardless of whether or not the Q12
+ version of any coefficient still overflows a 16-bit integer. This
+ saturation is not performed if maxabs_Q12 drops to 32767 or less
+ prior to the 10th round.
+
+4.2.7.5.8. Limiting the Prediction Gain of the LPC Filter
+
+ The prediction gain of an LPC synthesis filter is the square root of
+ the output energy when the filter is excited by a unit-energy
+ impulse. Even if the Q12 coefficients would fit, the resulting
+ filter may still have a significant gain (especially for voiced
+ sounds), making the filter unstable. silk_NLSF2A() applies up to 16
+ additional rounds of bandwidth expansion to limit the prediction
+ gain. Instead of controlling the amount of bandwidth expansion using
+ the prediction gain itself (which may diverge to infinity for an
+ unstable filter), silk_NLSF2A() uses silk_LPC_inverse_pred_gain_QA()
+
+
+
+Valin, et al. Standards Track [Page 71]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ (LPC_inv_pred_gain.c) to compute the reflection coefficients
+ associated with the filter. The filter is stable if and only if the
+ magnitude of these coefficients is sufficiently less than one. The
+ reflection coefficients, rc[k], can be computed using a simple
+ Levinson recurrence, initialized with the LPC coefficients a[d_LPC-
+ 1][n] = a[n], and then updated via
+
+ rc[k] = -a[k][k] ,
+
+ a[k][n] - a[k][k-n-1]*rc[k]
+ a[k-1][n] = ---------------------------
+ 2
+ 1 - rc[k]
+
+ However, silk_LPC_inverse_pred_gain_QA() approximates this using
+ fixed-point arithmetic to guarantee reproducible results across
+ platforms and implementations. Since small changes in the
+ coefficients can make a stable filter unstable, it takes the real Q12
+ coefficients that will be used during reconstruction as input. Thus,
+ let
+
+ a32_Q12[n] = (a32_Q17[n] + 16) >> 5
+
+ be the Q12 version of the LPC coefficients that will eventually be
+ used. As a simple initial check, the decoder computes the DC
+ response as
+
+ d_PLC-1
+ __
+ DC_resp = \ a32_Q12[n]
+ /_
+ n=0
+
+ and if DC_resp > 4096, the filter is unstable.
+
+ Increasing the precision of these Q12 coefficients to Q24 for
+ intermediate computations allows more accurate computation of the
+ reflection coefficients, so the decoder initializes the recurrence
+ via
+
+ inv_gain_Q30[d_LPC] = 1 << 30
+
+ a32_Q24[d_LPC-1][n] = a32_Q12[n] << 12
+
+
+
+
+
+
+
+
+Valin, et al. Standards Track [Page 72]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ Then, for each k from d_LPC-1 down to 0, if
+ abs(a32_Q24[k][k]) > 16773022, the filter is unstable and the
+ recurrence stops. The constant 16773022 here is approximately
+ 0.99975 in Q24. Otherwise, the inverse of the prediction gain,
+ inv_gain_Q30[k], is updated via
+
+ rc_Q31[k] = -a32_Q24[k][k] << 7
+
+ div_Q30[k] = (1<<30) - (rc_Q31[k]*rc_Q31[k] >> 32)
+
+ inv_gain_Q30[k] = (inv_gain_Q30[k+1]*div_Q30[k] >> 32) << 2
+
+ and if inv_gain_Q30[k] < 107374, the filter is unstable and the
+ recurrence stops. The constant 107374 here is approximately 1/10000
+ in Q30. If neither of these checks determine that the filter is
+ unstable and k > 0, row k-1 of a32_Q24 is computed from row k as
+
+ b1[k] = ilog(div_Q30[k])
+
+ b2[k] = b1[k] - 16
+
+ (1<<29) - 1
+ inv_Qb2[k] = -----------------------
+ div_Q30[k] >> (b2[k]+1)
+
+ err_Q29[k] = (1<<29)
+ - ((div_Q30[k]<<(15-b2[k]))*inv_Qb2[k] >> 16)
+
+ gain_Qb1[k] = ((inv_Qb2[k] << 16)
+ + (err_Q29[k]*inv_Qb2[k] >> 13))
+
+ num_Q24[k-1][n] = a32_Q24[k][n]
+ - ((a32_Q24[k][k-n-1]*rc_Q31[k] + (1<<30)) >> 31)
+
+ a32_Q24[k-1][n] = (num_Q24[k-1][n]*gain_Qb1[k]
+ + (1<<(b1[k]-1))) >> b1[k]
+
+ where 0 <= n < k. In the above, rc_Q31[k] are the reflection
+ coefficients. div_Q30[k] is the denominator for each iteration, and
+ gain_Qb1[k] is its multiplicative inverse (with b1[k] fractional
+ bits, where b1[k] ranges from 20 to 31). inv_Qb2[k], which ranges
+ from 16384 to 32767, is a low-precision version of that inverse (with
+ b2[k] fractional bits). err_Q29[k] is the residual error, ranging
+ from -32763 to 32392, which is used to improve the accuracy. The
+ values t_Q24[k-1][n] for each n are the numerators for the next row
+ of coefficients in the recursion, and a32_Q24[k-1][n] is the final
+ version of that row. Every multiply in this procedure except the one
+ used to compute gain_Qb1[k] requires more than 32 bits of precision,
+
+
+
+Valin, et al. Standards Track [Page 73]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ but otherwise all intermediate results fit in 32 bits or less. In
+ practice, because each row only depends on the next one, an
+ implementation does not need to store them all.
+
+ If abs(a32_Q24[k][k]) <= 16773022 and inv_gain_Q30[k] >= 107374 for
+ 0 <= k < d_LPC, then the filter is considered stable. However, the
+ problem of determining stability is ill-conditioned when the filter
+ contains several reflection coefficients whose magnitude is very
+ close to one. This fixed-point algorithm is not mathematically
+ guaranteed to correctly classify filters as stable or unstable in
+ this case, though it does very well in practice.
+
+ On round i, 0 <= i < 16, if the filter passes these stability checks,
+ then this procedure stops, and the final LPC coefficients to use for
+ reconstruction in Section 4.2.7.9.2 are
+
+ a_Q12[k] = (a32_Q17[k] + 16) >> 5
+
+ Otherwise, a round of bandwidth expansion is applied using the same
+ procedure as in Section 4.2.7.5.7, with
+
+ sc_Q16[0] = 65536 - (2<<i)
+
+ During round 15, sc_Q16[0] becomes 0 in the above equation, so
+ a_Q12[k] is set to 0 for all k, guaranteeing a stable filter.
+
+4.2.7.6. Long-Term Prediction (LTP) Parameters
+
+ After the normalized LSF indices and, for 20 ms frames, the LSF
+ interpolation index, voiced frames (see Section 4.2.7.3) include
+ additional LTP parameters. There is one primary lag index for each
+ SILK frame, but this is refined to produce a separate lag index per
+ subframe using a vector quantizer. Each subframe also gets its own
+ prediction gain coefficient.
+
+4.2.7.6.1. Pitch Lags
+
+ The primary lag index is coded either relative to the primary lag of
+ the prior frame in the same channel or as an absolute index.
+ Absolute coding is used if and only if
+
+ o This is the first SILK frame of its type (LBRR or regular) for
+ this channel in the current Opus frame,
+
+ o The previous SILK frame of the same type (LBRR or regular) for
+ this channel in the same Opus frame was not coded, or
+
+
+
+
+
+Valin, et al. Standards Track [Page 74]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ o That previous SILK frame was coded, but was not voiced (see
+ Section 4.2.7.3).
+
+ With absolute coding, the primary pitch lag may range from 2 ms
+ (inclusive) up to 18 ms (exclusive), corresponding to pitches from
+ 500 Hz down to 55.6 Hz, respectively. It is comprised of a high part
+ and a low part, where the decoder first reads the high part using the
+ 32-entry codebook in Table 29 and then the low part using the
+ codebook corresponding to the current audio bandwidth from Table 30.
+ The final primary pitch lag is then
+
+ lag = lag_high*lag_scale + lag_low + lag_min
+
+ where lag_high is the high part, lag_low is the low part, and
+ lag_scale and lag_min are the values from the "Scale" and "Minimum
+ Lag" columns of Table 30, respectively.
+
+ +-------------------------------------------------------------------+
+ | PDF |
+ +-------------------------------------------------------------------+
+ | {3, 3, 6, 11, 21, 30, 32, 19, 11, 10, 12, 13, 13, 12, 11, 9, 8, |
+ | 7, 6, 4, 2, 2, 2, 1, 1, 1, 1, 1, 1, 1, 1, 1}/256 |
+ +-------------------------------------------------------------------+
+
+ Table 29: PDF for High Part of Primary Pitch Lag
+
+ +------------+------------------------+-------+----------+----------+
+ | Audio | PDF | Scale | Minimum | Maximum |
+ | Bandwidth | | | Lag | Lag |
+ +------------+------------------------+-------+----------+----------+
+ | NB | {64, 64, 64, 64}/256 | 4 | 16 | 144 |
+ | | | | | |
+ | MB | {43, 42, 43, 43, 42, | 6 | 24 | 216 |
+ | | 43}/256 | | | |
+ | | | | | |
+ | WB | {32, 32, 32, 32, 32, | 8 | 32 | 288 |
+ | | 32, 32, 32}/256 | | | |
+ +------------+------------------------+-------+----------+----------+
+
+ Table 30: PDF for Low Part of Primary Pitch Lag
+
+ All frames that do not use absolute coding for the primary lag index
+ use relative coding instead. The decoder reads a single delta value
+ using the 21-entry PDF in Table 31. If the resulting value is zero,
+ it falls back to the absolute coding procedure from the prior
+ paragraph. Otherwise, the final primary pitch lag is then
+
+ lag = previous_lag + (delta_lag_index - 9)
+
+
+
+Valin, et al. Standards Track [Page 75]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ where previous_lag is the primary pitch lag from the most recent
+ frame in the same channel and delta_lag_index is the value just
+ decoded. This allows a per-frame change in the pitch lag of -8 to
+ +11 samples. The decoder does no clamping at this point, so this
+ value can fall outside the range of 2 ms to 18 ms, and the decoder
+ must use this unclamped value when using relative coding in the next
+ SILK frame (if any). However, because an Opus frame can use relative
+ coding for at most two consecutive SILK frames, integer overflow
+ should not be an issue.
+
+ +-------------------------------------------------------------------+
+ | PDF |
+ +-------------------------------------------------------------------+
+ | {46, 2, 2, 3, 4, 6, 10, 15, 26, 38, 30, 22, 15, 10, 7, 6, 4, 4, |
+ | 2, 2, 2}/256 |
+ +-------------------------------------------------------------------+
+
+ Table 31: PDF for Primary Pitch Lag Change
+
+ After the primary pitch lag, a "pitch contour", stored as a single
+ entry from one of four small VQ codebooks, gives lag offsets for each
+ subframe in the current SILK frame. The codebook index is decoded
+ using one of the PDFs in Table 32 depending on the current frame size
+ and audio bandwidth. Tables 33 through 36 give the corresponding
+ offsets to apply to the primary pitch lag for each subframe given the
+ decoded codebook index.
+
+ +-----------+--------+----------+-----------------------------------+
+ | Audio | SILK | Codebook | PDF |
+ | Bandwidth | Frame | Size | |
+ | | Size | | |
+ +-----------+--------+----------+-----------------------------------+
+ | NB | 10 ms | 3 | {143, 50, 63}/256 |
+ | | | | |
+ | NB | 20 ms | 11 | {68, 12, 21, 17, 19, 22, 30, 24, |
+ | | | | 17, 16, 10}/256 |
+ | | | | |
+ | MB or WB | 10 ms | 12 | {91, 46, 39, 19, 14, 12, 8, 7, 6, |
+ | | | | 5, 5, 4}/256 |
+ | | | | |
+ | MB or WB | 20 ms | 34 | {33, 22, 18, 16, 15, 14, 14, 13, |
+ | | | | 13, 10, 9, 9, 8, 6, 6, 6, 5, 4, |
+ | | | | 4, 4, 3, 3, 3, 2, 2, 2, 2, 2, 2, |
+ | | | | 2, 1, 1, 1, 1}/256 |
+ +-----------+--------+----------+-----------------------------------+
+
+ Table 32: PDFs for Subframe Pitch Contour
+
+
+
+
+Valin, et al. Standards Track [Page 76]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ +-------+------------------+
+ | Index | Subframe Offsets |
+ +-------+------------------+
+ | 0 | 0 0 |
+ | | |
+ | 1 | 1 0 |
+ | | |
+ | 2 | 0 1 |
+ +-------+------------------+
+
+ Table 33: Codebook Vectors for Subframe Pitch Contour:
+ NB, 10 ms Frames
+
+ +-------+------------------+
+ | Index | Subframe Offsets |
+ +-------+------------------+
+ | 0 | 0 0 0 0 |
+ | | |
+ | 1 | 2 1 0 -1 |
+ | | |
+ | 2 | -1 0 1 2 |
+ | | |
+ | 3 | -1 0 0 1 |
+ | | |
+ | 4 | -1 0 0 0 |
+ | | |
+ | 5 | 0 0 0 1 |
+ | | |
+ | 6 | 0 0 1 1 |
+ | | |
+ | 7 | 1 1 0 0 |
+ | | |
+ | 8 | 1 0 0 0 |
+ | | |
+ | 9 | 0 0 0 -1 |
+ | | |
+ | 10 | 1 0 0 -1 |
+ +-------+------------------+
+
+ Table 34: Codebook Vectors for Subframe Pitch Contour:
+ NB, 20 ms Frames
+
+
+
+
+
+
+
+
+
+
+Valin, et al. Standards Track [Page 77]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ +-------+------------------+
+ | Index | Subframe Offsets |
+ +-------+------------------+
+ | 0 | 0 0 |
+ | | |
+ | 1 | 0 1 |
+ | | |
+ | 2 | 1 0 |
+ | | |
+ | 3 | -1 1 |
+ | | |
+ | 4 | 1 -1 |
+ | | |
+ | 5 | -1 2 |
+ | | |
+ | 6 | 2 -1 |
+ | | |
+ | 7 | -2 2 |
+ | | |
+ | 8 | 2 -2 |
+ | | |
+ | 9 | -2 3 |
+ | | |
+ | 10 | 3 -2 |
+ | | |
+ | 11 | -3 3 |
+ +-------+------------------+
+
+ Table 35: Codebook Vectors for Subframe Pitch Contour: MB or WB,
+ 10 ms Frames
+
+ +-------+------------------+
+ | Index | Subframe Offsets |
+ +-------+------------------+
+ | 0 | 0 0 0 0 |
+ | | |
+ | 1 | 0 0 1 1 |
+ | | |
+ | 2 | 1 1 0 0 |
+ | | |
+ | 3 | -1 0 0 0 |
+ | | |
+ | 4 | 0 0 0 1 |
+ | | |
+ | 5 | 1 0 0 0 |
+ | | |
+ | 6 | -1 0 0 1 |
+ | | |
+
+
+
+Valin, et al. Standards Track [Page 78]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ | 7 | 0 0 0 -1 |
+ | | |
+ | 8 | -1 0 1 2 |
+ | | |
+ | 9 | 1 0 0 -1 |
+ | | |
+ | 10 | -2 -1 1 2 |
+ | | |
+ | 11 | 2 1 0 -1 |
+ | | |
+ | 12 | -2 0 0 2 |
+ | | |
+ | 13 | -2 0 1 3 |
+ | | |
+ | 14 | 2 1 -1 -2 |
+ | | |
+ | 15 | -3 -1 1 3 |
+ | | |
+ | 16 | 2 0 0 -2 |
+ | | |
+ | 17 | 3 1 0 -2 |
+ | | |
+ | 18 | -3 -1 2 4 |
+ | | |
+ | 19 | -4 -1 1 4 |
+ | | |
+ | 20 | 3 1 -1 -3 |
+ | | |
+ | 21 | -4 -1 2 5 |
+ | | |
+ | 22 | 4 2 -1 -3 |
+ | | |
+ | 23 | 4 1 -1 -4 |
+ | | |
+ | 24 | -5 -1 2 6 |
+ | | |
+ | 25 | 5 2 -1 -4 |
+ | | |
+ | 26 | -6 -2 2 6 |
+ | | |
+ | 27 | -5 -2 2 5 |
+ | | |
+ | 28 | 6 2 -1 -5 |
+ | | |
+ | 29 | -7 -2 3 8 |
+ | | |
+ | 30 | 6 2 -2 -6 |
+ | | |
+
+
+
+Valin, et al. Standards Track [Page 79]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ | 31 | 5 2 -2 -5 |
+ | | |
+ | 32 | 8 3 -2 -7 |
+ | | |
+ | 33 | -9 -3 3 9 |
+ +-------+------------------+
+
+ Table 36: Codebook Vectors for Subframe Pitch Contour: MB or WB,
+ 20 ms Frames
+
+ The final pitch lag for each subframe is assembled in
+ silk_decode_pitch() (decode_pitch.c). Let lag be the primary pitch
+ lag for the current SILK frame, contour_index be index of the VQ
+ codebook, and lag_cb[contour_index][k] be the corresponding entry of
+ the codebook from the appropriate table given above for the k'th
+ subframe. Then the final pitch lag for that subframe is
+
+ pitch_lags[k] = clamp(lag_min, lag + lag_cb[contour_index][k],
+ lag_max)
+
+ where lag_min and lag_max are the values from the "Minimum Lag" and
+ "Maximum Lag" columns of Table 30, respectively.
+
+4.2.7.6.2. LTP Filter Coefficients
+
+ SILK uses a separate 5-tap pitch filter for each subframe, selected
+ from one of three codebooks. The three codebooks each represent
+ different rate-distortion trade-offs, with average rates of
+ 1.61 bits/subframe, 3.68 bits/subframe, and 4.85 bits/subframe,
+ respectively.
+
+ The importance of the filter coefficients generally depends on two
+ factors: the periodicity of the signal and relative energy between
+ the current subframe and the signal from one period earlier. Greater
+ periodicity and decaying energy both lead to more important filter
+ coefficients. Thus, they should be coded with lower distortion and
+ higher rate. These properties are relatively stable over the
+ duration of a single SILK frame. Hence, all of the subframes in a
+ SILK frame choose their filter from the same codebook. This is
+ signaled with an explicitly-coded "periodicity index". This
+ immediately follows the subframe pitch lags, and is coded using the
+ 3-entry PDF from Table 37.
+
+
+
+
+
+
+
+
+
+Valin, et al. Standards Track [Page 80]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ +------------------+
+ | PDF |
+ +------------------+
+ | {77, 80, 99}/256 |
+ +------------------+
+
+ Table 37: Periodicity Index PDF
+
+ The indices of the filters for each subframe follow. They are all
+ coded using the PDF from Table 38 corresponding to the periodicity
+ index. Tables 39 through 41 contain the corresponding filter taps as
+ signed Q7 integers.
+
+ +-------------+----------+------------------------------------------+
+ | Periodicity | Codebook | PDF |
+ | Index | Size | |
+ +-------------+----------+------------------------------------------+
+ | 0 | 8 | {185, 15, 13, 13, 9, 9, 6, 6}/256 |
+ | | | |
+ | 1 | 16 | {57, 34, 21, 20, 15, 13, 12, 13, 10, 10, |
+ | | | 9, 10, 9, 8, 7, 8}/256 |
+ | | | |
+ | 2 | 32 | {15, 16, 14, 12, 12, 12, 11, 11, 11, 10, |
+ | | | 9, 9, 9, 9, 8, 8, 8, 8, 7, 7, 6, 6, 5, |
+ | | | 4, 5, 4, 4, 4, 3, 4, 3, 2}/256 |
+ +-------------+----------+------------------------------------------+
+
+ Table 38: LTP Filter PDFs
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+Valin, et al. Standards Track [Page 81]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ +-------+---------------------+
+ | Index | Filter Taps (Q7) |
+ +-------+---------------------+
+ | 0 | 4 6 24 7 5 |
+ | | |
+ | 1 | 0 0 2 0 0 |
+ | | |
+ | 2 | 12 28 41 13 -4 |
+ | | |
+ | 3 | -9 15 42 25 14 |
+ | | |
+ | 4 | 1 -2 62 41 -9 |
+ | | |
+ | 5 | -10 37 65 -4 3 |
+ | | |
+ | 6 | -6 4 66 7 -8 |
+ | | |
+ | 7 | 16 14 38 -3 33 |
+ +-------+---------------------+
+
+ Table 39: Codebook Vectors for LTP Filter, Periodicity Index 0
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+Valin, et al. Standards Track [Page 82]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ +-------+---------------------+
+ | Index | Filter Taps (Q7) |
+ +-------+---------------------+
+ | 0 | 13 22 39 23 12 |
+ | | |
+ | 1 | -1 36 64 27 -6 |
+ | | |
+ | 2 | -7 10 55 43 17 |
+ | | |
+ | 3 | 1 1 8 1 1 |
+ | | |
+ | 4 | 6 -11 74 53 -9 |
+ | | |
+ | 5 | -12 55 76 -12 8 |
+ | | |
+ | 6 | -3 3 93 27 -4 |
+ | | |
+ | 7 | 26 39 59 3 -8 |
+ | | |
+ | 8 | 2 0 77 11 9 |
+ | | |
+ | 9 | -8 22 44 -6 7 |
+ | | |
+ | 10 | 40 9 26 3 9 |
+ | | |
+ | 11 | -7 20 101 -7 4 |
+ | | |
+ | 12 | 3 -8 42 26 0 |
+ | | |
+ | 13 | -15 33 68 2 23 |
+ | | |
+ | 14 | -2 55 46 -2 15 |
+ | | |
+ | 15 | 3 -1 21 16 41 |
+ +-------+---------------------+
+
+ Table 40: Codebook Vectors for LTP Filter, Periodicity Index 1
+
+ +-------+---------------------+
+ | Index | Filter Taps (Q7) |
+ +-------+---------------------+
+ | 0 | -6 27 61 39 5 |
+ | | |
+ | 1 | -11 42 88 4 1 |
+ | | |
+ | 2 | -2 60 65 6 -4 |
+ | | |
+ | 3 | -1 -5 73 56 1 |
+
+
+
+Valin, et al. Standards Track [Page 83]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ | 4 | -9 19 94 29 -9 |
+ | | |
+ | 5 | 0 12 99 6 4 |
+ | | |
+ | 6 | 8 -19 102 46 -13 |
+ | | |
+ | 7 | 3 2 13 3 2 |
+ | | |
+ | 8 | 9 -21 84 72 -18 |
+ | | |
+ | 9 | -11 46 104 -22 8 |
+ | | |
+ | 10 | 18 38 48 23 0 |
+ | | |
+ | 11 | -16 70 83 -21 11 |
+ | | |
+ | 12 | 5 -11 117 22 -8 |
+ | | |
+ | 13 | -6 23 117 -12 3 |
+ | | |
+ | 14 | 3 -8 95 28 4 |
+ | | |
+ | 15 | -10 15 77 60 -15 |
+ | | |
+ | 16 | -1 4 124 2 -4 |
+ | | |
+ | 17 | 3 38 84 24 -25 |
+ | | |
+ | 18 | 2 13 42 13 31 |
+ | | |
+ | 19 | 21 -4 56 46 -1 |
+ | | |
+ | 20 | -1 35 79 -13 19 |
+ | | |
+ | 21 | -7 65 88 -9 -14 |
+ | | |
+ | 22 | 20 4 81 49 -29 |
+ | | |
+ | 23 | 20 0 75 3 -17 |
+ | | |
+ | 24 | 5 -9 44 92 -8 |
+ | | |
+ | 25 | 1 -3 22 69 31 |
+ | | |
+ | 26 | -6 95 41 -12 5 |
+ | | |
+ | 27 | 39 67 16 -4 1 |
+ | | |
+
+
+
+Valin, et al. Standards Track [Page 84]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ | 28 | 0 -6 120 55 -36 |
+ | | |
+ | 29 | -13 44 122 4 -24 |
+ | | |
+ | 30 | 81 5 11 3 7 |
+ | | |
+ | 31 | 2 0 9 10 88 |
+ +-------+---------------------+
+
+ Table 41: Codebook Vectors for LTP Filter, Periodicity Index 2
+
+4.2.7.6.3. LTP Scaling Parameter
+
+ An LTP scaling parameter appears after the LTP filter coefficients if
+ and only if
+
+ o This is a voiced frame (see Section 4.2.7.3), and
+
+ o Either
+
+ * This SILK frame corresponds to the first time interval of the
+ current Opus frame for its type (LBRR or regular), or
+
+ * This is an LBRR frame where the LBRR flags (see Section 4.2.4)
+ indicate the previous LBRR frame in the same channel is not
+ coded.
+
+ This allows the encoder to trade off the prediction gain between
+ packets against the recovery time after packet loss. Unlike
+ absolute-coding for pitch lags, regular SILK frames that are not at
+ the start of an Opus frame (i.e., that do not correspond to the first
+ 20 ms time interval in Opus frames of 40 or 60 ms) do not include
+ this field, even if the prior frame was not voiced, or (in the case
+ of the side channel) not even coded. After an uncoded frame in the
+ side channel, the LTP buffer (see Section 4.2.7.9.1) is cleared to
+ zero, and is thus in a known state. In contrast, LBRR frames do
+ include this field when the prior frame was not coded, since the LTP
+ buffer contains the output of the PLC, which is non-normative.
+
+ If present, the decoder reads a value using the 3-entry PDF in
+ Table 42. The three possible values represent Q14 scale factors of
+ 15565, 12288, and 8192, respectively (corresponding to approximately
+ 0.95, 0.75, and 0.5). Frames that do not code the scaling parameter
+ use the default factor of 15565 (approximately 0.95).
+
+
+
+
+
+
+
+Valin, et al. Standards Track [Page 85]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ +-------------------+
+ | PDF |
+ +-------------------+
+ | {128, 64, 64}/256 |
+ +-------------------+
+
+ Table 42: PDF for LTP Scaling Parameter
+
+4.2.7.7. Linear Congruential Generator (LCG) Seed
+
+ As described in Section 4.2.7.8.6, SILK uses a Linear Congruential
+ Generator (LCG) to inject pseudorandom noise into the quantized
+ excitation. To ensure synchronization of this process between the
+ encoder and decoder, each SILK frame stores a 2-bit seed after the
+ LTP parameters (if any). The encoder may consider the choice of seed
+ during quantization, and the flexibility of this choice lets it
+ reduce distortion, helping to pay for the bit cost required to signal
+ it. The decoder reads the seed using the uniform 4-entry PDF in
+ Table 43, yielding a value between 0 and 3, inclusive.
+
+ +----------------------+
+ | PDF |
+ +----------------------+
+ | {64, 64, 64, 64}/256 |
+ +----------------------+
+
+ Table 43: PDF for LCG Seed
+
+4.2.7.8. Excitation
+
+ SILK codes the excitation using a modified version of the Pyramid
+ Vector Quantizer (PVQ) codebook [PVQ]. The PVQ codebook is designed
+ for Laplace-distributed values and consists of all sums of K signed,
+ unit pulses in a vector of dimension N, where two pulses at the same
+ position are required to have the same sign. Thus, the codebook
+ includes all integer codevectors y of dimension N that satisfy
+
+ N-1
+ __
+ \ abs(y[j]) = K
+ /_
+ j=0
+
+ Unlike regular PVQ, SILK uses a variable-length, rather than fixed-
+ length, encoding. This encoding is better suited to the more
+ Gaussian-like distribution of the coefficient magnitudes and the non-
+ uniform distribution of their signs (caused by the quantization
+ offset described below). SILK also handles large codebooks by coding
+
+
+
+Valin, et al. Standards Track [Page 86]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ the least significant bits (LSBs) of each coefficient directly. This
+ adds a small coding efficiency loss, but greatly reduces the
+ computation time and ROM size required for decoding, as implemented
+ in silk_decode_pulses() (decode_pulses.c).
+
+ SILK fixes the dimension of the codebook to N = 16. The excitation
+ is made up of a number of "shell blocks", each 16 samples in size.
+ Table 44 lists the number of shell blocks required for a SILK frame
+ for each possible audio bandwidth and frame size. 10 ms MB frames
+ nominally contain 120 samples (10 ms at 12 kHz), which is not a
+ multiple of 16. This is handled by coding 8 shell blocks (128
+ samples) and discarding the final 8 samples of the last block. The
+ decoder contains no special case that prevents an encoder from
+ placing pulses in these samples, and they must be correctly parsed
+ from the bitstream if present, but they are otherwise ignored.
+
+ +-----------------+------------+------------------------+
+ | Audio Bandwidth | Frame Size | Number of Shell Blocks |
+ +-----------------+------------+------------------------+
+ | NB | 10 ms | 5 |
+ | | | |
+ | MB | 10 ms | 8 |
+ | | | |
+ | WB | 10 ms | 10 |
+ | | | |
+ | NB | 20 ms | 10 |
+ | | | |
+ | MB | 20 ms | 15 |
+ | | | |
+ | WB | 20 ms | 20 |
+ +-----------------+------------+------------------------+
+
+ Table 44: Number of Shell Blocks Per SILK Frame
+
+4.2.7.8.1. Rate Level
+
+ The first symbol in the excitation is a "rate level", which is an
+ index from 0 to 8, inclusive, coded using the PDF in Table 45
+ corresponding to the signal type of the current frame (from
+ Section 4.2.7.3). The rate level selects the PDF used to decode the
+ number of pulses in the individual shell blocks. It does not
+ directly convey any information about the bitrate or the number of
+ pulses itself, but merely changes the probability of the symbols in
+ Section 4.2.7.8.2. Level 0 provides a more efficient encoding at low
+ rates generally, and level 8 provides a more efficient encoding at
+ high rates generally, though the most efficient level for a
+
+
+
+
+
+Valin, et al. Standards Track [Page 87]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ particular SILK frame may depend on the exact distribution of the
+ coded symbols. An encoder should, but is not required to, use the
+ most efficient rate level.
+
+ +----------------------+------------------------------------------+
+ | Signal Type | PDF |
+ +----------------------+------------------------------------------+
+ | Inactive or Unvoiced | {15, 51, 12, 46, 45, 13, 33, 27, 14}/256 |
+ | | |
+ | Voiced | {33, 30, 36, 17, 34, 49, 18, 21, 18}/256 |
+ +----------------------+------------------------------------------+
+
+ Table 45: PDFs for the Rate Level
+
+4.2.7.8.2. Pulses per Shell Block
+
+ The total number of pulses in each of the shell blocks follows the
+ rate level. The pulse counts for all of the shell blocks are coded
+ consecutively, before the content of any of the blocks. Each block
+ may have anywhere from 0 to 16 pulses, inclusive, coded using the 18-
+ entry PDF in Table 46 corresponding to the rate level from
+ Section 4.2.7.8.1. The special value 17 indicates that this block
+ has one or more additional LSBs to decode for each coefficient. If
+ the decoder encounters this value, it decodes another value for the
+ actual pulse count of the block, but uses the PDF corresponding to
+ the special rate level 9 instead of the normal rate level. This
+ process repeats until the decoder reads a value less than 17, and it
+ then sets the number of extra LSBs used to the number of 17's decoded
+ for that block. If it reads the value 17 ten times, then the next
+ iteration uses the special rate level 10 instead of 9. The
+ probability of decoding a 17 when using the PDF for rate level 10 is
+ zero, ensuring that the number of LSBs for a block will not exceed
+ 10. The cumulative distribution for rate level 10 is just a shifted
+ version of that for 9 and thus does not require any additional
+ storage.
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+Valin, et al. Standards Track [Page 88]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ +----------+--------------------------------------------------------+
+ | Rate | PDF |
+ | Level | |
+ +----------+--------------------------------------------------------+
+ | 0 | {131, 74, 25, 8, 3, 3, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, |
+ | | 1, 1}/256 |
+ | | |
+ | 1 | {58, 93, 60, 23, 7, 3, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, |
+ | | 1, 1}/256 |
+ | | |
+ | 2 | {43, 51, 46, 33, 24, 16, 11, 8, 6, 3, 3, 3, 2, 1, 1, |
+ | | 2, 1, 2}/256 |
+ | | |
+ | 3 | {17, 52, 71, 57, 31, 12, 5, 1, 1, 1, 1, 1, 1, 1, 1, 1, |
+ | | 1, 1}/256 |
+ | | |
+ | 4 | {6, 21, 41, 53, 49, 35, 21, 11, 6, 3, 2, 2, 1, 1, 1, |
+ | | 1, 1, 1}/256 |
+ | | |
+ | 5 | {7, 14, 22, 28, 29, 28, 25, 20, 17, 13, 11, 9, 7, 5, |
+ | | 4, 4, 3, 10}/256 |
+ | | |
+ | 6 | {2, 5, 14, 29, 42, 46, 41, 31, 19, 11, 6, 3, 2, 1, 1, |
+ | | 1, 1, 1}/256 |
+ | | |
+ | 7 | {1, 2, 4, 10, 19, 29, 35, 37, 34, 28, 20, 14, 8, 5, 4, |
+ | | 2, 2, 2}/256 |
+ | | |
+ | 8 | {1, 2, 2, 5, 9, 14, 20, 24, 27, 28, 26, 23, 20, 15, |
+ | | 11, 8, 6, 15}/256 |
+ | | |
+ | 9 | {1, 1, 1, 6, 27, 58, 56, 39, 25, 14, 10, 6, 3, 3, 2, |
+ | | 1, 1, 2}/256 |
+ | | |
+ | 10 | {2, 1, 6, 27, 58, 56, 39, 25, 14, 10, 6, 3, 3, 2, 1, |
+ | | 1, 2, 0}/256 |
+ +----------+--------------------------------------------------------+
+
+ Table 46: PDFs for the Pulse Count
+
+4.2.7.8.3. Pulse Location Decoding
+
+ The locations of the pulses in each shell block follow the pulse
+ counts, as decoded by silk_shell_decoder() (shell_coder.c). As with
+ the pulse counts, these locations are coded for all the shell blocks
+ before any of the remaining information for each block. Unlike many
+ other codecs, SILK places no restriction on the distribution of
+
+
+
+
+Valin, et al. Standards Track [Page 89]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ pulses within a shell block. All of the pulses may be placed in a
+ single location, or each one in a unique location, or anything in
+ between.
+
+ The location of pulses is coded by recursively partitioning each
+ block into halves, and coding how many pulses fall on the left side
+ of the split. All remaining pulses must fall on the right side of
+ the split. The process then recurses into the left half, and after
+ that returns, the right half (preorder traversal). The PDF to use is
+ chosen by the size of the current partition (16, 8, 4, or 2) and the
+ number of pulses in the partition (1 to 16, inclusive). Tables 47
+ through 50 list the PDFs used for each partition size and pulse
+ count. This process skips partitions without any pulses, i.e., where
+ the initial pulse count from Section 4.2.7.8.2 was zero, or where the
+ split in the prior level indicated that all of the pulses fell on the
+ other side. These partitions have nothing to code, so they require
+ no PDF.
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+Valin, et al. Standards Track [Page 90]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ +------------+------------------------------------------------------+
+ | Pulse | PDF |
+ | Count | |
+ +------------+------------------------------------------------------+
+ | 1 | {126, 130}/256 |
+ | | |
+ | 2 | {56, 142, 58}/256 |
+ | | |
+ | 3 | {25, 101, 104, 26}/256 |
+ | | |
+ | 4 | {12, 60, 108, 64, 12}/256 |
+ | | |
+ | 5 | {7, 35, 84, 87, 37, 6}/256 |
+ | | |
+ | 6 | {4, 20, 59, 86, 63, 21, 3}/256 |
+ | | |
+ | 7 | {3, 12, 38, 72, 75, 42, 12, 2}/256 |
+ | | |
+ | 8 | {2, 8, 25, 54, 73, 59, 27, 7, 1}/256 |
+ | | |
+ | 9 | {2, 5, 17, 39, 63, 65, 42, 18, 4, 1}/256 |
+ | | |
+ | 10 | {1, 4, 12, 28, 49, 63, 54, 30, 11, 3, 1}/256 |
+ | | |
+ | 11 | {1, 4, 8, 20, 37, 55, 57, 41, 22, 8, 2, 1}/256 |
+ | | |
+ | 12 | {1, 3, 7, 15, 28, 44, 53, 48, 33, 16, 6, 1, 1}/256 |
+ | | |
+ | 13 | {1, 2, 6, 12, 21, 35, 47, 48, 40, 25, 12, 5, 1, |
+ | | 1}/256 |
+ | | |
+ | 14 | {1, 1, 4, 10, 17, 27, 37, 47, 43, 33, 21, 9, 4, 1, |
+ | | 1}/256 |
+ | | |
+ | 15 | {1, 1, 1, 8, 14, 22, 33, 40, 43, 38, 28, 16, 8, 1, |
+ | | 1, 1}/256 |
+ | | |
+ | 16 | {1, 1, 1, 1, 13, 18, 27, 36, 41, 41, 34, 24, 14, 1, |
+ | | 1, 1, 1}/256 |
+ +------------+------------------------------------------------------+
+
+ Table 47: PDFs for Pulse Count Split, 16 Sample Partitions
+
+
+
+
+
+
+
+
+
+Valin, et al. Standards Track [Page 91]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ +------------+------------------------------------------------------+
+ | Pulse | PDF |
+ | Count | |
+ +------------+------------------------------------------------------+
+ | 1 | {127, 129}/256 |
+ | | |
+ | 2 | {53, 149, 54}/256 |
+ | | |
+ | 3 | {22, 105, 106, 23}/256 |
+ | | |
+ | 4 | {11, 61, 111, 63, 10}/256 |
+ | | |
+ | 5 | {6, 35, 86, 88, 36, 5}/256 |
+ | | |
+ | 6 | {4, 20, 59, 87, 62, 21, 3}/256 |
+ | | |
+ | 7 | {3, 13, 40, 71, 73, 41, 13, 2}/256 |
+ | | |
+ | 8 | {3, 9, 27, 53, 70, 56, 28, 9, 1}/256 |
+ | | |
+ | 9 | {3, 8, 19, 37, 57, 61, 44, 20, 6, 1}/256 |
+ | | |
+ | 10 | {3, 7, 15, 28, 44, 54, 49, 33, 17, 5, 1}/256 |
+ | | |
+ | 11 | {1, 7, 13, 22, 34, 46, 48, 38, 28, 14, 4, 1}/256 |
+ | | |
+ | 12 | {1, 1, 11, 22, 27, 35, 42, 47, 33, 25, 10, 1, 1}/256 |
+ | | |
+ | 13 | {1, 1, 6, 14, 26, 37, 43, 43, 37, 26, 14, 6, 1, |
+ | | 1}/256 |
+ | | |
+ | 14 | {1, 1, 4, 10, 20, 31, 40, 42, 40, 31, 20, 10, 4, 1, |
+ | | 1}/256 |
+ | | |
+ | 15 | {1, 1, 3, 8, 16, 26, 35, 38, 38, 35, 26, 16, 8, 3, |
+ | | 1, 1}/256 |
+ | | |
+ | 16 | {1, 1, 2, 6, 12, 21, 30, 36, 38, 36, 30, 21, 12, 6, |
+ | | 2, 1, 1}/256 |
+ +------------+------------------------------------------------------+
+
+ Table 48: PDFs for Pulse Count Split, 8 Sample Partitions
+
+
+
+
+
+
+
+
+
+Valin, et al. Standards Track [Page 92]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ +------------+------------------------------------------------------+
+ | Pulse | PDF |
+ | Count | |
+ +------------+------------------------------------------------------+
+ | 1 | {127, 129}/256 |
+ | | |
+ | 2 | {49, 157, 50}/256 |
+ | | |
+ | 3 | {20, 107, 109, 20}/256 |
+ | | |
+ | 4 | {11, 60, 113, 62, 10}/256 |
+ | | |
+ | 5 | {7, 36, 84, 87, 36, 6}/256 |
+ | | |
+ | 6 | {6, 24, 57, 82, 60, 23, 4}/256 |
+ | | |
+ | 7 | {5, 18, 39, 64, 68, 42, 16, 4}/256 |
+ | | |
+ | 8 | {6, 14, 29, 47, 61, 52, 30, 14, 3}/256 |
+ | | |
+ | 9 | {1, 15, 23, 35, 51, 50, 40, 30, 10, 1}/256 |
+ | | |
+ | 10 | {1, 1, 21, 32, 42, 52, 46, 41, 18, 1, 1}/256 |
+ | | |
+ | 11 | {1, 6, 16, 27, 36, 42, 42, 36, 27, 16, 6, 1}/256 |
+ | | |
+ | 12 | {1, 5, 12, 21, 31, 38, 40, 38, 31, 21, 12, 5, 1}/256 |
+ | | |
+ | 13 | {1, 3, 9, 17, 26, 34, 38, 38, 34, 26, 17, 9, 3, |
+ | | 1}/256 |
+ | | |
+ | 14 | {1, 3, 7, 14, 22, 29, 34, 36, 34, 29, 22, 14, 7, 3, |
+ | | 1}/256 |
+ | | |
+ | 15 | {1, 2, 5, 11, 18, 25, 31, 35, 35, 31, 25, 18, 11, 5, |
+ | | 2, 1}/256 |
+ | | |
+ | 16 | {1, 1, 4, 9, 15, 21, 28, 32, 34, 32, 28, 21, 15, 9, |
+ | | 4, 1, 1}/256 |
+ +------------+------------------------------------------------------+
+
+ Table 49: PDFs for Pulse Count Split, 4 Sample Partitions
+
+
+
+
+
+
+
+
+
+Valin, et al. Standards Track [Page 93]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ +------------+------------------------------------------------------+
+ | Pulse | PDF |
+ | Count | |
+ +------------+------------------------------------------------------+
+ | 1 | {128, 128}/256 |
+ | | |
+ | 2 | {42, 172, 42}/256 |
+ | | |
+ | 3 | {21, 107, 107, 21}/256 |
+ | | |
+ | 4 | {12, 60, 112, 61, 11}/256 |
+ | | |
+ | 5 | {8, 34, 86, 86, 35, 7}/256 |
+ | | |
+ | 6 | {8, 23, 55, 90, 55, 20, 5}/256 |
+ | | |
+ | 7 | {5, 15, 38, 72, 72, 36, 15, 3}/256 |
+ | | |
+ | 8 | {6, 12, 27, 52, 77, 47, 20, 10, 5}/256 |
+ | | |
+ | 9 | {6, 19, 28, 35, 40, 40, 35, 28, 19, 6}/256 |
+ | | |
+ | 10 | {4, 14, 22, 31, 37, 40, 37, 31, 22, 14, 4}/256 |
+ | | |
+ | 11 | {3, 10, 18, 26, 33, 38, 38, 33, 26, 18, 10, 3}/256 |
+ | | |
+ | 12 | {2, 8, 13, 21, 29, 36, 38, 36, 29, 21, 13, 8, 2}/256 |
+ | | |
+ | 13 | {1, 5, 10, 17, 25, 32, 38, 38, 32, 25, 17, 10, 5, |
+ | | 1}/256 |
+ | | |
+ | 14 | {1, 4, 7, 13, 21, 29, 35, 36, 35, 29, 21, 13, 7, 4, |
+ | | 1}/256 |
+ | | |
+ | 15 | {1, 2, 5, 10, 17, 25, 32, 36, 36, 32, 25, 17, 10, 5, |
+ | | 2, 1}/256 |
+ | | |
+ | 16 | {1, 2, 4, 7, 13, 21, 28, 34, 36, 34, 28, 21, 13, 7, |
+ | | 4, 2, 1}/256 |
+ +------------+------------------------------------------------------+
+
+ Table 50: PDFs for Pulse Count Split, 2 Sample Partitions
+
+4.2.7.8.4. LSB Decoding
+
+ After the decoder reads the pulse locations for all blocks, it reads
+ the LSBs (if any) for each block in turn. Inside each block, it
+ reads all the LSBs for each coefficient in turn, even those where no
+
+
+
+Valin, et al. Standards Track [Page 94]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ pulses were allocated, before proceeding to the next one. For 10 ms
+ MB frames, it reads LSBs even for the extra 8 samples in the last
+ block. The LSBs are coded from most significant to least
+ significant, and they all use the PDF in Table 51.
+
+ +----------------+
+ | PDF |
+ +----------------+
+ | {136, 120}/256 |
+ +----------------+
+
+ Table 51: PDF for Excitation LSBs
+
+ The number of LSBs read for each coefficient in a block is determined
+ in Section 4.2.7.8.2. The magnitude of the coefficient is initially
+ equal to the number of pulses placed at that location in
+ Section 4.2.7.8.3. As each LSB is decoded, the magnitude is doubled,
+ and then the value of the LSB added to it, to obtain an updated
+ magnitude.
+
+4.2.7.8.5. Sign Decoding
+
+ After decoding the pulse locations and the LSBs, the decoder knows
+ the magnitude of each coefficient in the excitation. It then decodes
+ a sign for all coefficients with a non-zero magnitude, using one of
+ the PDFs from Table 52. If the value decoded is 0, then the
+ coefficient magnitude is negated. Otherwise, it remains positive.
+
+ The decoder chooses the PDF for the sign based on the signal type and
+ quantization offset type (from Section 4.2.7.3) and the number of
+ pulses in the block (from Section 4.2.7.8.2). The number of pulses
+ in the block does not take into account any LSBs. Most PDFs are
+ skewed towards negative signs because of the quantization offset, but
+ the PDFs for zero pulses are highly skewed towards positive signs.
+ If a block contains many positive coefficients, it is sometimes
+ beneficial to code it solely using LSBs (i.e., with zero pulses),
+ since the encoder may be able to save enough bits on the signs to
+ justify the less efficient coefficient magnitude encoding.
+
+ +-------------+-----------------------+-------------+---------------+
+ | Signal Type | Quantization Offset | Pulse Count | PDF |
+ | | Type | | |
+ +-------------+-----------------------+-------------+---------------+
+ | Inactive | Low | 0 | {2, 254}/256 |
+ | | | | |
+ | Inactive | Low | 1 | {207, 49}/256 |
+ | | | | |
+ | Inactive | Low | 2 | {189, 67}/256 |
+
+
+
+Valin, et al. Standards Track [Page 95]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ | Inactive | Low | 3 | {179, 77}/256 |
+ | | | | |
+ | Inactive | Low | 4 | {174, 82}/256 |
+ | | | | |
+ | Inactive | Low | 5 | {163, 93}/256 |
+ | | | | |
+ | Inactive | Low | 6 or more | {157, 99}/256 |
+ | | | | |
+ | Inactive | High | 0 | {58, 198}/256 |
+ | | | | |
+ | Inactive | High | 1 | {245, 11}/256 |
+ | | | | |
+ | Inactive | High | 2 | {238, 18}/256 |
+ | | | | |
+ | Inactive | High | 3 | {232, 24}/256 |
+ | | | | |
+ | Inactive | High | 4 | {225, 31}/256 |
+ | | | | |
+ | Inactive | High | 5 | {220, 36}/256 |
+ | | | | |
+ | Inactive | High | 6 or more | {211, 45}/256 |
+ | | | | |
+ | Unvoiced | Low | 0 | {1, 255}/256 |
+ | | | | |
+ | Unvoiced | Low | 1 | {210, 46}/256 |
+ | | | | |
+ | Unvoiced | Low | 2 | {190, 66}/256 |
+ | | | | |
+ | Unvoiced | Low | 3 | {178, 78}/256 |
+ | | | | |
+ | Unvoiced | Low | 4 | {169, 87}/256 |
+ | | | | |
+ | Unvoiced | Low | 5 | {162, 94}/256 |
+ | | | | |
+ | Unvoiced | Low | 6 or more | {152, |
+ | | | | 104}/256 |
+ | | | | |
+ | Unvoiced | High | 0 | {48, 208}/256 |
+ | | | | |
+ | Unvoiced | High | 1 | {242, 14}/256 |
+ | | | | |
+ | Unvoiced | High | 2 | {235, 21}/256 |
+ | | | | |
+ | Unvoiced | High | 3 | {224, 32}/256 |
+ | | | | |
+ | Unvoiced | High | 4 | {214, 42}/256 |
+ | | | | |
+ | Unvoiced | High | 5 | {205, 51}/256 |
+
+
+
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+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ | Unvoiced | High | 6 or more | {190, 66}/256 |
+ | | | | |
+ | Voiced | Low | 0 | {1, 255}/256 |
+ | | | | |
+ | Voiced | Low | 1 | {162, 94}/256 |
+ | | | | |
+ | Voiced | Low | 2 | {152, |
+ | | | | 104}/256 |
+ | | | | |
+ | Voiced | Low | 3 | {147, |
+ | | | | 109}/256 |
+ | | | | |
+ | Voiced | Low | 4 | {144, |
+ | | | | 112}/256 |
+ | | | | |
+ | Voiced | Low | 5 | {141, |
+ | | | | 115}/256 |
+ | | | | |
+ | Voiced | Low | 6 or more | {138, |
+ | | | | 118}/256 |
+ | | | | |
+ | Voiced | High | 0 | {8, 248}/256 |
+ | | | | |
+ | Voiced | High | 1 | {203, 53}/256 |
+ | | | | |
+ | Voiced | High | 2 | {187, 69}/256 |
+ | | | | |
+ | Voiced | High | 3 | {176, 80}/256 |
+ | | | | |
+ | Voiced | High | 4 | {168, 88}/256 |
+ | | | | |
+ | Voiced | High | 5 | {161, 95}/256 |
+ | | | | |
+ | Voiced | High | 6 or more | {154, |
+ | | | | 102}/256 |
+ +-------------+-----------------------+-------------+---------------+
+
+ Table 52: PDFs for Excitation Signs
+
+4.2.7.8.6. Reconstructing the Excitation
+
+ After the signs have been read, there is enough information to
+ reconstruct the complete excitation signal. This requires adding a
+ constant quantization offset to each non-zero sample and then
+ pseudorandomly inverting and offsetting every sample. The constant
+ quantization offset varies depending on the signal type and
+ quantization offset type (see Section 4.2.7.3).
+
+
+
+
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+
+
+ +-------------+--------------------------+--------------------------+
+ | Signal Type | Quantization Offset Type | Quantization Offset |
+ | | | (Q23) |
+ +-------------+--------------------------+--------------------------+
+ | Inactive | Low | 25 |
+ | | | |
+ | Inactive | High | 60 |
+ | | | |
+ | Unvoiced | Low | 25 |
+ | | | |
+ | Unvoiced | High | 60 |
+ | | | |
+ | Voiced | Low | 8 |
+ | | | |
+ | Voiced | High | 25 |
+ +-------------+--------------------------+--------------------------+
+
+ Table 53: Excitation Quantization Offsets
+
+ Let e_raw[i] be the raw excitation value at position i, with a
+ magnitude composed of the pulses at that location (see
+ Section 4.2.7.8.3) combined with any additional LSBs (see
+ Section 4.2.7.8.4), and with the corresponding sign decoded in
+ Section 4.2.7.8.5. Additionally, let seed be the current
+ pseudorandom seed, which is initialized to the value decoded from
+ Section 4.2.7.7 for the first sample in the current SILK frame, and
+ updated for each subsequent sample according to the procedure below.
+ Finally, let offset_Q23 be the quantization offset from Table 53.
+ Then the following procedure produces the final reconstructed
+ excitation value, e_Q23[i]:
+
+ e_Q23[i] = (e_raw[i] << 8) - sign(e_raw[i])*20 + offset_Q23;
+ seed = (196314165*seed + 907633515) & 0xFFFFFFFF;
+ e_Q23[i] = (seed & 0x80000000) ? -e_Q23[i] : e_Q23[i];
+ seed = (seed + e_raw[i]) & 0xFFFFFFFF;
+
+ When e_raw[i] is zero, sign() returns 0 by the definition in
+ Section 1.1.4, so the factor of 20 does not get added. The final
+ e_Q23[i] value may require more than 16 bits per sample, but it will
+ not require more than 23, including the sign.
+
+4.2.7.9. SILK Frame Reconstruction
+
+ The remainder of the reconstruction process for the frame does not
+ need to be bit-exact, as small errors should only introduce
+ proportionally small distortions. Although the reference
+ implementation only includes a fixed-point version of the remaining
+
+
+
+
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+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ steps, this section describes them in terms of a floating-point
+ version for simplicity. This produces a signal with a nominal range
+ of -1.0 to 1.0.
+
+ silk_decode_core() (decode_core.c) contains the code for the main
+ reconstruction process. It proceeds subframe-by-subframe, since
+ quantization gains, LTP parameters, and (in 20 ms SILK frames) LPC
+ coefficients can vary from one to the next.
+
+ Let a_Q12[k] be the LPC coefficients for the current subframe. If
+ this is the first or second subframe of a 20 ms SILK frame and the
+ LSF interpolation factor, w_Q2 (see Section 4.2.7.5.5), is less than
+ 4, then these correspond to the final LPC coefficients produced by
+ Section 4.2.7.5.8 from the interpolated LSF coefficients, n1_Q15[k]
+ (computed in Section 4.2.7.5.5). Otherwise, they correspond to the
+ final LPC coefficients produced from the uninterpolated LSF
+ coefficients for the current frame, n2_Q15[k].
+
+ Also, let n be the number of samples in a subframe (40 for NB, 60 for
+ MB, and 80 for WB), s be the index of the current subframe in this
+ SILK frame (0 or 1 for 10 ms frames, or 0 to 3 for 20 ms frames), and
+ j be the index of the first sample in the residual corresponding to
+ the current subframe.
+
+4.2.7.9.1. LTP Synthesis
+
+ For unvoiced frames (see Section 4.2.7.3), the LPC residual for i
+ such that j <= i < (j + n) is simply a normalized copy of the
+ excitation signal, i.e.,
+
+ e_Q23[i]
+ res[i] = ---------
+ 2.0**23
+
+ Voiced SILK frames, on the other hand, pass the excitation through an
+ LTP filter using the parameters decoded in Section 4.2.7.6 to produce
+ an LPC residual. The LTP filter requires LPC residual values from
+ before the current subframe as input. However, since the LPC
+ coefficients may have changed, it obtains this residual by
+ "rewhitening" the corresponding output signal using the LPC
+ coefficients from the current subframe. Let out[i] for i such that
+ (j - pitch_lags[s] - d_LPC - 2) <= i < j be the fully reconstructed
+ output signal from the last (pitch_lags[s] + d_LPC + 2) samples of
+ previous subframes (see Section 4.2.7.9.2), where pitch_lags[s] is
+ the pitch lag for the current subframe from Section 4.2.7.6.1.
+ Additionally, let lpc[i] for i such that (j - s*n - d_LPC) <= i < j
+ be the fully reconstructed output signal from the last (s*n + d_LPC)
+
+
+
+
+Valin, et al. Standards Track [Page 99]
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+
+
+ samples of previous subframes before clamping (see
+ Section 4.2.7.9.2). During reconstruction of the first subframe for
+ this channel after either
+
+ o An uncoded regular SILK frame (if this is the side channel), or
+
+ o A decoder reset (see Section 4.5.2),
+
+ out[i] and lpc[i] are initially cleared to all zeros. If this is the
+ third or fourth subframe of a 20 ms SILK frame and the LSF
+ interpolation factor, w_Q2 (see Section 4.2.7.5.5), is less than 4,
+ then let out_end be set to (j - (s-2)*n) and let LTP_scale_Q14 be set
+ to 16384. Otherwise, set out_end to (j - s*n) and set LTP_scale_Q14
+ to the Q14 LTP scaling value from Section 4.2.7.6.3. Then, for i
+ such that (j - pitch_lags[s] - 2) <= i < out_end, out[i] is
+ rewhitened into an LPC residual, res[i], via
+
+ 4.0*LTP_scale_Q14
+ res[i] = ----------------- * clamp(-1.0,
+ gain_Q16[s]
+ d_LPC-1
+ __ a_Q12[k]
+ out[i] - \ out[i-k-1] * --------, 1.0)
+ /_ 4096.0
+ k=0
+
+ This requires storage to buffer up to 306 values of out[i] from
+ previous subframes. This corresponds to WB with a maximum pitch lag
+ of 18 ms * 16 kHz samples, plus 16 samples for d_LPC, plus 2 samples
+ for the width of the LTP filter. Then, for i such that
+ out_end <= i < j, lpc[i] is rewhitened into an LPC residual, res[i],
+ via
+
+ d_LPC-1
+ 65536.0 __ a_Q12[k]
+ res[i] = ----------- * (lpc[i] - \ lpc[i-k-1] * --------)
+ gain_Q16[s] /_ 4096.0
+ k=0
+
+ This requires storage to buffer up to 256 values of lpc[i] from
+ previous subframes (240 from the current SILK frame and 16 from the
+ previous SILK frame). This corresponds to WB with up to three
+ previous subframes in the current SILK frame, plus 16 samples for
+ d_LPC. The astute reader will notice that, given the definition of
+ lpc[i] in Section 4.2.7.9.2, the output of this latter equation is
+ merely a scaled version of the values of res[i] from previous
+ subframes.
+
+
+
+
+Valin, et al. Standards Track [Page 100]
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+RFC 6716 Interactive Audio Codec September 2012
+
+
+ Let e_Q23[i] for j <= i < (j + n) be the excitation for the current
+ subframe, and b_Q7[k] for 0 <= k < 5 be the coefficients of the LTP
+ filter taken from the codebook entry in one of Tables 39 through 41
+ corresponding to the index decoded for the current subframe in
+ Section 4.2.7.6.2. Then for i such that j <= i < (j + n), the LPC
+ residual is
+
+ 4
+ e_Q23[i] __ b_Q7[k]
+ res[i] = --------- + \ res[i - pitch_lags[s] + 2 - k] * -------
+ 2.0**23 /_ 128.0
+ k=0
+
+4.2.7.9.2. LPC Synthesis
+
+ LPC synthesis uses the short-term LPC filter to predict the next
+ output coefficient. For i such that (j - d_LPC) <= i < j, let lpc[i]
+ be the result of LPC synthesis from the last d_LPC samples of the
+ previous subframe or zeros in the first subframe for this channel
+ after either
+
+ o An uncoded regular SILK frame (if this is the side channel), or
+
+ o A decoder reset (see Section 4.5.2).
+
+ Then, for i such that j <= i < (j + n), the result of LPC synthesis
+ for the current subframe is
+
+ d_LPC-1
+ gain_Q16[i] __ a_Q12[k]
+ lpc[i] = ----------- * res[i] + \ lpc[i-k-1] * --------
+ 65536.0 /_ 4096.0
+ k=0
+
+ The decoder saves the final d_LPC values, i.e., lpc[i] such that
+ (j + n - d_LPC) <= i < (j + n), to feed into the LPC synthesis of the
+ next subframe. This requires storage for up to 16 values of lpc[i]
+ (for WB frames).
+
+ Then, the signal is clamped into the final nominal range:
+
+ out[i] = clamp(-1.0, lpc[i], 1.0)
+
+ This clamping occurs entirely after the LPC synthesis filter has run.
+ The decoder saves the unclamped values, lpc[i], to feed into the LPC
+ filter for the next subframe, but saves the clamped values, out[i],
+ for rewhitening in voiced frames.
+
+
+
+
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+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+4.2.8. Stereo Unmixing
+
+ For stereo streams, after decoding a frame from each channel, the
+ decoder must convert the mid-side (MS) representation into a left-
+ right (LR) representation. The function silk_stereo_MS_to_LR
+ (stereo_MS_to_LR.c) implements this process. In it, the decoder
+ predicts the side channel using a) a simple low-passed version of the
+ mid channel, and b) the unfiltered mid channel, using the prediction
+ weights decoded in Section 4.2.7.1. This simple low-pass filter
+ imposes a one-sample delay, and the unfiltered mid channel is also
+ delayed by one sample. In order to allow seamless switching between
+ stereo and mono, mono streams must also impose the same one-sample
+ delay. The encoder requires an additional one-sample delay for both
+ mono and stereo streams, though an encoder may omit the delay for
+ mono if it knows it will never switch to stereo.
+
+ The unmixing process operates in two phases. The first phase lasts
+ for 8 ms, during which it interpolates the prediction weights from
+ the previous frame, prev_w0_Q13 and prev_w1_Q13, to the values for
+ the current frame, w0_Q13 and w1_Q13. The second phase simply uses
+ these weights for the remainder of the frame.
+
+ Let mid[i] and side[i] be the contents of out[i] (from
+ Section 4.2.7.9.2) for the current mid and side channels,
+ respectively, and let left[i] and right[i] be the corresponding
+ stereo output channels. If the side channel is not coded (see
+ Section 4.2.7.2), then side[i] is set to zero. Also, let j be
+ defined as in Section 4.2.7.9, n1 be the number of samples in phase 1
+ (64 for NB, 96 for MB, and 128 for WB), and n2 be the total number of
+ samples in the frame. Then, for i such that j <= i < (j + n2), the
+ left and right channel output is
+
+ prev_w0_Q13 (w0_Q13 - prev_w0_Q13)
+ w0 = ----------- + min(i - j, n1)*----------------------
+ 8192.0 8192.0*n1
+
+ prev_w1_Q13 (w1_Q13 - prev_w1_Q13)
+ w1 = ----------- + min(i - j, n1)*----------------------
+ 8192.0 8192.0*n1
+
+ mid[i-2] + 2*mid[i-1] + mid[i]
+ p0 = ------------------------------
+ 4.0
+
+ left[i] = clamp(-1.0, (1 + w1)*mid[i-1] + side[i-1] + w0*p0, 1.0)
+
+ right[i] = clamp(-1.0, (1 - w1)*mid[i-1] - side[i-1] - w0*p0, 1.0)
+
+
+
+
+Valin, et al. Standards Track [Page 102]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ These formulas require two samples prior to index j, the start of the
+ frame, for the mid channel, and one prior sample for the side
+ channel. For the first frame after a decoder reset, zeros are used
+ instead.
+
+4.2.9. Resampling
+
+ After stereo unmixing (if any), the decoder applies resampling to
+ convert the decoded SILK output to the sample rate desired by the
+ application. This is necessary when decoding a Hybrid frame at SWB
+ or FB sample rates, or whenever the decoder wants the output at a
+ different sample rate than the internal SILK sampling rate (e.g., to
+ allow a constant sample rate when the audio bandwidth changes, or to
+ allow mixing with audio from other applications). The resampler
+ itself is non-normative, and a decoder can use any method it wants to
+ perform the resampling.
+
+ However, a minimum amount of delay is imposed to allow the resampler
+ to operate, and this delay is normative, so that the corresponding
+ delay can be applied to the MDCT layer in the encoder. A decoder is
+ always free to use a resampler that requires more delay than allowed
+ for here (e.g., to improve quality), but it must then delay the
+ output of the MDCT layer by this extra amount. Keeping as much delay
+ as possible on the encoder side allows an encoder that knows it will
+ never use any of the SILK or Hybrid modes to skip this delay. By
+ contrast, if it were all applied by the decoder, then a decoder that
+ processes audio in fixed-size blocks would be forced to delay the
+ output of CELT frames just in case of a later switch to a SILK or
+ Hybrid mode.
+
+ Table 54 gives the maximum resampler delay in samples at 48 kHz for
+ each SILK audio bandwidth. Because the actual output rate may not be
+ 48 kHz, it may not be possible to achieve exactly these delays while
+ using a whole number of input or output samples. The reference
+ implementation is able to resample to any of the supported output
+ sampling rates (8, 12, 16, 24, or 48 kHz) within or near this delay
+ constraint. Some resampling filters (including those used by the
+ reference implementation) may add a delay that is not an exact
+ integer, or is not linear-phase, and so cannot be represented by a
+ single delay at all frequencies. However, such deviations are
+ unlikely to be perceptible, and the comparison tool described in
+ Section 6 is designed to be relatively insensitive to them. The
+ delays listed here are the ones that should be targeted by the
+ encoder.
+
+
+
+
+
+
+
+Valin, et al. Standards Track [Page 103]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ +-----------------+-----------------------+
+ | Audio Bandwidth | Delay in Milliseconds |
+ +-----------------+-----------------------+
+ | NB | 0.538 |
+ | | |
+ | MB | 0.692 |
+ | | |
+ | WB | 0.706 |
+ +-----------------+-----------------------+
+
+ Table 54: SILK Resampler Delay Allocations
+
+ NB is given a smaller decoder delay allocation than MB and WB to
+ allow a higher-order filter when resampling to 8 kHz in both the
+ encoder and decoder. This implies that the audio content of two SILK
+ frames operating at different bandwidths is not perfectly aligned in
+ time. This is not an issue for any transitions described in
+ Section 4.5, because they all involve a SILK decoder reset. When the
+ decoder is reset, any samples remaining in the resampling buffer are
+ discarded, and the resampler is re-initialized with silence.
+
+4.3. CELT Decoder
+
+ The CELT layer of Opus is based on the Modified Discrete Cosine
+ Transform [MDCT] with partially overlapping windows of 5 to 22.5 ms.
+ The main principle behind CELT is that the MDCT spectrum is divided
+ into bands that (roughly) follow the Bark scale, i.e., the scale of
+ the ear's critical bands [ZWICKER61]. The normal CELT layer uses 21
+ of those bands, though Opus Custom (see Section 6.2) may use a
+ different number of bands. In Hybrid mode, the first 17 bands (up to
+ 8 kHz) are not coded. A band can contain as little as one MDCT bin
+ per channel, and as many as 176 bins per channel, as detailed in
+ Table 55. In each band, the gain (energy) is coded separately from
+ the shape of the spectrum. Coding the gain explicitly makes it easy
+ to preserve the spectral envelope of the signal. The remaining unit-
+ norm shape vector is encoded using a Pyramid Vector Quantizer
+ (PVQ) Section 4.3.4.
+
+ +--------+--------+------+-------+-------+-------------+------------+
+ | Frame | 2.5 ms | 5 ms | 10 ms | 20 ms | Start | Stop |
+ | Size: | | | | | Frequency | Frequency |
+ +--------+--------+------+-------+-------+-------------+------------+
+ | Band | Bins: | | | | | |
+ | | | | | | | |
+ | 0 | 1 | 2 | 4 | 8 | 0 Hz | 200 Hz |
+ | | | | | | | |
+ | 1 | 1 | 2 | 4 | 8 | 200 Hz | 400 Hz |
+ | | | | | | | |
+
+
+
+Valin, et al. Standards Track [Page 104]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ | 2 | 1 | 2 | 4 | 8 | 400 Hz | 600 Hz |
+ | | | | | | | |
+ | 3 | 1 | 2 | 4 | 8 | 600 Hz | 800 Hz |
+ | | | | | | | |
+ | 4 | 1 | 2 | 4 | 8 | 800 Hz | 1000 Hz |
+ | | | | | | | |
+ | 5 | 1 | 2 | 4 | 8 | 1000 Hz | 1200 Hz |
+ | | | | | | | |
+ | 6 | 1 | 2 | 4 | 8 | 1200 Hz | 1400 Hz |
+ | | | | | | | |
+ | 7 | 1 | 2 | 4 | 8 | 1400 Hz | 1600 Hz |
+ | | | | | | | |
+ | 8 | 2 | 4 | 8 | 16 | 1600 Hz | 2000 Hz |
+ | | | | | | | |
+ | 9 | 2 | 4 | 8 | 16 | 2000 Hz | 2400 Hz |
+ | | | | | | | |
+ | 10 | 2 | 4 | 8 | 16 | 2400 Hz | 2800 Hz |
+ | | | | | | | |
+ | 11 | 2 | 4 | 8 | 16 | 2800 Hz | 3200 Hz |
+ | | | | | | | |
+ | 12 | 4 | 8 | 16 | 32 | 3200 Hz | 4000 Hz |
+ | | | | | | | |
+ | 13 | 4 | 8 | 16 | 32 | 4000 Hz | 4800 Hz |
+ | | | | | | | |
+ | 14 | 4 | 8 | 16 | 32 | 4800 Hz | 5600 Hz |
+ | | | | | | | |
+ | 15 | 6 | 12 | 24 | 48 | 5600 Hz | 6800 Hz |
+ | | | | | | | |
+ | 16 | 6 | 12 | 24 | 48 | 6800 Hz | 8000 Hz |
+ | | | | | | | |
+ | 17 | 8 | 16 | 32 | 64 | 8000 Hz | 9600 Hz |
+ | | | | | | | |
+ | 18 | 12 | 24 | 48 | 96 | 9600 Hz | 12000 Hz |
+ | | | | | | | |
+ | 19 | 18 | 36 | 72 | 144 | 12000 Hz | 15600 Hz |
+ | | | | | | | |
+ | 20 | 22 | 44 | 88 | 176 | 15600 Hz | 20000 Hz |
+ +--------+--------+------+-------+-------+-------------+------------+
+
+ Table 55: MDCT Bins per Channel per Band for Each Frame Size
+
+ Transients are notoriously difficult for transform codecs to code.
+ CELT uses two different strategies for them:
+
+ 1. Using multiple smaller MDCTs instead of a single large MDCT, and
+
+ 2. Dynamic time-frequency resolution changes (See Section 4.3.4.5).
+
+
+
+
+Valin, et al. Standards Track [Page 105]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ To improve quality on highly tonal and periodic signals, CELT
+ includes a pre-filter/post-filter combination. The pre-filter on the
+ encoder side attenuates the signal's harmonics. The post-filter on
+ the decoder side restores the original gain of the harmonics, while
+ shaping the coding noise to roughly follow the harmonics. Such noise
+ shaping reduces the perception of the noise.
+
+ When coding a stereo signal, three coding methods are available:
+
+ o mid-side stereo: encodes the mean and the difference of the left
+ and right channels,
+
+ o intensity stereo: only encodes the mean of the left and right
+ channels (discards the difference),
+
+ o dual stereo: encodes the left and right channels separately.
+
+ An overview of the decoder is given in Figure 17.
+
+ +---------+
+ | Coarse |
+ +->| decoder |----+
+ | +---------+ |
+ | |
+ | +---------+ v
+ | | Fine | +---+
+ +->| decoder |->| + |
+ | +---------+ +---+
+ | ^ |
+ +---------+ | | |
+ | Range | | +----------+ v
+ | Decoder |-+ | Bit | +------+
+ +---------+ | |Allocation| | 2**x |
+ | +----------+ +------+
+ | | |
+ | v v +--------+
+ | +---------+ +---+ +-------+ | pitch |
+ +->| PVQ |->| * |->| IMDCT |->| post- |--->
+ | | decoder | +---+ +-------+ | filter |
+ | +---------+ +--------+
+ | ^
+ +--------------------------------------+
+
+ Legend: IMDCT = Inverse MDCT
+
+ Figure 17: Structure of the CELT decoder
+
+ The decoder is based on the following symbols and sets of symbols:
+
+
+
+Valin, et al. Standards Track [Page 106]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ +---------------+---------------------+---------------+
+ | Symbol(s) | PDF | Condition |
+ +---------------+---------------------+---------------+
+ | silence | {32767, 1}/32768 | |
+ | | | |
+ | post-filter | {1, 1}/2 | |
+ | | | |
+ | octave | uniform (6) | post-filter |
+ | | | |
+ | period | raw bits (4+octave) | post-filter |
+ | | | |
+ | gain | raw bits (3) | post-filter |
+ | | | |
+ | tapset | {2, 1, 1}/4 | post-filter |
+ | | | |
+ | transient | {7, 1}/8 | |
+ | | | |
+ | intra | {7, 1}/8 | |
+ | | | |
+ | coarse energy | Section 4.3.2 | |
+ | | | |
+ | tf_change | Section 4.3.1 | |
+ | | | |
+ | tf_select | {1, 1}/2 | Section 4.3.1 |
+ | | | |
+ | spread | {7, 2, 21, 2}/32 | |
+ | | | |
+ | dyn. alloc. | Section 4.3.3 | |
+ | | | |
+ | alloc. trim | Table 58 | |
+ | | | |
+ | skip | {1, 1}/2 | Section 4.3.3 |
+ | | | |
+ | intensity | uniform | Section 4.3.3 |
+ | | | |
+ | dual | {1, 1}/2 | |
+ | | | |
+ | fine energy | Section 4.3.2 | |
+ | | | |
+ | residual | Section 4.3.4 | |
+ | | | |
+ | anti-collapse | {1, 1}/2 | Section 4.3.5 |
+ | | | |
+ | finalize | Section 4.3.2 | |
+ +---------------+---------------------+---------------+
+
+ Table 56: Order of the Symbols in the CELT Section of the Bitstream
+
+
+
+
+Valin, et al. Standards Track [Page 107]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ The decoder extracts information from the range-coded bitstream in
+ the order described in Table 56. In some circumstances, it is
+ possible for a decoded value to be out of range due to a very small
+ amount of redundancy in the encoding of large integers by the range
+ coder. In that case, the decoder should assume there has been an
+ error in the coding, decoding, or transmission and SHOULD take
+ measures to conceal the error and/or report to the application that a
+ problem has occurred. Such out of range errors cannot occur in the
+ SILK layer.
+
+4.3.1. Transient Decoding
+
+ The "transient" flag indicates whether the frame uses a single long
+ MDCT or several short MDCTs. When it is set, then the MDCT
+ coefficients represent multiple short MDCTs in the frame. When not
+ set, the coefficients represent a single long MDCT for the frame.
+ The flag is encoded in the bitstream with a probability of 1/8. In
+ addition to the global transient flag is a per-band binary flag to
+ change the time-frequency (tf) resolution independently in each band.
+ The change in tf resolution is defined in tf_select_table[][] in
+ celt.c and depends on the frame size, whether the transient flag is
+ set, and the value of tf_select. The tf_select flag uses a 1/2
+ probability, but is only decoded if it can have an impact on the
+ result knowing the value of all per-band tf_change flags.
+
+4.3.2. Energy Envelope Decoding
+
+ It is important to quantize the energy with sufficient resolution
+ because any energy quantization error cannot be compensated for at a
+ later stage. Regardless of the resolution used for encoding the
+ spectral shape of a band, it is perceptually important to preserve
+ the energy in each band. CELT uses a three-step coarse-fine-fine
+ strategy for encoding the energy in the base-2 log domain, as
+ implemented in quant_bands.c.
+
+4.3.2.1. Coarse Energy Decoding
+
+ Coarse quantization of the energy uses a fixed resolution of 6 dB
+ (integer part of base-2 log). To minimize the bitrate, prediction is
+ applied both in time (using the previous frame) and in frequency
+ (using the previous bands). The part of the prediction that is based
+ on the previous frame can be disabled, creating an "intra" frame
+ where the energy is coded without reference to prior frames. The
+ decoder first reads the intra flag to determine what prediction is
+ used. The 2-D z-transform [Z-TRANSFORM] of the prediction filter is
+
+
+
+
+
+
+Valin, et al. Standards Track [Page 108]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ -1 -1
+ (1 - alpha*z_l )*(1 - z_b )
+ A(z_l, z_b) = -----------------------------
+ -1
+ 1 - beta*z_b
+
+ where b is the band index and l is the frame index. The prediction
+ coefficients applied depend on the frame size in use when not using
+ intra energy and are alpha=0, beta=4915/32768 when using intra
+ energy. The time-domain prediction is based on the final fine
+ quantization of the previous frame, while the frequency domain
+ (within the current frame) prediction is based on coarse quantization
+ only (because the fine quantization has not been computed yet). The
+ prediction is clamped internally so that fixed-point implementations
+ with limited dynamic range always remain in the same state as
+ floating point implementations. We approximate the ideal probability
+ distribution of the prediction error using a Laplace distribution
+ with separate parameters for each frame size in intra- and inter-
+ frame modes. These parameters are held in the e_prob_model table in
+ quant_bands.c. The coarse energy decoding is performed by
+ unquant_coarse_energy() (quant_bands.c). The decoding of the
+ Laplace-distributed values is implemented in ec_laplace_decode()
+ (laplace.c).
+
+4.3.2.2. Fine Energy Quantization
+
+ The number of bits assigned to fine energy quantization in each band
+ is determined by the bit allocation computation described in
+ Section 4.3.3. Let B_i be the number of fine energy bits for band i;
+ the refinement is an integer f in the range [0,2**B_i-1]. The
+ mapping between f and the correction applied to the coarse energy is
+ equal to (f+1/2)/2**B_i - 1/2. Fine energy quantization is
+ implemented in quant_fine_energy() (quant_bands.c).
+
+ When some bits are left "unused" after all other flags have been
+ decoded, these bits are assigned to a "final" step of fine
+ allocation. In effect, these bits are used to add one extra fine
+ energy bit per band per channel. The allocation process determines
+ two "priorities" for the final fine bits. Any remaining bits are
+ first assigned only to bands of priority 0, starting from band 0 and
+ going up. If all bands of priority 0 have received one bit per
+ channel, then bands of priority 1 are assigned an extra bit per
+ channel, starting from band 0. If any bits are left after this, they
+ are left unused. This is implemented in unquant_energy_finalise()
+ (quant_bands.c).
+
+
+
+
+
+
+Valin, et al. Standards Track [Page 109]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+4.3.3. Bit Allocation
+
+ Because the bit allocation drives the decoding of the range-coder
+ stream, it MUST be recovered exactly so that identical coding
+ decisions are made in the encoder and decoder. Any deviation from
+ the reference's resulting bit allocation will result in corrupted
+ output, though implementers are free to implement the procedure in
+ any way that produces identical results.
+
+ The per-band gain-shape structure of the CELT layer ensures that
+ using the same number of bits for the spectral shape of a band in
+ every frame will result in a roughly constant signal-to-noise ratio
+ in that band. This results in coding noise that has the same
+ spectral envelope as the signal. The masking curve produced by a
+ standard psychoacoustic model also closely follows the spectral
+ envelope of the signal. This structure means that the ideal
+ allocation is more consistent from frame to frame than it is for
+ other codecs without an equivalent structure and that a fixed
+ allocation provides fairly consistent perceptual
+ performance [VALIN2010].
+
+ Many codecs transmit significant amounts of side information to
+ control the bit allocation within a frame. Often this control is
+ only indirect, and it must be exercised carefully to achieve the
+ desired rate constraints. The CELT layer, however, can adapt over a
+ very wide range of rates, so it has a large number of codebook sizes
+ to choose from for each band. Explicitly signaling the size of each
+ of these codebooks would impose considerable overhead, even though
+ the allocation is relatively static from frame to frame. This is
+ because all of the information required to compute these codebook
+ sizes must be derived from a single frame by itself, in order to
+ retain robustness to packet loss, so the signaling cannot take
+ advantage of knowledge of the allocation in neighboring frames. This
+ problem is exacerbated in low-latency (small frame size)
+ applications, which would include this overhead in every frame.
+
+ For this reason, in the MDCT mode, Opus uses a primarily implicit bit
+ allocation. The available bitstream capacity is known in advance to
+ both the encoder and decoder without additional signaling, ultimately
+ from the packet sizes expressed by a higher-level protocol. Using
+ this information, the codec interpolates an allocation from a hard-
+ coded table.
+
+ While the band-energy structure effectively models intra-band
+ masking, it ignores the weaker inter-band masking, band-temporal
+ masking, and other less significant perceptual effects. While these
+ effects can often be ignored, they can become significant for
+ particular samples. One mechanism available to encoders would be to
+
+
+
+Valin, et al. Standards Track [Page 110]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ simply increase the overall rate for these frames, but this is not
+ possible in a constant rate mode and can be fairly inefficient. As a
+ result three explicitly signaled mechanisms are provided to alter the
+ implicit allocation:
+
+ o Band boost
+
+ o Allocation trim
+
+ o Band skipping
+
+ The first of these mechanisms, band boost, allows an encoder to boost
+ the allocation in specific bands. The second, allocation trim, works
+ by biasing the overall allocation towards higher or lower frequency
+ bands. The third, band skipping, selects which low-precision high
+ frequency bands will be allocated no shape bits at all.
+
+ In stereo mode, there are two additional parameters potentially coded
+ as part of the allocation procedure: a parameter to allow the
+ selective elimination of allocation for the 'side' (i.e., intensity
+ stereo) in jointly coded bands, and a flag to deactivate joint coding
+ (i.e., dual stereo). These values are not signaled if they would be
+ meaningless in the overall context of the allocation.
+
+ Because every signaled adjustment increases overhead and
+ implementation complexity, none were included speculatively: the
+ reference encoder makes use of all of these mechanisms. While the
+ decision logic in the reference was found to be effective enough to
+ justify the overhead and complexity, further analysis techniques may
+ be discovered that increase the effectiveness of these parameters.
+ As with other signaled parameters, an encoder is free to choose the
+ values in any manner, but, unless a technique is known to deliver
+ superior perceptual results, the methods used by the reference
+ implementation should be used.
+
+ The allocation process consists of the following steps: determining
+ the per-band maximum allocation vector, decoding the boosts, decoding
+ the tilt, determining the remaining capacity of the frame, searching
+ the mode table for the entry nearest but not exceeding the available
+ space (subject to the tilt, boosts, band maximums, and band
+ minimums), linear interpolation, reallocation of unused bits with
+ concurrent skip decoding, determination of the fine-energy vs. shape
+ split, and final reallocation. This process results in a per-band
+ shape allocation (in 1/8th-bit units), a per-band fine-energy
+ allocation (in 1 bit per channel units), a set of band priorities for
+ controlling the use of remaining bits at the end of the frame, and a
+ remaining balance of unallocated space, which is usually zero except
+ at very high rates.
+
+
+
+Valin, et al. Standards Track [Page 111]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ The "static" bit allocation (in 1/8 bits) for a quality q, excluding
+ the minimums, maximums, tilt and boosts, is equal to
+ channels*N*alloc[band][q]<<LM>>2, where alloc[][] is given in
+ Table 57 and LM=log2(frame_size/120). The allocation is obtained by
+ linearly interpolating between two values of q (in steps of 1/64) to
+ find the highest allocation that does not exceed the number of bits
+ remaining.
+
+ Rows indicate the MDCT bands, columns are the different quality (q)
+ parameters. The units are 1/32 bit per MDCT bin.
+
+ +---+----+-----+-----+-----+-----+-----+-----+-----+-----+-----+
+ | 0 | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 |
+ +---+----+-----+-----+-----+-----+-----+-----+-----+-----+-----+
+ | 0 | 90 | 110 | 118 | 126 | 134 | 144 | 152 | 162 | 172 | 200 |
+ | | | | | | | | | | | |
+ | 0 | 80 | 100 | 110 | 119 | 127 | 137 | 145 | 155 | 165 | 200 |
+ | | | | | | | | | | | |
+ | 0 | 75 | 90 | 103 | 112 | 120 | 130 | 138 | 148 | 158 | 200 |
+ | | | | | | | | | | | |
+ | 0 | 69 | 84 | 93 | 104 | 114 | 124 | 132 | 142 | 152 | 200 |
+ | | | | | | | | | | | |
+ | 0 | 63 | 78 | 86 | 95 | 103 | 113 | 123 | 133 | 143 | 200 |
+ | | | | | | | | | | | |
+ | 0 | 56 | 71 | 80 | 89 | 97 | 107 | 117 | 127 | 137 | 200 |
+ | | | | | | | | | | | |
+ | 0 | 49 | 65 | 75 | 83 | 91 | 101 | 111 | 121 | 131 | 200 |
+ | | | | | | | | | | | |
+ | 0 | 40 | 58 | 70 | 78 | 85 | 95 | 105 | 115 | 125 | 200 |
+ | | | | | | | | | | | |
+ | 0 | 34 | 51 | 65 | 72 | 78 | 88 | 98 | 108 | 118 | 198 |
+ | | | | | | | | | | | |
+ | 0 | 29 | 45 | 59 | 66 | 72 | 82 | 92 | 102 | 112 | 193 |
+ | | | | | | | | | | | |
+ | 0 | 20 | 39 | 53 | 60 | 66 | 76 | 86 | 96 | 106 | 188 |
+ | | | | | | | | | | | |
+ | 0 | 18 | 32 | 47 | 54 | 60 | 70 | 80 | 90 | 100 | 183 |
+ | | | | | | | | | | | |
+ | 0 | 10 | 26 | 40 | 47 | 54 | 64 | 74 | 84 | 94 | 178 |
+ | | | | | | | | | | | |
+ | 0 | 0 | 20 | 31 | 39 | 47 | 57 | 67 | 77 | 87 | 173 |
+ | | | | | | | | | | | |
+ | 0 | 0 | 12 | 23 | 32 | 41 | 51 | 61 | 71 | 81 | 168 |
+ | | | | | | | | | | | |
+ | 0 | 0 | 0 | 15 | 25 | 35 | 45 | 55 | 65 | 75 | 163 |
+ | | | | | | | | | | | |
+ | 0 | 0 | 0 | 4 | 17 | 29 | 39 | 49 | 59 | 69 | 158 |
+ | | | | | | | | | | | |
+
+
+
+Valin, et al. Standards Track [Page 112]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ | 0 | 0 | 0 | 0 | 12 | 23 | 33 | 43 | 53 | 63 | 153 |
+ | | | | | | | | | | | |
+ | 0 | 0 | 0 | 0 | 1 | 16 | 26 | 36 | 46 | 56 | 148 |
+ | | | | | | | | | | | |
+ | 0 | 0 | 0 | 0 | 0 | 10 | 15 | 20 | 30 | 45 | 129 |
+ | | | | | | | | | | | |
+ | 0 | 0 | 0 | 0 | 0 | 1 | 1 | 1 | 1 | 20 | 104 |
+ +---+----+-----+-----+-----+-----+-----+-----+-----+-----+-----+
+
+ Table 57: CELT Static Allocation Table
+
+ The maximum allocation vector is an approximation of the maximum
+ space that can be used by each band for a given mode. The value is
+ approximate because the shape encoding is variable rate (due to
+ entropy coding of splitting parameters). Setting the maximum too low
+ reduces the maximum achievable quality in a band while setting it too
+ high may result in waste: bitstream capacity available at the end of
+ the frame that cannot be put to any use. The maximums specified by
+ the codec reflect the average maximum. In the reference
+ implementation, the maximums in bits/sample are precomputed in a
+ static table (see cache_caps50[] in static_modes_float.h) for each
+ band, for each value of LM, and for both mono and stereo.
+ Implementations are expected to simply use the same table data, but
+ the procedure for generating this table is included in rate.c as part
+ of compute_pulse_cache().
+
+ To convert the values in cache.caps into the actual maximums: first,
+ set nbBands to the maximum number of bands for this mode, and stereo
+ to zero if stereo is not in use and one otherwise. For each band,
+ set N to the number of MDCT bins covered by the band (for one
+ channel), set LM to the shift value for the frame size. Then, set i
+ to nbBands*(2*LM+stereo). Next, set the maximum for the band to the
+ i-th index of cache.caps + 64 and multiply by the number of channels
+ in the current frame (one or two) and by N, then divide the result by
+ 4 using integer division. The resulting vector will be called cap[].
+ The elements fit in signed 16-bit integers but do not fit in 8 bits.
+ This procedure is implemented in the reference in the function
+ init_caps() in celt.c.
+
+ The band boosts are represented by a series of binary symbols that
+ are entropy coded with very low probability. Each band can
+ potentially be boosted multiple times, subject to the frame actually
+ having enough room to obey the boost and having enough room to code
+ the boost symbol. The default coding cost for a boost starts out at
+ six bits (probability p=1/64), but subsequent boosts in a band cost
+ only a single bit and every time a band is boosted the initial cost
+ is reduced (down to a minimum of two bits, or p=1/4). Since the
+
+
+
+
+Valin, et al. Standards Track [Page 113]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ initial cost of coding a boost is 6 bits, the coding cost of the
+ boost symbols when completely unused is 0.48 bits/frame for a 21 band
+ mode (21*-log2(1-1/2**6)).
+
+ To decode the band boosts: First, set 'dynalloc_logp' to 6, the
+ initial amount of storage required to signal a boost in bits,
+ 'total_bits' to the size of the frame in 8th bits, 'total_boost' to
+ zero, and 'tell' to the total number of 8th bits decoded so far. For
+ each band from the coding start (0 normally, but 17 in Hybrid mode)
+ to the coding end (which changes depending on the signaled
+ bandwidth), the boost quanta in units of 1/8 bit is calculated as
+ quanta = min(8*N, max(48, N)). This represents a boost step size of
+ six bits, subject to a lower limit of 1/8th bit/sample and an upper
+ limit of 1 bit/sample. Set 'boost' to zero and 'dynalloc_loop_logp'
+ to dynalloc_logp. While dynalloc_loop_log (the current worst case
+ symbol cost) in 8th bits plus tell is less than total_bits plus
+ total_boost and boost is less than cap[] for this band: Decode a bit
+ from the bitstream with dynalloc_loop_logp as the cost of a one and
+ update tell to reflect the current used capacity. If the decoded
+ value is zero break the loop. Otherwise, add quanta to boost and
+ total_boost, subtract quanta from total_bits, and set
+ dynalloc_loop_log to 1. When the loop finishes 'boost' contains the
+ bit allocation boost for this band. If boost is non-zero and
+ dynalloc_logp is greater than 2, decrease dynalloc_logp. Once this
+ process has been executed on all bands, the band boosts have been
+ decoded. This procedure is implemented around line 2474 of celt.c.
+
+ At very low rates, it is possible that there won't be enough
+ available space to execute the inner loop even once. In these cases,
+ band boost is not possible, but its overhead is completely
+ eliminated. Because of the high cost of band boost when activated, a
+ reasonable encoder should not be using it at very low rates. The
+ reference implements its dynalloc decision logic around line 1304 of
+ celt.c.
+
+ The allocation trim is an integer value from 0-10. The default value
+ of 5 indicates no trim. The trim parameter is entropy coded in order
+ to lower the coding cost of less extreme adjustments. Values lower
+ than 5 bias the allocation towards lower frequencies and values above
+ 5 bias it towards higher frequencies. Like other signaled
+ parameters, signaling of the trim is gated so that it is not included
+ if there is insufficient space available in the bitstream. To decode
+ the trim, first set the trim value to 5, then if and only if the
+ count of decoded 8th bits so far (ec_tell_frac) plus 48 (6 bits) is
+ less than or equal to the total frame size in 8th bits minus
+ total_boost (a product of the above band boost procedure), decode the
+ trim value using the PDF in Table 58.
+
+
+
+
+Valin, et al. Standards Track [Page 114]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ +--------------------------------------------+
+ | PDF |
+ +--------------------------------------------+
+ | {2, 2, 5, 10, 22, 46, 22, 10, 5, 2, 2}/128 |
+ +--------------------------------------------+
+
+ Table 58: PDF for the Trim
+
+ For 10 ms and 20 ms frames using short blocks and that have at least
+ LM+2 bits left prior to the allocation process, one anti-collapse bit
+ is reserved in the allocation process so it can be decoded later.
+ Following the anti-collapse reservation, one bit is reserved for skip
+ if available.
+
+ For stereo frames, bits are reserved for intensity stereo and for
+ dual stereo. Intensity stereo requires ilog2(end-start) bits. Those
+ bits are reserved if there are enough bits left. Following this, one
+ bit is reserved for dual stereo if available.
+
+ The allocation computation begins by setting up some initial
+ conditions. 'total' is set to the remaining available 8th bits,
+ computed by taking the size of the coded frame times 8 and
+ subtracting ec_tell_frac(). From this value, one (8th bit) is
+ subtracted to ensure that the resulting allocation will be
+ conservative. 'anti_collapse_rsv' is set to 8 (8th bits) if and only
+ if the frame is a transient, LM is greater than 1, and total is
+ greater than or equal to (LM+2) * 8. Total is then decremented by
+ anti_collapse_rsv and clamped to be equal to or greater than zero.
+ 'skip_rsv' is set to 8 (8th bits) if total is greater than 8,
+ otherwise it is zero. Total is then decremented by skip_rsv. This
+ reserves space for the final skipping flag.
+
+ If the current frame is stereo, intensity_rsv is set to the
+ conservative log2 in 8th bits of the number of coded bands for this
+ frame (given by the table LOG2_FRAC_TABLE in rate.c). If
+ intensity_rsv is greater than total, then intensity_rsv is set to
+ zero. Otherwise, total is decremented by intensity_rsv, and if total
+ is still greater than 8, dual_stereo_rsv is set to 8 and total is
+ decremented by dual_stereo_rsv.
+
+ The allocation process then computes a vector representing the hard
+ minimum amounts allocation any band will receive for shape. This
+ minimum is higher than the technical limit of the PVQ process, but
+ very low rate allocations produce an excessively sparse spectrum and
+ these bands are better served by having no allocation at all. For
+ each coded band, set thresh[band] to 24 times the number of MDCT bins
+ in the band and divide by 16. If 8 times the number of channels is
+ greater, use that instead. This sets the minimum allocation to one
+
+
+
+Valin, et al. Standards Track [Page 115]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ bit per channel or 48 128th bits per MDCT bin, whichever is greater.
+ The band-size dependent part of this value is not scaled by the
+ channel count, because at the very low rates where this limit is
+ applicable there will usually be no bits allocated to the side.
+
+ The previously decoded allocation trim is used to derive a vector of
+ per-band adjustments, 'trim_offsets[]'. For each coded band take the
+ alloc_trim and subtract 5 and LM. Then, multiply the result by the
+ number of channels, the number of MDCT bins in the shortest frame
+ size for this mode, the number of remaining bands, 2**LM, and 8.
+ Next, divide this value by 64. Finally, if the number of MDCT bins
+ in the band per channel is only one, 8 times the number of channels
+ is subtracted in order to diminish the allocation by one bit, because
+ width 1 bands receive greater benefit from the coarse energy coding.
+
+4.3.4. Shape Decoding
+
+ In each band, the normalized "shape" is encoded using Pyramid Vector
+ Quantizer.
+
+ In the simplest case, the number of bits allocated in Section 4.3.3
+ is converted to a number of pulses as described by Section 4.3.4.1.
+ Knowing the number of pulses and the number of samples in the band,
+ the decoder calculates the size of the codebook as detailed in
+ Section 4.3.4.2. The size is used to decode an unsigned integer
+ (uniform probability model), which is the codeword index. This index
+ is converted into the corresponding vector as explained in
+ Section 4.3.4.2. This vector is then scaled to unit norm.
+
+4.3.4.1. Bits to Pulses
+
+ Although the allocation is performed in 1/8th bit units, the
+ quantization requires an integer number of pulses K. To do this, the
+ encoder searches for the value of K that produces the number of bits
+ nearest to the allocated value (rounding down if exactly halfway
+ between two values), not to exceed the total number of bits
+ available. For efficiency reasons, the search is performed against a
+ precomputed allocation table that only permits some K values for each
+ N. The number of codebook entries can be computed as explained in
+ Section 4.3.4.2. The difference between the number of bits allocated
+ and the number of bits used is accumulated to a "balance"
+ (initialized to zero) that helps adjust the allocation for the next
+ bands. One third of the balance is applied to the bit allocation of
+ each band to help achieve the target allocation. The only exceptions
+ are the band before the last and the last band, for which half the
+ balance and the whole balance are applied, respectively.
+
+
+
+
+
+Valin, et al. Standards Track [Page 116]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+4.3.4.2. PVQ Decoding
+
+ Decoding of PVQ vectors is implemented in decode_pulses() (cwrs.c).
+ The unique codeword index is decoded as a uniformly distributed
+ integer value between 0 and V(N,K)-1, where V(N,K) is the number of
+ possible combinations of K pulses in N samples. The index is then
+ converted to a vector in the same way specified in [PVQ]. The
+ indexing is based on the calculation of V(N,K) (denoted N(L,K) in
+ [PVQ]).
+
+ The number of combinations can be computed recursively as V(N,K) =
+ V(N-1,K) + V(N,K-1) + V(N-1,K-1), with V(N,0) = 1 and V(0,K) = 0, K
+ != 0. There are many different ways to compute V(N,K), including
+ precomputed tables and direct use of the recursive formulation. The
+ reference implementation applies the recursive formulation one line
+ (or column) at a time to save on memory use, along with an alternate,
+ univariate recurrence to initialize an arbitrary line, and direct
+ polynomial solutions for small N. All of these methods are
+ equivalent, and have different trade-offs in speed, memory usage, and
+ code size. Implementations MAY use any methods they like, as long as
+ they are equivalent to the mathematical definition.
+
+ The decoded vector X is recovered as follows. Let i be the index
+ decoded with the procedure in Section 4.1.5 with ft = V(N,K), so that
+ 0 <= i < V(N,K). Let k = K. Then, for j = 0 to (N - 1), inclusive,
+ do:
+
+ 1. Let p = (V(N-j-1,k) + V(N-j,k))/2.
+
+ 2. If i < p, then let sgn = 1, else let sgn = -1 and set i = i - p.
+
+ 3. Let k0 = k and set p = p - V(N-j-1,k).
+
+ 4. While p > i, set k = k - 1 and p = p - V(N-j-1,k).
+
+ 5. Set X[j] = sgn*(k0 - k) and i = i - p.
+
+ The decoded vector X is then normalized such that its L2-norm equals
+ one.
+
+4.3.4.3. Spreading
+
+ The normalized vector decoded in Section 4.3.4.2 is then rotated for
+ the purpose of avoiding tonal artifacts. The rotation gain is equal
+ to
+
+ g_r = N / (N + f_r*K)
+
+
+
+
+Valin, et al. Standards Track [Page 117]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ where N is the number of dimensions, K is the number of pulses, and
+ f_r depends on the value of the "spread" parameter in the bitstream.
+
+ +--------------+------------------------+
+ | Spread value | f_r |
+ +--------------+------------------------+
+ | 0 | infinite (no rotation) |
+ | | |
+ | 1 | 15 |
+ | | |
+ | 2 | 10 |
+ | | |
+ | 3 | 5 |
+ +--------------+------------------------+
+
+ Table 59: Spreading Values
+
+ The rotation angle is then calculated as
+
+ 2
+ pi * g_r
+ theta = ----------
+ 4
+
+ A 2-D rotation R(i,j) between points x_i and x_j is defined as:
+
+ x_i' = cos(theta)*x_i + sin(theta)*x_j
+ x_j' = -sin(theta)*x_i + cos(theta)*x_j
+
+ An N-D rotation is then achieved by applying a series of 2-D
+ rotations back and forth, in the following order: R(x_1, x_2), R(x_2,
+ x_3), ..., R(x_N-2, X_N-1), R(x_N-1, X_N), R(x_N-2, X_N-1), ...,
+ R(x_1, x_2).
+
+ If the decoded vector represents more than one time block, then this
+ spreading process is applied separately on each time block. Also, if
+ each block represents 8 samples or more, then another N-D rotation,
+ by (pi/2-theta), is applied _before_ the rotation described above.
+ This extra rotation is applied in an interleaved manner with a stride
+ equal to round(sqrt(N/nb_blocks)), i.e., it is applied independently
+ for each set of sample S_k = {stride*n + k}, n=0..N/stride-1.
+
+4.3.4.4. Split Decoding
+
+ To avoid the need for multi-precision calculations when decoding PVQ
+ codevectors, the maximum size allowed for codebooks is 32 bits. When
+ larger codebooks are needed, the vector is instead split in two sub-
+ vectors of size N/2. A quantized gain parameter with precision
+
+
+
+Valin, et al. Standards Track [Page 118]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ derived from the current allocation is entropy coded to represent the
+ relative gains of each side of the split, and the entire decoding
+ process is recursively applied. Multiple levels of splitting may be
+ applied up to a limit of LM+1 splits. The same recursive mechanism
+ is applied for the joint coding of stereo audio.
+
+4.3.4.5. Time-Frequency Change
+
+ The time-frequency (TF) parameters are used to control the time-
+ frequency resolution trade-off in each coded band. For each band,
+ there are two possible TF choices. For the first band coded, the PDF
+ is {3, 1}/4 for frames marked as transient and {15, 1}/16 for the
+ other frames. For subsequent bands, the TF choice is coded relative
+ to the previous TF choice with probability {15, 1}/16 for transient
+ frames and {31, 1}/32 otherwise. The mapping between the decoded TF
+ choices and the adjustment in TF resolution is shown in the tables
+ below.
+
+ +-----------------+---+----+
+ | Frame size (ms) | 0 | 1 |
+ +-----------------+---+----+
+ | 2.5 | 0 | -1 |
+ | | | |
+ | 5 | 0 | -1 |
+ | | | |
+ | 10 | 0 | -2 |
+ | | | |
+ | 20 | 0 | -2 |
+ +-----------------+---+----+
+
+ Table 60: TF Adjustments for Non-transient Frames and tf_select=0
+
+ +-----------------+---+----+
+ | Frame size (ms) | 0 | 1 |
+ +-----------------+---+----+
+ | 2.5 | 0 | -1 |
+ | | | |
+ | 5 | 0 | -2 |
+ | | | |
+ | 10 | 0 | -3 |
+ | | | |
+ | 20 | 0 | -3 |
+ +-----------------+---+----+
+
+ Table 61: TF Adjustments for Non-transient Frames and tf_select=1
+
+
+
+
+
+
+Valin, et al. Standards Track [Page 119]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ +-----------------+---+----+
+ | Frame size (ms) | 0 | 1 |
+ +-----------------+---+----+
+ | 2.5 | 0 | -1 |
+ | | | |
+ | 5 | 1 | 0 |
+ | | | |
+ | 10 | 2 | 0 |
+ | | | |
+ | 20 | 3 | 0 |
+ +-----------------+---+----+
+
+ Table 62: TF Adjustments for Transient Frames and tf_select=0
+
+ +-----------------+---+----+
+ | Frame size (ms) | 0 | 1 |
+ +-----------------+---+----+
+ | 2.5 | 0 | -1 |
+ | | | |
+ | 5 | 1 | -1 |
+ | | | |
+ | 10 | 1 | -1 |
+ | | | |
+ | 20 | 1 | -1 |
+ +-----------------+---+----+
+
+ Table 63: TF Adjustments for Transient Frames and tf_select=1
+
+ A negative TF adjustment means that the temporal resolution is
+ increased, while a positive TF adjustment means that the frequency
+ resolution is increased. Changes in TF resolution are implemented
+ using the Hadamard transform [HADAMARD]. To increase the time
+ resolution by N, N "levels" of the Hadamard transform are applied to
+ the decoded vector for each interleaved MDCT vector. To increase the
+ frequency resolution (assumes a transient frame), then N levels of
+ the Hadamard transform are applied _across_ the interleaved MDCT
+ vector. In the case of increased time resolution, the decoder uses
+ the "sequency order" because the input vector is sorted in time.
+
+4.3.5. Anti-collapse Processing
+
+ The anti-collapse feature is designed to avoid the situation where
+ the use of multiple short MDCTs causes the energy in one or more of
+ the MDCTs to be zero for some bands, causing unpleasant artifacts.
+ When the frame has the transient bit set, an anti-collapse bit is
+ decoded. When anti-collapse is set, the energy in each small MDCT is
+ prevented from collapsing to zero. For each band of each MDCT where
+ a collapse is detected, a pseudo-random signal is inserted with an
+
+
+
+Valin, et al. Standards Track [Page 120]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ energy corresponding to the minimum energy over the two previous
+ frames. A renormalization step is then required to ensure that the
+ anti-collapse step did not alter the energy preservation property.
+
+4.3.6. Denormalization
+
+ Just as each band was normalized in the encoder, the last step of the
+ decoder before the inverse MDCT is to denormalize the bands. Each
+ decoded normalized band is multiplied by the square root of the
+ decoded energy. This is done by denormalise_bands() (bands.c).
+
+4.3.7. Inverse MDCT
+
+ The inverse MDCT implementation has no special characteristics. The
+ input is N frequency-domain samples and the output is 2*N time-domain
+ samples, while scaling by 1/2. A "low-overlap" window reduces the
+ algorithmic delay. It is derived from a basic (full-overlap) 240-
+ sample version of the window used by the Vorbis codec:
+
+ 2
+ / /pi /pi n + 1/2\ \ \
+ W(n) = |sin|-- * sin|-- * -------| | |
+ \ \2 \2 L / / /
+
+ The low-overlap window is created by zero-padding the basic window
+ and inserting ones in the middle, such that the resulting window
+ still satisfies power complementarity [PRINCEN86]. The IMDCT and
+ windowing are performed by mdct_backward (mdct.c).
+
+4.3.7.1. Post-Filter
+
+ The output of the inverse MDCT (after weighted overlap-add) is sent
+ to the post-filter. Although the post-filter is applied at the end,
+ the post-filter parameters are encoded at the beginning, just after
+ the silence flag. The post-filter can be switched on or off using
+ one bit (logp=1). If the post-filter is enabled, then the octave is
+ decoded as an integer value between 0 and 6 of uniform probability.
+ Once the octave is known, the fine pitch within the octave is decoded
+ using 4+octave raw bits. The final pitch period is equal to
+ (16<<octave)+fine_pitch-1 so it is bounded between 15 and 1022,
+ inclusively. Next, the gain is decoded as three raw bits and is
+ equal to G=3*(int_gain+1)/32. The set of post-filter taps is decoded
+ last, using a pdf equal to {2, 1, 1}/4. Tapset zero corresponds to
+ the filter coefficients g0 = 0.3066406250, g1 = 0.2170410156, g2 =
+ 0.1296386719. Tapset one corresponds to the filter coefficients g0 =
+ 0.4638671875, g1 = 0.2680664062, g2 = 0, and tapset two uses filter
+ coefficients g0 = 0.7998046875, g1 = 0.1000976562, g2 = 0.
+
+
+
+
+Valin, et al. Standards Track [Page 121]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ The post-filter response is thus computed as:
+
+
+ y(n) = x(n) + G*(g0*y(n-T) + g1*(y(n-T+1)+y(n-T+1))
+ + g2*(y(n-T+2)+y(n-T+2)))
+
+
+ During a transition between different gains, a smooth transition is
+ calculated using the square of the MDCT window. It is important that
+ values of y(n) be interpolated one at a time such that the past value
+ of y(n) used is interpolated.
+
+4.3.7.2. De-emphasis
+
+ After the post-filter, the signal is de-emphasized using the inverse
+ of the pre-emphasis filter used in the encoder:
+
+ 1 1
+ ---- = ---------------
+ A(z) -1
+ 1 - alpha_p*z
+
+ where alpha_p=0.8500061035.
+
+4.4. Packet Loss Concealment (PLC)
+
+ Packet Loss Concealment (PLC) is an optional decoder-side feature
+ that SHOULD be included when receiving from an unreliable channel.
+ Because PLC is not part of the bitstream, there are many acceptable
+ ways to implement PLC with different complexity/quality trade-offs.
+
+ The PLC in the reference implementation depends on the mode of last
+ packet received. In CELT mode, the PLC finds a periodicity in the
+ decoded signal and repeats the windowed waveform using the pitch
+ offset. The windowed waveform is overlapped in such a way as to
+ preserve the time-domain aliasing cancellation with the previous
+ frame and the next frame. This is implemented in celt_decode_lost()
+ (mdct.c). In SILK mode, the PLC uses LPC extrapolation from the
+ previous frame, implemented in silk_PLC() (PLC.c).
+
+4.4.1. Clock Drift Compensation
+
+ Clock drift refers to the gradual desynchronization of two endpoints
+ whose sample clocks run at different frequencies while they are
+ streaming live audio. Differences in clock frequencies are generally
+ attributable to manufacturing variation in the endpoints' clock
+ hardware. For long-lived streams, the time difference between sender
+ and receiver can grow without bound.
+
+
+
+Valin, et al. Standards Track [Page 122]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ When the sender's clock runs slower than the receiver's, the effect
+ is similar to packet loss: too few packets are received. The
+ receiver can distinguish between drift and loss if the transport
+ provides packet timestamps. A receiver for live streams SHOULD
+ conceal the effects of drift, and it MAY do so by invoking the PLC.
+
+ When the sender's clock runs faster than the receiver's, too many
+ packets will be received. The receiver MAY respond by skipping any
+ packet (i.e., not submitting the packet for decoding). This is
+ likely to produce a less severe artifact than if the frame were
+ dropped after decoding.
+
+ A decoder MAY employ a more sophisticated drift compensation method.
+ For example, the NetEQ component [GOOGLE-NETEQ] of the Google WebRTC
+ codebase [GOOGLE-WEBRTC] compensates for drift by adding or removing
+ one period when the signal is highly periodic. The reference
+ implementation of Opus allows a caller to learn whether the current
+ frame's signal is highly periodic, and if so what the period is,
+ using the OPUS_GET_PITCH() request.
+
+4.5. Configuration Switching
+
+ Switching between the Opus coding modes, audio bandwidths, and
+ channel counts requires careful consideration to avoid audible
+ glitches. Switching between any two configurations of the CELT-only
+ mode, any two configurations of the Hybrid mode, or from WB SILK to
+ Hybrid mode does not require any special treatment in the decoder, as
+ the MDCT overlap will smooth the transition. Switching from Hybrid
+ mode to WB SILK requires adding in the final contents of the CELT
+ overlap buffer to the first SILK-only packet. This can be done by
+ decoding a 2.5 ms silence frame with the CELT decoder using the
+ channel count of the SILK-only packet (and any choice of audio
+ bandwidth), which will correctly handle the cases when the channel
+ count changes as well.
+
+ When changing the channel count for SILK-only or Hybrid packets, the
+ encoder can avoid glitches by smoothly varying the stereo width of
+ the input signal before or after the transition, and it SHOULD do so.
+ However, other transitions between SILK-only packets or between NB or
+ MB SILK and Hybrid packets may cause glitches, because neither the
+ LSF coefficients nor the LTP, LPC, stereo unmixing, and resampler
+ buffers are available at the new sample rate. These switches SHOULD
+ be delayed by the encoder until quiet periods or transients, where
+ the inevitable glitches will be less audible. Additionally, the
+ bitstream MAY include redundant side information ("redundancy"), in
+ the form of additional CELT frames embedded in each of the Opus
+ frames around the transition.
+
+
+
+
+Valin, et al. Standards Track [Page 123]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ The other transitions that cannot be easily handled are those where
+ the lower frequencies switch between the SILK LP-based model and the
+ CELT MDCT model. However, an encoder may not have an opportunity to
+ delay such a switch to a convenient point. For example, if the
+ content switches from speech to music, and the encoder does not have
+ enough latency in its analysis to detect this in advance, there may
+ be no convenient silence period during which to make the transition
+ for quite some time. To avoid or reduce glitches during these
+ problematic mode transitions, and between audio bandwidth changes in
+ the SILK-only modes, transitions MAY include redundant side
+ information ("redundancy"), in the form of an additional CELT frame
+ embedded in the Opus frame.
+
+ A transition between coding the lower frequencies with the LP model
+ and the MDCT model or a transition that involves changing the SILK
+ bandwidth is only normatively specified when it includes redundancy.
+ For those without redundancy, it is RECOMMENDED that the decoder use
+ a concealment technique (e.g., make use of a PLC algorithm) to "fill
+ in" the gap or discontinuity caused by the mode transition.
+ Therefore, PLC MUST NOT be applied during any normative transition,
+ i.e., when
+
+ o A packet includes redundancy for this transition (as described
+ below),
+
+ o The transition is between any WB SILK packet and any Hybrid
+ packet, or vice versa,
+
+ o The transition is between any two Hybrid mode packets, or
+
+ o The transition is between any two CELT mode packets,
+
+ unless there is actual packet loss.
+
+4.5.1. Transition Side Information (Redundancy)
+
+ Transitions with side information include an extra 5 ms "redundant"
+ CELT frame within the Opus frame. This frame is designed to fill in
+ the gap or discontinuity in the different layers without requiring
+ the decoder to conceal it. For transitions from CELT-only to SILK-
+ only or Hybrid, the redundant frame is inserted in the first Opus
+ frame after the transition (i.e., the first SILK-only or Hybrid
+ frame). For transitions from SILK-only or Hybrid to CELT-only, the
+ redundant frame is inserted in the last Opus frame before the
+ transition (i.e., the last SILK-only or Hybrid frame).
+
+
+
+
+
+
+Valin, et al. Standards Track [Page 124]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+4.5.1.1. Redundancy Flag
+
+ The presence of redundancy is signaled in all SILK-only and Hybrid
+ frames, not just those involved in a mode transition. This allows
+ the frames to be decoded correctly even if an adjacent frame is lost.
+ For SILK-only frames, this signaling is implicit, based on the size
+ of the Opus frame and the number of bits consumed decoding the SILK
+ portion of it. After decoding the SILK portion of the Opus frame,
+ the decoder uses ec_tell() (see Section 4.1.6.1) to check if there
+ are at least 17 bits remaining. If so, then the frame contains
+ redundancy.
+
+ For Hybrid frames, this signaling is explicit. After decoding the
+ SILK portion of the Opus frame, the decoder uses ec_tell() (see
+ Section 4.1.6.1) to ensure there are at least 37 bits remaining. If
+ so, it reads a symbol with the PDF in Table 64, and if the value is
+ 1, then the frame contains redundancy. Otherwise (if there were
+ fewer than 37 bits left or the value was 0), the frame does not
+ contain redundancy.
+
+ +----------------+
+ | PDF |
+ +----------------+
+ | {4095, 1}/4096 |
+ +----------------+
+
+ Table 64: Redundancy Flag PDF
+
+4.5.1.2. Redundancy Position Flag
+
+ Since the current frame is a SILK-only or a Hybrid frame, it must be
+ at least 10 ms. Therefore, it needs an additional flag to indicate
+ whether the redundant 5 ms CELT frame should be mixed into the
+ beginning of the current frame, or the end. After determining that a
+ frame contains redundancy, the decoder reads a 1 bit symbol with a
+ uniform PDF (Table 65).
+
+ +----------+
+ | PDF |
+ +----------+
+ | {1, 1}/2 |
+ +----------+
+
+ Table 65: Redundancy Position PDF
+
+
+
+
+
+
+
+Valin, et al. Standards Track [Page 125]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ If the value is zero, this is the first frame in the transition, and
+ the redundancy belongs at the end. If the value is one, this is the
+ second frame in the transition, and the redundancy belongs at the
+ beginning. There is no way to specify that an Opus frame contains
+ separate redundant CELT frames at both the beginning and the end.
+
+4.5.1.3. Redundancy Size
+
+ Unlike the CELT portion of a Hybrid frame, the redundant CELT frame
+ does not use the same entropy coder state as the rest of the Opus
+ frame, because this would break the CELT bit allocation mechanism in
+ Hybrid frames. Thus, a redundant CELT frame always starts and ends
+ on a byte boundary, even in SILK-only frames, where this is not
+ strictly necessary.
+
+ For SILK-only frames, the number of bytes in the redundant CELT frame
+ is simply the number of whole bytes remaining, which must be at least
+ 2, due to the space check in Section 4.5.1.1. For Hybrid frames, the
+ number of bytes is equal to 2, plus a decoded unsigned integer less
+ than 256 (see Section 4.1.5). This may be more than the number of
+ whole bytes remaining in the Opus frame, in which case the frame is
+ invalid. However, a decoder is not required to ignore the entire
+ frame, as this may be the result of a bit error that desynchronized
+ the range coder. There may still be useful data before the error,
+ and a decoder MAY keep any audio decoded so far instead of invoking
+ the PLC, but it is RECOMMENDED that the decoder stop decoding and
+ discard the rest of the current Opus frame.
+
+ It would have been possible to avoid these invalid states in the
+ design of Opus by limiting the range of the explicit length decoded
+ from Hybrid frames by the actual number of whole bytes remaining.
+ However, this would require an encoder to determine the rate
+ allocation for the MDCT layer up front, before it began encoding that
+ layer. By allowing some invalid sizes, the encoder is able to defer
+ that decision until much later. When encoding Hybrid frames that do
+ not include redundancy, the encoder must still decide up front if it
+ wishes to use the minimum 37 bits required to trigger encoding of the
+ redundancy flag, but this is a much looser restriction.
+
+ After determining the size of the redundant CELT frame, the decoder
+ reduces the size of the buffer currently in use by the range coder by
+ that amount. The MDCT layer reads any raw bits from the end of this
+ reduced buffer, and all calculations of the number of bits remaining
+ in the buffer must be done using this new, reduced size, rather than
+ the original size of the Opus frame.
+
+
+
+
+
+
+Valin, et al. Standards Track [Page 126]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+4.5.1.4. Decoding the Redundancy
+
+ The redundant frame is decoded like any other CELT-only frame, with
+ the exception that it does not contain a TOC byte. The frame size is
+ fixed at 5 ms, the channel count is set to that of the current frame,
+ and the audio bandwidth is also set to that of the current frame,
+ with the exception that for MB SILK frames, it is set to WB.
+
+ If the redundancy belongs at the beginning (in a CELT-only to SILK-
+ only or Hybrid transition), the final reconstructed output uses the
+ first 2.5 ms of audio output by the decoder for the redundant frame
+ as is, discarding the corresponding output from the SILK-only or
+ Hybrid portion of the frame. The remaining 2.5 ms is cross-lapped
+ with the decoded SILK/Hybrid signal using the CELT's power-
+ complementary MDCT window to ensure a smooth transition.
+
+ If the redundancy belongs at the end (in a SILK-only or Hybrid to
+ CELT-only transition), only the second half (2.5 ms) of the audio
+ output by the decoder for the redundant frame is used. In that case,
+ the second half of the redundant frame is cross-lapped with the end
+ of the SILK/Hybrid signal, again using CELT's power-complementary
+ MDCT window to ensure a smooth transition.
+
+4.5.2. State Reset
+
+ When a transition occurs, the state of the SILK or the CELT decoder
+ (or both) may need to be reset before decoding a frame in the new
+ mode. This avoids reusing "out of date" memory, which may not have
+ been updated in some time or may not be in a well-defined state due
+ to, e.g., PLC. The SILK state is reset before every SILK-only or
+ Hybrid frame where the previous frame was CELT-only. The CELT state
+ is reset every time the operating mode changes and the new mode is
+ either Hybrid or CELT-only, except when the transition uses
+ redundancy as described above. When switching from SILK-only or
+ Hybrid to CELT-only with redundancy, the CELT state is reset before
+ decoding the redundant CELT frame embedded in the SILK-only or Hybrid
+ frame, but it is not reset before decoding the following CELT-only
+ frame. When switching from CELT-only mode to SILK-only or Hybrid
+ mode with redundancy, the CELT decoder is not reset for decoding the
+ redundant CELT frame.
+
+
+
+
+
+
+
+
+
+
+
+Valin, et al. Standards Track [Page 127]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+4.5.3. Summary of Transitions
+
+ Figure 18 illustrates all of the normative transitions involving a
+ mode change, an audio bandwidth change, or both. Each one uses an S,
+ H, or C to represent an Opus frame in the corresponding mode. In
+ addition, an R indicates the presence of redundancy in the Opus frame
+ with which it is cross-lapped. Its location in the first or last
+ 5 ms is assumed to correspond to whether it is the frame before or
+ after the transition. Other uses of redundancy are non-normative.
+ Finally, a c indicates the contents of the CELT overlap buffer after
+ the previously decoded frame (i.e., as extracted by decoding a
+ silence frame).
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+Valin, et al. Standards Track [Page 128]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ SILK to SILK with Redundancy: S -> S -> S
+ &
+ !R -> R
+ &
+ ;S -> S -> S
+
+ NB or MB SILK to Hybrid with Redundancy: S -> S -> S
+ &
+ !R ->;H -> H -> H
+
+ WB SILK to Hybrid: S -> S -> S ->!H -> H -> H
+
+ SILK to CELT with Redundancy: S -> S -> S
+ &
+ !R -> C -> C -> C
+
+ Hybrid to NB or MB SILK with Redundancy: H -> H -> H
+ &
+ !R -> R
+ &
+ ;S -> S -> S
+
+ Hybrid to WB SILK: H -> H -> H -> c
+ \ +
+ > S -> S -> S
+
+ Hybrid to CELT with Redundancy: H -> H -> H
+ &
+ !R -> C -> C -> C
+
+ CELT to SILK with Redundancy: C -> C -> C -> R
+ &
+ ;S -> S -> S
+
+ CELT to Hybrid with Redundancy: C -> C -> C -> R
+ &
+ |H -> H -> H
+
+ Key:
+ S SILK-only frame ; SILK decoder reset
+ H Hybrid frame | CELT and SILK decoder resets
+ C CELT-only frame ! CELT decoder reset
+ c CELT overlap + Direct mixing
+ R Redundant CELT frame & Windowed cross-lap
+
+ Figure 18: Normative Transitions
+
+
+
+
+
+Valin, et al. Standards Track [Page 129]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ The first two and the last two Opus frames in each example are
+ illustrative, i.e., there is no requirement that a stream remain in
+ the same configuration for three consecutive frames before or after a
+ switch.
+
+ The behavior of transitions without redundancy where PLC is allowed
+ is non-normative. An encoder might still wish to use these
+ transitions if, for example, it doesn't want to add the extra bitrate
+ required for redundancy or if it makes a decision to switch after it
+ has already transmitted the frame that would have had to contain the
+ redundancy. Figure 19 illustrates the recommended cross-lapping and
+ decoder resets for these transitions.
+
+ SILK to SILK (audio bandwidth change): S -> S -> S ;S -> S -> S
+
+ NB or MB SILK to Hybrid: S -> S -> S |H -> H -> H
+
+ SILK to CELT without Redundancy: S -> S -> S -> P
+ &
+ !C -> C -> C
+
+ Hybrid to NB or MB SILK: H -> H -> H -> c
+ +
+ ;S -> S -> S
+
+ Hybrid to CELT without Redundancy: H -> H -> H -> P
+ &
+ !C -> C -> C
+
+ CELT to SILK without Redundancy: C -> C -> C -> P
+ &
+ ;S -> S -> S
+
+ CELT to Hybrid without Redundancy: C -> C -> C -> P
+ &
+ |H -> H -> H
+
+ Key:
+ S SILK-only frame ; SILK decoder reset
+ H Hybrid frame | CELT and SILK decoder resets
+ C CELT-only frame ! CELT decoder reset
+ c CELT overlap + Direct mixing
+ P Packet Loss Concealment & Windowed cross-lap
+
+ Figure 19: Recommended Non-Normative Transitions
+
+ Encoders SHOULD NOT use other transitions, e.g., those that involve
+ redundancy in ways not illustrated in Figure 18.
+
+
+
+Valin, et al. Standards Track [Page 130]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+5. Opus Encoder
+
+ Just like the decoder, the Opus encoder also normally consists of two
+ main blocks: the SILK encoder and the CELT encoder. However, unlike
+ the case of the decoder, a valid (though potentially suboptimal) Opus
+ encoder is not required to support all modes and may thus only
+ include a SILK encoder module or a CELT encoder module. The output
+ bitstream of the Opus encoding contains bits from the SILK and CELT
+ encoders, though these are not separable due to the use of a range
+ coder. A block diagram of the encoder is illustrated below.
+
+ +------------+ +---------+
+ | Sample | | SILK |------+
+ +->| Rate |--->| Encoder | V
+ +-----------+ | | Conversion | | | +---------+
+ | Optional | | +------------+ +---------+ | Range |
+ ->| High-pass |--+ | Encoder |---->
+ | Filter | | +--------------+ +---------+ | | Bit-
+ +-----------+ | | Delay | | CELT | +---------+ stream
+ +->| Compensation |->| Encoder | ^
+ | | | |------+
+ +--------------+ +---------+
+
+ Figure 20: Opus Encoder
+
+ For a normal encoder where both the SILK and the CELT modules are
+ included, an optimal encoder should select which coding mode to use
+ at run-time depending on the conditions. In the reference
+ implementation, the frame size is selected by the application, but
+ the other configuration parameters (number of channels, bandwidth,
+ mode) are automatically selected (unless explicitly overridden by the
+ application) depending on the following:
+
+ o Requested bitrate
+
+ o Input sampling rate
+
+ o Type of signal (speech vs. music)
+
+ o Frame size in use
+
+ The type of signal currently needs to be provided by the application
+ (though it can be changed in real-time). An Opus encoder
+ implementation could also do automatic detection, but since Opus is
+ an interactive codec, such an implementation would likely have to
+ either delay the signal (for non-interactive applications) or delay
+ the mode switching decisions (for interactive applications).
+
+
+
+
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+RFC 6716 Interactive Audio Codec September 2012
+
+
+ When the encoder is configured for voice over IP applications, the
+ input signal is filtered by a high-pass filter to remove the lowest
+ part of the spectrum that contains little speech energy and may
+ contain background noise. This is a second order Auto Regressive
+ Moving Average (i.e., with poles and zeros) filter with a cut-off
+ frequency around 50 Hz. In the future, a music detector may also be
+ used to lower the cut-off frequency when the input signal is detected
+ to be music rather than speech.
+
+5.1. Range Encoder
+
+ The range coder acts as the bit-packer for Opus. It is used in three
+ different ways: to encode
+
+ o Entropy-coded symbols with a fixed probability model using
+ ec_encode() (entenc.c),
+
+ o Integers from 0 to (2**M - 1) using ec_enc_uint() or ec_enc_bits()
+ (entenc.c),
+
+ o Integers from 0 to (ft - 1) (where ft is not a power of two) using
+ ec_enc_uint() (entenc.c).
+
+ The range encoder maintains an internal state vector composed of the
+ four-tuple (val, rng, rem, ext) representing the low end of the
+ current range, the size of the current range, a single buffered
+ output byte, and a count of additional carry-propagating output
+ bytes. Both val and rng are 32-bit unsigned integer values, rem is a
+ byte value or less than 255 or the special value -1, and ext is an
+ unsigned integer with at least 11 bits. This state vector is
+ initialized at the start of each frame to the value
+ (0, 2**31, -1, 0). After encoding a sequence of symbols, the value
+ of rng in the encoder should exactly match the value of rng in the
+ decoder after decoding the same sequence of symbols. This is a
+ powerful tool for detecting errors in either an encoder or decoder
+ implementation. The value of val, on the other hand, represents
+ different things in the encoder and decoder, and is not expected to
+ match.
+
+ The decoder has no analog for rem and ext. These are used to perform
+ carry propagation in the renormalization loop below. Each iteration
+ of this loop produces 9 bits of output, consisting of 8 data bits and
+ a carry flag. The encoder cannot determine the final value of the
+ output bytes until it propagates these carry flags. Therefore, the
+ reference implementation buffers a single non-propagating output byte
+ (i.e., one less than 255) in rem and keeps a count of additional
+
+
+
+
+
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+
+
+ propagating (i.e., 255) output bytes in ext. An implementation may
+ choose to use any mathematically equivalent scheme to perform carry
+ propagation.
+
+5.1.1. Encoding Symbols
+
+ The main encoding function is ec_encode() (entenc.c), which encodes
+ symbol k in the current context using the same three-tuple
+ (fl[k], fh[k], ft) as the decoder to describe the range of the symbol
+ (see Section 4.1).
+
+ ec_encode() updates the state of the encoder as follows. If fl[k] is
+ greater than zero, then
+
+ rng
+ val = val + rng - --- * (ft - fl)
+ ft
+
+ rng
+ rng = --- * (fh - fl)
+ ft
+
+ Otherwise, val is unchanged and
+
+ rng
+ rng = rng - --- * (fh - fl)
+ ft
+
+ The divisions here are integer division.
+
+5.1.1.1. Renormalization
+
+ After this update, the range is normalized using a procedure very
+ similar to that of Section 4.1.2.1, implemented by ec_enc_normalize()
+ (entenc.c). The following process is repeated until rng > 2**23.
+ First, the top 9 bits of val, (val>>23), are sent to the carry
+ buffer, described in Section 5.1.1.2. Then, the encoder sets
+
+ val = (val<<8) & 0x7FFFFFFF
+
+ rng = rng<<8
+
+5.1.1.2. Carry Propagation and Output Buffering
+
+ The function ec_enc_carry_out() (entenc.c) implements carry
+ propagation and output buffering. It takes, as input, a 9-bit
+ unsigned value, c, consisting of 8 data bits and an additional carry
+
+
+
+
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+RFC 6716 Interactive Audio Codec September 2012
+
+
+ bit. If c is equal to the value 255, then ext is simply incremented,
+ and no other state updates are performed. Otherwise, let b = (c>>8)
+ be the carry bit. Then,
+
+ o If the buffered byte rem contains a value other than -1, the
+ encoder outputs the byte (rem + b). Otherwise, if rem is -1, no
+ byte is output.
+
+ o If ext is non-zero, then the encoder outputs ext bytes -- all with
+ a value of 0 if b is set, or 255 if b is unset -- and sets ext to
+ 0.
+
+ o rem is set to the 8 data bits:
+
+ rem = c & 255
+
+5.1.2. Alternate Encoding Methods
+
+ The reference implementation uses three additional encoding methods
+ that are exactly equivalent to the above, but make assumptions and
+ simplifications that allow for a more efficient implementation.
+
+5.1.2.1. ec_encode_bin()
+
+ The first is ec_encode_bin() (entenc.c), defined using the parameter
+ ftb instead of ft. It is mathematically equivalent to calling
+ ec_encode() with ft = (1<<ftb), but it avoids using division.
+
+5.1.2.2. ec_enc_bit_logp()
+
+ The next is ec_enc_bit_logp() (entenc.c), which encodes a single
+ binary symbol. The context is described by a single parameter, logp,
+ which is the absolute value of the base-2 logarithm of the
+ probability of a "1". It is mathematically equivalent to calling
+ ec_encode() with the 3-tuple (fl[k] = 0, fh[k] = (1<<logp) - 1,
+ ft = (1<<logp)) if k is 0 and with (fl[k] = (1<<logp) - 1,
+ fh[k] = ft = (1<<logp)) if k is 1. The implementation requires no
+ multiplications or divisions.
+
+5.1.2.3. ec_enc_icdf()
+
+ The last is ec_enc_icdf() (entenc.c), which encodes a single binary
+ symbol with a table-based context of up to 8 bits. This uses the
+ same icdf table as ec_dec_icdf() from Section 4.1.3.3. The function
+
+
+
+
+
+
+
+Valin, et al. Standards Track [Page 134]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ is mathematically equivalent to calling ec_encode() with
+ fl[k] = (1<<ftb) - icdf[k-1] (or 0 if k == 0), fh[k] = (1<<ftb) -
+ icdf[k], and ft = (1<<ftb). This only saves a few arithmetic
+ operations over ec_encode_bin(), but it allows the encoder to use the
+ same icdf tables as the decoder.
+
+5.1.3. Encoding Raw Bits
+
+ The raw bits used by the CELT layer are packed at the end of the
+ buffer using ec_enc_bits() (entenc.c). Because the raw bits may
+ continue into the last byte output by the range coder if there is
+ room in the low-order bits, the encoder must be prepared to merge
+ these values into a single byte. The procedure in Section 5.1.5 does
+ this in a way that ensures both the range coded data and the raw bits
+ can be decoded successfully.
+
+5.1.4. Encoding Uniformly Distributed Integers
+
+ The function ec_enc_uint() (entenc.c) encodes one of ft equiprobable
+ symbols in the range 0 to (ft - 1), inclusive, each with a frequency
+ of 1, where ft may be as large as (2**32 - 1). Like the decoder (see
+ Section 4.1.5), it splits up the value into a range coded symbol
+ representing up to 8 of the high bits, and, if necessary, raw bits
+ representing the remainder of the value.
+
+ ec_enc_uint() takes a two-tuple (t, ft), where t is the unsigned
+ integer to be encoded, 0 <= t < ft, and ft is not necessarily a power
+ of two. Let ftb = ilog(ft - 1), i.e., the number of bits required to
+ store (ft - 1) in two's complement notation. If ftb is 8 or less,
+ then t is encoded directly using ec_encode() with the three-tuple (t,
+ t + 1, ft).
+
+ If ftb is greater than 8, then the top 8 bits of t are encoded using
+ the three-tuple (t>>(ftb - 8), (t>>(ftb - 8)) + 1,
+ ((ft - 1)>>(ftb - 8)) + 1), and the remaining bits,
+ (t & ((1<<(ftb - 8)) - 1), are encoded as raw bits with
+ ec_enc_bits().
+
+5.1.5. Finalizing the Stream
+
+ After all symbols are encoded, the stream must be finalized by
+ outputting a value inside the current range. Let end be the unsigned
+ integer in the interval [val, val + rng) with the largest number of
+ trailing zero bits, b, such that (end + (1<<b) - 1) is also in the
+ interval [val, val + rng). This choice of end allows the maximum
+ number of trailing bits to be set to arbitrary values while still
+ ensuring the range coded part of the buffer can be decoded correctly.
+
+
+
+
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+RFC 6716 Interactive Audio Codec September 2012
+
+
+ Then, while end is not zero, the top 9 bits of end, i.e., (end>>23),
+ are passed to the carry buffer in accordance with the procedure in
+ Section 5.1.1.2, and end is updated via
+
+ end = (end<<8) & 0x7FFFFFFF
+
+ Finally, if the buffered output byte, rem, is neither zero nor the
+ special value -1, or the carry count, ext, is greater than zero, then
+ 9 zero bits are sent to the carry buffer to flush it to the output
+ buffer. When outputting the final byte from the range coder, if it
+ would overlap any raw bits already packed into the end of the output
+ buffer, they should be ORed into the same byte. The bit allocation
+ routines in the CELT layer should ensure that this can be done
+ without corrupting the range coder data so long as end is chosen as
+ described above. If there is any space between the end of the range
+ coder data and the end of the raw bits, it is padded with zero bits.
+ This entire process is implemented by ec_enc_done() (entenc.c).
+
+5.1.6. Current Bit Usage
+
+ The bit allocation routines in Opus need to be able to determine a
+ conservative upper bound on the number of bits that have been used to
+ encode the current frame thus far. This drives allocation decisions
+ and ensures that the range coder and raw bits will not overflow the
+ output buffer. This is computed in the reference implementation to
+ whole-bit precision by the function ec_tell() (entcode.h) and to
+ fractional 1/8th bit precision by the function ec_tell_frac()
+ (entcode.c). Like all operations in the range coder, it must be
+ implemented in a bit-exact manner, and it must produce exactly the
+ same value returned by the same functions in the decoder after
+ decoding the same symbols.
+
+5.2. SILK Encoder
+
+ In many respects, the SILK encoder mirrors the SILK decoder described
+ in Section 4.2. Details such as the quantization and range coder
+ tables can be found there, while this section describes the high-
+ level design choices that were made. The diagram below shows the
+ basic modules of the SILK encoder.
+
+ +----------+ +--------+ +---------+
+ | Sample | | Stereo | | SILK |
+ ------>| Rate |--->| Mixing |--->| Core |---------->
+ Input |Conversion| | | | Encoder | Bitstream
+ +----------+ +--------+ +---------+
+
+ Figure 21: SILK Encoder
+
+
+
+
+Valin, et al. Standards Track [Page 136]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+5.2.1. Sample Rate Conversion
+
+ The input signal's sampling rate is adjusted by a sample rate
+ conversion module so that it matches the SILK internal sampling rate.
+ The input to the sample rate converter is delayed by a number of
+ samples depending on the sample rate ratio, such that the overall
+ delay is constant for all input and output sample rates.
+
+5.2.2. Stereo Mixing
+
+ The stereo mixer is only used for stereo input signals. It converts
+ a stereo left-right signal into an adaptive mid-side representation.
+ The first step is to compute non-adaptive mid-side signals as half
+ the sum and difference between left and right signals. The side
+ signal is then minimized in energy by subtracting a prediction of it
+ based on the mid signal. This prediction works well when the left
+ and right signals exhibit linear dependency, for instance, for an
+ amplitude-panned input signal. Like in the decoder, the prediction
+ coefficients are linearly interpolated during the first 8 ms of the
+ frame. The mid signal is always encoded, whereas the residual side
+ signal is only encoded if it has sufficient energy compared to the
+ mid signal's energy. If it has not, the "mid_only_flag" is set
+ without encoding the side signal.
+
+ The predictor coefficients are coded regardless of whether the side
+ signal is encoded. For each frame, two predictor coefficients are
+ computed, one that predicts between low-passed mid and side channels,
+ and one that predicts between high-passed mid and side channels. The
+ low-pass filter is a simple three-tap filter and creates a delay of
+ one sample. The high-pass filtered signal is the difference between
+ the mid signal delayed by one sample and the low-passed signal.
+ Instead of explicitly computing the high-passed signal, it is
+ computationally more efficient to transform the prediction
+ coefficients before applying them to the filtered mid signal, as
+ follows:
+
+ pred(n) = LP(n) * w0 + HP(n) * w1
+ = LP(n) * w0 + (mid(n-1) - LP(n)) * w1
+ = LP(n) * (w0 - w1) + mid(n-1) * w1
+
+
+ where w0 and w1 are the low-pass and high-pass prediction
+ coefficients, mid(n-1) is the mid signal delayed by one sample, LP(n)
+ and HP(n) are the low-passed and high-passed signals and pred(n) is
+ the prediction signal that is subtracted from the side signal.
+
+
+
+
+
+
+Valin, et al. Standards Track [Page 137]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+5.2.3. SILK Core Encoder
+
+ What follows is a description of the core encoder and its components.
+ For simplicity, the core encoder is referred to simply as the encoder
+ in the remainder of this section. An overview of the encoder is
+ given in Figure 22.
+
+ +---+
+ +--------------------------------->| |
+ +---------+ | +---------+ | |
+ |Voice | | |LTP |12 | |
+ +-->|Activity |--+ +----->|Scaling |-----------+---->| |
+ | |Detection|3 | | |Control |<--+ | | |
+ | +---------+ | | +---------+ | | | |
+ | | | +---------+ | | | |
+ | | | |Gains | | | | |
+ | | | +-->|Processor|---|---+---|---->| R |
+ | | | | | |11 | | | | a |
+ | \/ | | +---------+ | | | | n |
+ | +---------+ | | +---------+ | | | | g |
+ | |Pitch | | | |LSF | | | | | e |
+ | +->|Analysis |---+ | |Quantizer|---|---|---|---->| |
+ | | | |4 | | | |8 | | | | E |-->
+ | | +---------+ | | +---------+ | | | | n | 2
+ | | | | 9/\ 10| | | | | c |
+ | | | | | \/ | | | | o |
+ | | +---------+ | | +----------+ | | | | d |
+ | | |Noise | +--|-->|Prediction|--+---|---|---->| e |
+ | +->|Shaping |---|--+ |Analysis |7 | | | | r |
+ | | |Analysis |5 | | | | | | | | |
+ | | +---------+ | | +----------+ | | | | |
+ | | | | /\ | | | | |
+ | | +----------|--|--------+ | | | | |
+ | | | \/ \/ \/ \/ \/ | |
+ | | | +----------+ +------------+ | |
+ | | | | | |Noise | | |
+ -+-------+-----+----->|Pre-filter|--------->|Shaping |-->| |
+ 1 | | 6 |Quantization|13 | |
+ +----------+ +------------+ +---+
+
+ 1: Input speech signal
+ 2: Range encoded bitstream
+ 3: Voice activity estimate
+ 4: Pitch lags (per 5 ms) and voicing decision (per 20 ms)
+ 5: Noise shaping quantization coefficients
+ - Short-term synthesis and analysis
+ noise shaping coefficients (per 5 ms)
+
+
+
+
+Valin, et al. Standards Track [Page 138]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ - Long-term synthesis and analysis noise
+ shaping coefficients (per 5 ms and for voiced speech only)
+ - Noise shaping tilt (per 5 ms)
+ - Quantizer gain/step size (per 5 ms)
+ 6: Input signal filtered with analysis noise shaping filters
+ 7: Short- and Long-Term Prediction coefficients
+ LTP (per 5 ms) and LPC (per 20 ms)
+ 8: LSF quantization indices
+ 9: LSF coefficients
+ 10: Quantized LSF coefficients
+ 11: Processed gains, and synthesis noise shape coefficients
+ 12: LTP state scaling coefficient. Controlling error
+ propagation / prediction gain trade-off
+ 13: Quantized signal
+
+ Figure 22: SILK Core Encoder
+
+5.2.3.1. Voice Activity Detection
+
+ The input signal is processed by a Voice Activity Detection (VAD)
+ algorithm to produce a measure of voice activity, spectral tilt, and
+ signal-to-noise estimates for each frame. The VAD uses a sequence of
+ half-band filterbanks to split the signal into four subbands:
+ 0...Fs/16, Fs/16...Fs/8, Fs/8...Fs/4, and Fs/4...Fs/2, where Fs is
+ the sampling frequency (8, 12, 16, or 24 kHz). The lowest subband,
+ from 0 - Fs/16, is high-pass filtered with a first-order moving
+ average (MA) filter (with transfer function H(z) = 1-z**(-1)) to
+ reduce the energy at the lowest frequencies. For each frame, the
+ signal energy per subband is computed. In each subband, a noise
+ level estimator tracks the background noise level and a Signal-to-
+ Noise Ratio (SNR) value is computed as the logarithm of the ratio of
+ energy-to-noise level. Using these intermediate variables, the
+ following parameters are calculated for use in other SILK modules:
+
+ o Average SNR. The average of the subband SNR values.
+
+ o Smoothed subband SNRs. Temporally smoothed subband SNR values.
+
+ o Speech activity level. Based on the average SNR and a weighted
+ average of the subband energies.
+
+ o Spectral tilt. A weighted average of the subband SNRs, with
+ positive weights for the low subbands and negative weights for the
+ high subbands.
+
+
+
+
+
+
+
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+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+5.2.3.2. Pitch Analysis
+
+ The input signal is processed by the open loop pitch estimator shown
+ in Figure 23.
+
+ +--------+ +----------+
+ |2 x Down| |Time- |
+ +->|sampling|->|Correlator| |
+ | | | | | |4
+ | +--------+ +----------+ \/
+ | | 2 +-------+
+ | | +-->|Speech |5
+ +---------+ +--------+ | \/ | |Type |->
+ |LPC | |Down | | +----------+ | |
+ +->|Analysis | +->|sample |-+------------->|Time- | +-------+
+ | | | | |to 8 kHz| |Correlator|----------->
+ | +---------+ | +--------+ |__________| 6
+ | | | |3
+ | \/ | \/
+ | +---------+ | +----------+
+ | |Whitening| | |Time- |
+ -+->|Filter |-+--------------------------->|Correlator|----------->
+ 1 | | | | 7
+ +---------+ +----------+
+
+ 1: Input signal
+ 2: Lag candidates from stage 1
+ 3: Lag candidates from stage 2
+ 4: Correlation threshold
+ 5: Voiced/unvoiced flag
+ 6: Pitch correlation
+ 7: Pitch lags
+
+ Figure 23: Block Diagram of the Pitch Estimator
+
+ The pitch analysis finds a binary voiced/unvoiced classification,
+ and, for frames classified as voiced, four pitch lags per frame --
+ one for each 5 ms subframe -- and a pitch correlation indicating the
+ periodicity of the signal. The input is first whitened using a
+ Linear Prediction (LP) whitening filter, where the coefficients are
+ computed through standard Linear Predictive Coding (LPC) analysis.
+ The order of the whitening filter is 16 for best results, but is
+ reduced to 12 for medium complexity and 8 for low complexity modes.
+ The whitened signal is analyzed to find pitch lags for which the time
+ correlation is high. The analysis consists of three stages for
+ reducing the complexity:
+
+
+
+
+
+Valin, et al. Standards Track [Page 140]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ o In the first stage, the whitened signal is downsampled to 4 kHz
+ (from 8 kHz), and the current frame is correlated to a signal
+ delayed by a range of lags, starting from a shortest lag
+ corresponding to 500 Hz, to a longest lag corresponding to 56 Hz.
+
+ o The second stage operates on an 8 kHz signal (downsampled from 12,
+ 16, or 24 kHz) and measures time correlations only near the lags
+ corresponding to those that had sufficiently high correlations in
+ the first stage. The resulting correlations are adjusted for a
+ small bias towards short lags to avoid ending up with a multiple
+ of the true pitch lag. The highest adjusted correlation is
+ compared to a threshold depending on:
+
+ * Whether the previous frame was classified as voiced.
+
+ * The speech activity level.
+
+ * The spectral tilt.
+
+ If the threshold is exceeded, the current frame is classified as
+ voiced and the lag with the highest adjusted correlation is stored
+ for a final pitch analysis of the highest precision in the third
+ stage.
+
+ o The last stage operates directly on the whitened input signal to
+ compute time correlations for each of the four subframes
+ independently in a narrow range around the lag with highest
+ correlation from the second stage.
+
+5.2.3.3. Noise Shaping Analysis
+
+ The noise shaping analysis finds gains and filter coefficients used
+ in the pre-filter and noise shaping quantizer. These parameters are
+ chosen such that they will fulfill several requirements:
+
+ o Balancing quantization noise and bitrate. The quantization gains
+ determine the step size between reconstruction levels of the
+ excitation signal. Therefore, increasing the quantization gain
+ amplifies quantization noise, but also reduces the bitrate by
+ lowering the entropy of the quantization indices.
+
+ o Spectral shaping of the quantization noise; the noise shaping
+ quantizer is capable of reducing quantization noise in some parts
+ of the spectrum at the cost of increased noise in other parts
+ without substantially changing the bitrate. By shaping the noise
+ such that it follows the signal spectrum, it becomes less audible.
+ In practice, best results are obtained by making the shape of the
+ noise spectrum slightly flatter than the signal spectrum.
+
+
+
+Valin, et al. Standards Track [Page 141]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ o De-emphasizing spectral valleys; by using different coefficients
+ in the analysis and synthesis part of the pre-filter and noise
+ shaping quantizer, the levels of the spectral valleys can be
+ decreased relative to the levels of the spectral peaks such as
+ speech formants and harmonics. This reduces the entropy of the
+ signal, which is the difference between the coded signal and the
+ quantization noise, thus lowering the bitrate.
+
+ o Matching the levels of the decoded speech formants to the levels
+ of the original speech formants; an adjustment gain and a first
+ order tilt coefficient are computed to compensate for the effect
+ of the noise shaping quantization on the level and spectral tilt.
+
+ / \ ___
+ | // \\
+ | // \\ ____
+ |_// \\___// \\ ____
+ | / ___ \ / \\ // \\
+ P |/ / \ \_/ \\_____// \\
+ o | / \ ____ \ / \\
+ w | / \___/ \ \___/ ____ \\___ 1
+ e |/ \ / \ \
+ r | \_____/ \ \__ 2
+ | \
+ | \___ 3
+ |
+ +---------------------------------------->
+ Frequency
+
+ 1: Input signal spectrum
+ 2: De-emphasized and level matched spectrum
+ 3: Quantization noise spectrum
+
+ Figure 24: Noise Shaping and Spectral De-emphasis Illustration
+
+ Figure 24 shows an example of an input signal spectrum (1). After
+ de-emphasis and level matching, the spectrum has deeper valleys (2).
+ The quantization noise spectrum (3) more or less follows the input
+ signal spectrum, while having slightly less pronounced peaks. The
+ entropy, which provides a lower bound on the bitrate for encoding the
+ excitation signal, is proportional to the area between the de-
+ emphasized spectrum (2) and the quantization noise spectrum (3).
+ Without de-emphasis, the entropy is proportional to the area between
+ input spectrum (1) and quantization noise (3) -- clearly higher.
+
+ The transformation from input signal to de-emphasized signal can be
+ described as a filtering operation with a filter
+
+
+
+
+Valin, et al. Standards Track [Page 142]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ -1 Wana(z)
+ H(z) = G * ( 1 - c_tilt * z ) * -------
+ Wsyn(z)
+
+ having an adjustment gain G, a first order tilt adjustment filter
+ with tilt coefficient c_tilt, and where
+
+ 16 d
+ __ -k -L __ -k
+ Wana(z) = (1 - \ a_ana(k) * z )*(1 - z * \ b_ana(k) * z )
+ /_ /_
+ k=1 k=-d
+
+ is the analysis part of the de-emphasis filter, consisting of the
+ short-term shaping filter with coefficients a_ana(k) and the long-
+ term shaping filter with coefficients b_ana(k) and pitch lag L. The
+ parameter d determines the number of long-term shaping filter taps.
+
+ Similarly, but without the tilt adjustment, the synthesis part can be
+ written as
+
+ 16 d
+ __ -k -L __ -k
+ Wsyn(z) = (1 - \ a_syn(k) * z )*(1 - z * \ b_syn(k) * z )
+ /_ /_
+ k=1 k=-d
+
+ All noise shaping parameters are computed and applied per subframe of
+ 5 ms. First, an LPC analysis is performed on a windowed signal block
+ of 15 ms. The signal block has a look-ahead of 5 ms relative to the
+ current subframe, and the window is an asymmetric sine window. The
+ LPC analysis is done with the autocorrelation method, with an order
+ of between 8, in lowest-complexity mode, and 16, for best quality.
+
+ Optionally, the LPC analysis and noise shaping filters are warped by
+ replacing the delay elements by first-order allpass filters. This
+ increases the frequency resolution at low frequencies and reduces it
+ at high ones, which better matches the human auditory system and
+ improves quality. The warped analysis and filtering comes at a cost
+ in complexity and is therefore only done in higher complexity modes.
+
+ The quantization gain is found by taking the square root of the
+ residual energy from the LPC analysis and multiplying it by a value
+ inversely proportional to the coding quality control parameter and
+ the pitch correlation.
+
+
+
+
+
+
+Valin, et al. Standards Track [Page 143]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ Next, the two sets of short-term noise shaping coefficients a_ana(k)
+ and a_syn(k) are obtained by applying different amounts of bandwidth
+ expansion to the coefficients found in the LPC analysis. This
+ bandwidth expansion moves the roots of the LPC polynomial towards the
+ origin, using the formulas
+
+ k
+ a_ana(k) = a(k)*g_ana and
+
+ k
+ a_syn(k) = a(k)*g_syn
+
+ where a(k) is the k'th LPC coefficient, and the bandwidth expansion
+ factors g_ana and g_syn are calculated as
+
+ g_ana = 0.95 - 0.01*C and
+
+ g_syn = 0.95 + 0.01*C
+
+ where C is the coding quality control parameter between 0 and 1.
+ Applying more bandwidth expansion to the analysis part than to the
+ synthesis part gives the desired de-emphasis of spectral valleys in
+ between formants.
+
+ The long-term shaping is applied only during voiced frames. It uses
+ a three-tap filter, described by
+
+ b_ana = F_ana * [0.25, 0.5, 0.25] and
+
+ b_syn = F_syn * [0.25, 0.5, 0.25].
+
+ For unvoiced frames, these coefficients are set to 0. The
+ multiplication factors F_ana and F_syn are chosen between 0 and 1,
+ depending on the coding quality control parameter, as well as the
+ calculated pitch correlation and smoothed subband SNR of the lowest
+ subband. By having F_ana less than F_syn, the pitch harmonics are
+ emphasized relative to the valleys in between the harmonics.
+
+ The tilt coefficient c_tilt is for unvoiced frames chosen as
+
+ c_tilt = 0.25
+
+ and as
+
+ c_tilt = 0.25 + 0.2625 * V
+
+ for voiced frames, where V is the voice activity level between 0 and
+ 1.
+
+
+
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+
+ The adjustment gain G serves to correct any level mismatch between
+ the original and decoded signals that might arise from the noise
+ shaping and de-emphasis. This gain is computed as the ratio of the
+ prediction gain of the short-term analysis and synthesis filter
+ coefficients. The prediction gain of an LPC synthesis filter is the
+ square root of the output energy when the filter is excited by a
+ unit-energy impulse on the input. An efficient way to compute the
+ prediction gain is by first computing the reflection coefficients
+ from the LPC coefficients through the step-down algorithm, and
+ extracting the prediction gain from the reflection coefficients as
+
+ K
+ ___ 2 -0.5
+ predGain = ( | | 1 - (r_k) )
+ k=1
+
+ where r_k is the k'th reflection coefficient.
+
+ Initial values for the quantization gains are computed as the square
+ root of the residual energy of the LPC analysis, adjusted by the
+ coding quality control parameter. These quantization gains are later
+ adjusted based on the results of the prediction analysis.
+
+5.2.3.4. Prediction Analysis
+
+ The prediction analysis is performed in one of two ways depending on
+ how the pitch estimator classified the frame. The processing for
+ voiced and unvoiced speech is described in Section 5.2.3.4.1 and
+ Section 5.2.3.4.2, respectively. Inputs to this function include the
+ pre-whitened signal from the pitch estimator (see Section 5.2.3.2).
+
+5.2.3.4.1. Voiced Speech
+
+ For a frame of voiced speech, the pitch pulses will remain dominant
+ in the pre-whitened input signal. Further whitening is desirable as
+ it leads to higher quality at the same available bitrate. To achieve
+ this, a Long-Term Prediction (LTP) analysis is carried out to
+ estimate the coefficients of a fifth-order LTP filter for each of
+ four subframes. The LTP coefficients are quantized using the method
+ described in Section 5.2.3.6, and the quantized LTP coefficients are
+ used to compute the LTP residual signal. This LTP residual signal is
+ the input to an LPC analysis where the LPC coefficients are estimated
+ using Burg's method [BURG], such that the residual energy is
+ minimized. The estimated LPC coefficients are converted to a Line
+ Spectral Frequency (LSF) vector and quantized as described in
+ Section 5.2.3.5. After quantization, the quantized LSF vector is
+ converted back to LPC coefficients using the full procedure in
+ Section 4.2.7.5. By using quantized LTP coefficients and LPC
+
+
+
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+
+
+ coefficients derived from the quantized LSF coefficients, the encoder
+ remains fully synchronized with the decoder. The quantized LPC and
+ LTP coefficients are also used to filter the input signal and measure
+ residual energy for each of the four subframes.
+
+5.2.3.4.2. Unvoiced Speech
+
+ For a speech signal that has been classified as unvoiced, there is no
+ need for LTP filtering, as it has already been determined that the
+ pre-whitened input signal is not periodic enough within the allowed
+ pitch period range for LTP analysis to be worth the cost in terms of
+ complexity and bitrate. The pre-whitened input signal is therefore
+ discarded, and, instead, the input signal is used for LPC analysis
+ using Burg's method. The resulting LPC coefficients are converted to
+ an LSF vector and quantized as described in the following section.
+ They are then transformed back to obtain quantized LPC coefficients,
+ which are then used to filter the input signal and measure residual
+ energy for each of the four subframes.
+
+5.2.3.4.2.1. Burg's Method
+
+ The main purpose of linear prediction in SILK is to reduce the
+ bitrate by minimizing the residual energy. At least at high
+ bitrates, perceptual aspects are handled independently by the noise
+ shaping filter. Burg's method is used because it provides higher
+ prediction gain than the autocorrelation method and, unlike the
+ covariance method, produces stable filters (assuming numerical errors
+ don't spoil that). SILK's implementation of Burg's method is also
+ computationally faster than the autocovariance method. The
+ implementation of Burg's method differs from traditional
+ implementations in two aspects. The first difference is that it
+ operates on autocorrelations, similar to the Schur algorithm [SCHUR],
+ but with a simple update to the autocorrelations after finding each
+ reflection coefficient to make the result identical to Burg's method.
+ This brings down the complexity of Burg's method to near that of the
+ autocorrelation method. The second difference is that the signal in
+ each subframe is scaled by the inverse of the residual quantization
+ step size. Subframes with a small quantization step size will, on
+ average, spend more bits for a given amount of residual energy than
+ subframes with a large step size. Without scaling, Burg's method
+ minimizes the total residual energy in all subframes, which doesn't
+ necessarily minimize the total number of bits needed for coding the
+ quantized residual. The residual energy of the scaled subframes is a
+ better measure for that number of bits.
+
+
+
+
+
+
+
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+
+
+5.2.3.5. LSF Quantization
+
+ Unlike many other speech codecs, SILK uses variable bitrate coding
+ for the LSFs. This improves the average rate-distortion (R-D) trade-
+ off and reduces outliers. The variable bitrate coding minimizes a
+ linear combination of the weighted quantization errors and the
+ bitrate. The weights for the quantization errors are the Inverse
+ Harmonic Mean Weighting (IHMW) function proposed by Laroia et al.
+ (see [LAROIA-ICASSP]). These weights are referred to here as Laroia
+ weights.
+
+ The LSF quantizer consists of two stages. The first stage is an
+ (unweighted) vector quantizer (VQ), with a codebook size of 32
+ vectors. The quantization errors for the codebook vector are sorted,
+ and for the N best vectors a second stage quantizer is run. By
+ varying the number N, a trade-off is made between R-D performance and
+ computational efficiency. For each of the N codebook vectors, the
+ Laroia weights corresponding to that vector (and not to the input
+ vector) are calculated. Then, the residual between the input LSF
+ vector and the codebook vector is scaled by the square roots of these
+ Laroia weights. This scaling partially normalizes error sensitivity
+ for the residual vector so that a uniform quantizer with fixed step
+ sizes can be used in the second stage without too much performance
+ loss. Additionally, by scaling with Laroia weights determined from
+ the first-stage codebook vector, the process can be reversed in the
+ decoder.
+
+ The second stage uses predictive delayed decision scalar
+ quantization. The quantization error is weighted by Laroia weights
+ determined from the LSF input vector. The predictor multiplies the
+ previous quantized residual value by a prediction coefficient that
+ depends on the vector index from the first stage VQ and on the
+ location in the LSF vector. The prediction is subtracted from the
+ LSF residual value before quantizing the result and is added back
+ afterwards. This subtraction can be interpreted as shifting the
+ quantization levels of the scalar quantizer, and as a result the
+ quantization error of each value depends on the quantization decision
+ of the previous value. This dependency is exploited by the delayed
+ decision mechanism to search for a quantization sequency with best
+ R-D performance with a Viterbi-like algorithm [VITERBI]. The
+ quantizer processes the residual LSF vector in reverse order (i.e.,
+ it starts with the highest residual LSF value). This is done because
+ the prediction works slightly better in the reverse direction.
+
+
+
+
+
+
+
+
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+
+
+ The quantization index of the first stage is entropy coded. The
+ quantization sequence from the second stage is also entropy coded,
+ where for each element the probability table is chosen depending on
+ the vector index from the first stage and the location of that
+ element in the LSF vector.
+
+5.2.3.5.1. LSF Stabilization
+
+ If the input is stable, finding the best candidate usually results in
+ a quantized vector that is also stable. Because of the two-stage
+ approach, however, it is possible that the best quantization
+ candidate is unstable. The encoder applies the same stabilization
+ procedure applied by the decoder (see Section 4.2.7.5.4) to ensure
+ the LSF parameters are within their valid range, increasingly sorted,
+ and have minimum distances between each other and the border values.
+
+5.2.3.6. LTP Quantization
+
+ For voiced frames, the prediction analysis described in
+ Section 5.2.3.4.1 resulted in four sets (one set per subframe) of
+ five LTP coefficients, plus four weighting matrices. The LTP
+ coefficients for each subframe are quantized using entropy
+ constrained vector quantization. A total of three vector codebooks
+ are available for quantization, with different rate-distortion trade-
+ offs. The three codebooks have 10, 20, and 40 vectors and average
+ rates of about 3, 4, and 5 bits per vector, respectively.
+ Consequently, the first codebook has larger average quantization
+ distortion at a lower rate, whereas the last codebook has smaller
+ average quantization distortion at a higher rate. Given the
+ weighting matrix W_ltp and LTP vector b, the weighted rate-distortion
+ measure for a codebook vector cb_i with rate r_i is give by
+
+ RD = u * (b - cb_i)' * W_ltp * (b - cb_i) + r_i
+
+ where u is a fixed, heuristically determined parameter balancing the
+ distortion and rate. Which codebook gives the best performance for a
+ given LTP vector depends on the weighting matrix for that LTP vector.
+ For example, for a low valued W_ltp, it is advantageous to use the
+ codebook with 10 vectors as it has a lower average rate. For a large
+ W_ltp, on the other hand, it is often better to use the codebook with
+ 40 vectors, as it is more likely to contain the best codebook vector.
+ The weighting matrix W_ltp depends mostly on two aspects of the input
+ signal. The first is the periodicity of the signal; the more
+ periodic, the larger W_ltp. The second is the change in signal
+ energy in the current subframe, relative to the signal one pitch lag
+ earlier. A decaying energy leads to a larger W_ltp than an
+ increasing energy. Both aspects fluctuate relatively slowly, which
+ causes the W_ltp matrices for different subframes of one frame often
+
+
+
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+
+
+ to be similar. Because of this, one of the three codebooks typically
+ gives good performance for all subframes. Therefore, the codebook
+ search for the subframe LTP vectors is constrained to only allow
+ codebook vectors to be chosen from the same codebook, resulting in a
+ rate reduction.
+
+ To find the best codebook, each of the three vector codebooks is used
+ to quantize all subframe LTP vectors and produce a combined weighted
+ rate-distortion measure for each vector codebook. The vector
+ codebook with the lowest combined rate-distortion over all subframes
+ is chosen. The quantized LTP vectors are used in the noise shaping
+ quantizer, and the index of the codebook plus the four indices for
+ the four subframe codebook vectors are passed on to the range
+ encoder.
+
+5.2.3.7. Pre-filter
+
+ In the pre-filter, the input signal is filtered using the spectral
+ valley de-emphasis filter coefficients from the noise shaping
+ analysis (see Section 5.2.3.3). By applying only the noise shaping
+ analysis filter to the input signal, it provides the input to the
+ noise shaping quantizer.
+
+5.2.3.8. Noise Shaping Quantizer
+
+ The noise shaping quantizer independently shapes the signal and
+ coding noise spectra to obtain a perceptually higher quality at the
+ same bitrate.
+
+ The pre-filter output signal is multiplied with a compensation gain G
+ computed in the noise shaping analysis. Then, the output of a
+ synthesis shaping filter is added, and the output of a prediction
+ filter is subtracted to create a residual signal. The residual
+ signal is multiplied by the inverse quantized quantization gain from
+ the noise shaping analysis and input to a scalar quantizer. The
+ quantization indices of the scalar quantizer represent a signal of
+ pulses that is input to the pyramid range encoder. The scalar
+ quantizer also outputs a quantization signal, which is multiplied by
+ the quantized quantization gain from the noise shaping analysis to
+ create an excitation signal. The output of the prediction filter is
+ added to the excitation signal to form the quantized output signal
+ y(n). The quantized output signal y(n) is input to the synthesis
+ shaping and prediction filters.
+
+
+
+
+
+
+
+
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+
+
+ Optionally, the noise shaping quantizer operates in a delayed
+ decision mode. In this mode, it uses a Viterbi algorithm to keep
+ track of multiple rounding choices in the quantizer and select the
+ best one after a delay of 32 samples. This improves the rate/
+ distortion performance of the quantizer.
+
+5.2.3.9. Constant Bitrate Mode
+
+ SILK was designed to run in variable bitrate (VBR) mode. However,
+ the reference implementation also has a constant bitrate (CBR) mode
+ for SILK. In CBR mode, SILK will attempt to encode each packet with
+ no more than the allowed number of bits. The Opus wrapper code then
+ pads the bitstream if any unused bits are left in SILK mode, or it
+ encodes the high band with the remaining number of bits in Hybrid
+ mode. The number of payload bits is adjusted by changing the
+ quantization gains and the rate/distortion trade-off in the noise
+ shaping quantizer, in an iterative loop around the noise shaping
+ quantizer and entropy coding. Compared to the SILK VBR mode, the CBR
+ mode has lower audio quality at a given average bitrate and has
+ higher computational complexity.
+
+5.3. CELT Encoder
+
+ Most of the aspects of the CELT encoder can be directly derived from
+ the description of the decoder. For example, the filters and
+ rotations in the encoder are simply the inverse of the operation
+ performed by the decoder. Similarly, the quantizers generally
+ optimize for the mean square error (because noise shaping is part of
+ the bitstream itself), so no special search is required. For this
+ reason, only the less straightforward aspects of the encoder are
+ described here.
+
+5.3.1. Pitch Pre-filter
+
+ The pitch pre-filter is applied after the pre-emphasis. It is
+ applied in such a way as to be the inverse of the decoder's post-
+ filter. The main non-obvious aspect of the pre-filter is the
+ selection of the pitch period. The pitch search should be optimized
+ for the following criteria:
+
+ o continuity: it is important that the pitch period does not change
+ abruptly between frames; and
+
+ o avoidance of pitch multiples: when the period used is a multiple
+ of the real period (lower frequency fundamental), the post-filter
+ loses most of its ability to reduce noise
+
+
+
+
+
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+
+
+5.3.2. Bands and Normalization
+
+ The MDCT output is divided into bands that are designed to match the
+ ear's critical bands for the smallest (2.5 ms) frame size. The
+ larger frame sizes use integer multiples of the 2.5 ms layout. For
+ each band, the encoder computes the energy that will later be
+ encoded. Each band is then normalized by the square root of the
+ *unquantized* energy, such that each band now forms a unit vector X.
+ The energy and the normalization are computed by
+ compute_band_energies() and normalise_bands() (bands.c),
+ respectively.
+
+5.3.3. Energy Envelope Quantization
+
+ Energy quantization (both coarse and fine) can be easily understood
+ from the decoding process. For all useful bitrates, the coarse
+ quantizer always chooses the quantized log energy value that
+ minimizes the error for each band. Only at very low rate does the
+ encoder allow larger errors to minimize the rate and avoid using more
+ bits than are available. When the available CPU requirements allow
+ it, it is best to try encoding the coarse energy both with and
+ without inter-frame prediction such that the best prediction mode can
+ be selected. The optimal mode depends on the coding rate, the
+ available bitrate, and the current rate of packet loss.
+
+ The fine energy quantizer always chooses the quantized log energy
+ value that minimizes the error for each band because the rate of the
+ fine quantization depends only on the bit allocation and not on the
+ values that are coded.
+
+5.3.4. Bit Allocation
+
+ The encoder must use exactly the same bit allocation process as used
+ by the decoder and described in Section 4.3.3. The three mechanisms
+ that can be used by the encoder to adjust the bitrate on a frame-by-
+ frame basis are band boost, allocation trim, and band skipping.
+
+5.3.4.1. Band Boost
+
+ The reference encoder makes a decision to boost a band when the
+ energy of that band is significantly higher than that of the
+ neighboring bands. Let E_j be the log-energy of band j, we define
+
+ D_j = 2*E_j - E_j-1 - E_j+1
+
+ The allocation of band j is boosted once if D_j > t1 and twice if D_j
+ > t2. For LM>=1, t1=2 and t2=4, while for LM<1, t1=3 and t2=5.
+
+
+
+
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+
+
+5.3.4.2. Allocation Trim
+
+ The allocation trim is a value between 0 and 10 (inclusively) that
+ controls the allocation balance between the low and high frequencies.
+ The encoder starts with a safe "default" of 5 and deviates from that
+ default in two different ways. First, the trim can deviate by +/- 2
+ depending on the spectral tilt of the input signal. For signals with
+ more low frequencies, the trim is increased by up to 2, while for
+ signals with more high frequencies, the trim is decreased by up to 2.
+ For stereo inputs, the trim value can be decreased by up to 4 when
+ the inter-channel correlation at low frequency (first 8 bands) is
+ high.
+
+5.3.4.3. Band Skipping
+
+ The encoder uses band skipping to ensure that the shape of the bands
+ is only coded if there is at least 1/2 bit per sample available for
+ the PVQ. If not, then no bit is allocated and folding is used
+ instead. To ensure continuity in the allocation, some amount of
+ hysteresis is added to the process, such that a band that received
+ PVQ bits in the previous frame only needs 7/16 bit/sample to be coded
+ for the current frame, while a band that did not receive PVQ bits in
+ the previous frames needs at least 9/16 bit/sample to be coded.
+
+5.3.5. Stereo Decisions
+
+ Because CELT applies mid-side stereo coupling in the normalized
+ domain, it does not suffer from important stereo image problems even
+ when the two channels are completely uncorrelated. For this reason,
+ it is always safe to use stereo coupling on any audio frame. That
+ being said, there are some frames for which dual (independent) stereo
+ is still more efficient. This decision is made by comparing the
+ estimated entropy with and without coupling over the first 13 bands,
+ taking into account the fact that all bands with more than two MDCT
+ bins require one extra degree of freedom when coded in mid-side. Let
+ L1_ms and L1_lr be the L1-norm of the mid-side vector and the L1-norm
+ of the left-right vector, respectively. The decision to use mid-side
+ is made if and only if
+
+ L1_ms L1_lr
+ -------- < -----
+ bins + E bins
+
+ where bins is the number of MDCT bins in the first 13 bands and E is
+ the number of extra degrees of freedom for mid-side coding. For
+ LM>1, E=13, otherwise E=5.
+
+
+
+
+
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+
+
+ The reference encoder decides on the intensity stereo threshold based
+ on the bitrate alone. After taking into account the frame size by
+ subtracting 80 bits per frame for coarse energy, the first band using
+ intensity coding is as follows:
+
+ +------------------+------------+
+ | bitrate (kbit/s) | start band |
+ +------------------+------------+
+ | <35 | 8 |
+ | | |
+ | 35-50 | 12 |
+ | | |
+ | 50-68 | 16 |
+ | | |
+ | 84-84 | 18 |
+ | | |
+ | 84-102 | 19 |
+ | | |
+ | 102-130 | 20 |
+ | | |
+ | >130 | disabled |
+ +------------------+------------+
+
+ Table 66: Thresholds for Intensity Stereo
+
+5.3.6. Time-Frequency Decision
+
+ The choice of time-frequency resolution used in Section 4.3.4.5 is
+ based on R-D optimization. The distortion is the L1-norm (sum of
+ absolute values) of each band after each TF resolution under
+ consideration. The L1 norm is used because it represents the entropy
+ for a Laplacian source. The number of bits required to code a change
+ in TF resolution between two bands is higher than the cost of having
+ those two bands use the same resolution, which is what requires the
+ R-D optimization. The optimal decision is computed using the Viterbi
+ algorithm. See tf_analysis() in celt/celt.c.
+
+5.3.7. Spreading Values Decision
+
+ The choice of the spreading value in Table 59 has an impact on the
+ nature of the coding noise introduced by CELT. The larger the f_r
+ value, the lower the impact of the rotation, and the more tonal the
+ coding noise. The more tonal the signal, the more tonal the noise
+ should be, so the CELT encoder determines the optimal value for f_r
+ by estimating how tonal the signal is. The tonality estimate is
+ based on discrete pdf (4-bin histogram) of each band. Bands that
+
+
+
+
+
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+
+
+ have a large number of small values are considered more tonal and a
+ decision is made by combining all bands with more than 8 samples.
+ See spreading_decision() in celt/bands.c.
+
+5.3.8. Spherical Vector Quantization
+
+ CELT uses a Pyramid Vector Quantizer (PVQ) [PVQ] for quantizing the
+ details of the spectrum in each band that have not been predicted by
+ the pitch predictor. The PVQ codebook consists of all sums of K
+ signed pulses in a vector of N samples, where two pulses at the same
+ position are required to have the same sign. Thus, the codebook
+ includes all integer codevectors y of N dimensions that satisfy
+ sum(abs(y(j))) = K.
+
+ In bands where there are sufficient bits allocated, PVQ is used to
+ encode the unit vector that results from the normalization in
+ Section 5.3.2 directly. Given a PVQ codevector y, the unit vector X
+ is obtained as X = y/||y||, where ||.|| denotes the L2 norm.
+
+5.3.8.1. PVQ Search
+
+ The search for the best codevector y is performed by alg_quant()
+ (vq.c). There are several possible approaches to the search, with a
+ trade-off between quality and complexity. The method used in the
+ reference implementation computes an initial codeword y1 by
+ projecting the normalized spectrum X onto the codebook pyramid of K-1
+ pulses:
+
+ y0 = truncate_towards_zero( (K-1) * X / sum(abs(X)))
+
+ Depending on N, K and the input data, the initial codeword y0 may
+ contain from 0 to K-1 non-zero values. All the remaining pulses,
+ with the exception of the last one, are found iteratively with a
+ greedy search that minimizes the normalized correlation between y and
+ X:
+
+ T
+ J = -X * y / ||y||
+
+ The search described above is considered to be a good trade-off
+ between quality and computational cost. However, there are other
+ possible ways to search the PVQ codebook and the implementers MAY use
+ any other search methods. See alg_quant() in celt/vq.c.
+
+
+
+
+
+
+
+
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+
+
+5.3.8.2. PVQ Encoding
+
+ The vector to encode, X, is converted into an index i such that
+ 0 <= i < V(N,K) as follows. Let i = 0 and k = 0. Then, for
+ j = (N - 1) down to 0, inclusive, do:
+
+ 1. If k > 0, set i = i + (V(N-j-1,k-1) + V(N-j,k-1))/2.
+
+ 2. Set k = k + abs(X[j]).
+
+ 3. If X[j] < 0, set i = i + (V(N-j-1,k) + V(N-j,k))/2.
+
+ The index i is then encoded using the procedure in Section 5.1.4 with
+ ft = V(N,K).
+
+6. Conformance
+
+ It is our intention to allow the greatest possible choice of freedom
+ in implementing the specification. For this reason, outside of the
+ exceptions noted in this section, conformance is defined through the
+ reference implementation of the decoder provided in Appendix A.
+ Although this document includes a prose description of the codec,
+ should the description contradict the source code of the reference
+ implementation, the latter shall take precedence.
+
+ Compliance with this specification means that, in addition to
+ following the normative keywords in this document, a decoder's output
+ MUST also be within the thresholds specified by the opus_compare.c
+ tool (included with the code) when compared to the reference
+ implementation for each of the test vectors provided (see
+ Appendix A.4) and for each output sampling rate and channel count
+ supported. In addition, a compliant decoder implementation MUST have
+ the same final range decoder state as that of the reference decoder.
+ It is therefore RECOMMENDED that the decoder implement the same
+ functional behavior as the reference. A decoder implementation is
+ not required to support all output sampling rates or all output
+ channel counts.
+
+6.1. Testing
+
+ Using the reference code provided in Appendix A, a test vector can be
+ decoded with
+
+ opus_demo -d <rate> <channels> testvectorX.bit testX.out
+
+ where <rate> is the sampling rate and can be 8000, 12000, 16000,
+ 24000, or 48000, and <channels> is 1 for mono or 2 for stereo.
+
+
+
+
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+
+
+ If the range decoder state is incorrect for one of the frames, the
+ decoder will exit with "Error: Range coder state mismatch between
+ encoder and decoder". If the decoder succeeds, then the output can
+ be compared with the "reference" output with
+
+ opus_compare -s -r <rate> testvectorX.dec testX.out
+
+ for stereo or
+
+ opus_compare -r <rate> testvectorX.dec testX.out
+
+ for mono.
+
+ In addition to indicating whether the test vector comparison passes,
+ the opus_compare tool outputs an "Opus quality metric" that indicates
+ how well the tested decoder matches the reference implementation. A
+ quality of 0 corresponds to the passing threshold, while a quality of
+ 100 is the highest possible value and means that the output of the
+ tested decoder is identical to the reference implementation. The
+ passing threshold (quality 0) was calibrated in such a way that it
+ corresponds to additive white noise with a 48 dB SNR (similar to what
+ can be obtained on a cassette deck). It is still possible for an
+ implementation to sound very good with such a low quality measure
+ (e.g., if the deviation is due to inaudible phase distortion), but
+ unless this is verified by listening tests, it is RECOMMENDED that
+ implementations achieve a quality above 90 for 48 kHz decoding. For
+ other sampling rates, it is normal for the quality metric to be lower
+ (typically, as low as 50 even for a good implementation) because of
+ harmless mismatch with the delay and phase of the internal sampling
+ rate conversion.
+
+ On POSIX environments, the run_vectors.sh script can be used to
+ verify all test vectors. This can be done with
+
+ run_vectors.sh <exec path> <vector path> <rate>
+
+ where <exec path> is the directory where the opus_demo and
+ opus_compare executables are built and <vector path> is the directory
+ containing the test vectors.
+
+6.2. Opus Custom
+
+ Opus Custom is an OPTIONAL part of the specification that is defined
+ to handle special sample rates and frame rates that are not supported
+ by the main Opus specification. Use of Opus Custom is discouraged
+ for all but very special applications for which a frame size
+ different from 2.5, 5, 10, or 20 ms is needed (for either complexity
+ or latency reasons). Because Opus Custom is optional, streams
+
+
+
+Valin, et al. Standards Track [Page 156]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ encoded using Opus Custom cannot be expected to be decodable by all
+ Opus implementations. Also, because no in-band mechanism exists for
+ specifying the sampling rate and frame size of Opus Custom streams,
+ out-of-band signaling is required. In Opus Custom operation, only
+ the CELT layer is available, using the opus_custom_* function calls
+ in opus_custom.h.
+
+7. Security Considerations
+
+ Like any other audio codec, Opus should not be used with insecure
+ ciphers or cipher-modes that are vulnerable to known plaintext
+ attacks. In addition to the zeros used in Opus padding, digital
+ silence frames generate predictable compressed results and the TOC
+ byte may have an easily predictable value.
+
+ Implementations of the Opus codec need to take appropriate security
+ considerations into account, as outlined in [DOS]. It is extremely
+ important for the decoder to be robust against malicious payloads.
+ Malicious payloads must not cause the decoder to overrun its
+ allocated memory or to take an excessive amount of resources to
+ decode. Although problems in encoders are typically rarer, the same
+ applies to the encoder. Malicious audio streams must not cause the
+ encoder to misbehave because this would allow an attacker to attack
+ transcoding gateways.
+
+ The reference implementation contains no known buffer overflow or
+ cases where a specially crafted packet or audio segment could cause a
+ significant increase in CPU load. However, on certain CPU
+ architectures where denormalized floating-point operations are much
+ slower than normal floating-point operations, it is possible for some
+ audio content (e.g., silence or near silence) to cause an increase in
+ CPU load. Denormals can be introduced by reordering operations in
+ the compiler and depend on the target architecture, so it is
+ difficult to guarantee that an implementation avoids them. For
+ architectures on which denormals are problematic, adding very small
+ floating-point offsets to the affected signals to prevent significant
+ numbers of denormalized operations is RECOMMENDED. Alternatively, it
+ is often possible to configure the hardware to treat denormals as
+ zero (DAZ). No such issue exists for the fixed-point reference
+ implementation.
+
+ The reference implementation was validated in the following
+ conditions:
+
+ 1. Sending the decoder valid packets generated by the reference
+ encoder and verifying that the decoder's final range coder state
+ matches that of the encoder.
+
+
+
+
+Valin, et al. Standards Track [Page 157]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ 2. Sending the decoder packets generated by the reference encoder
+ and then subjected to random corruption.
+
+ 3. Sending the decoder random packets.
+
+ 4. Sending the decoder packets generated by a version of the
+ reference encoder modified to make random coding decisions
+ (internal fuzzing), including mode switching, and verifying that
+ the range coder final states match.
+
+ In all of the conditions above, both the encoder and the decoder were
+ run inside the Valgrind [VALGRIND] memory debugger, which tracks
+ reads and writes to invalid memory regions as well as the use of
+ uninitialized memory. There were no errors reported on any of the
+ tested conditions.
+
+8. Acknowledgements
+
+ Thanks to all other developers, including Henrik Astrom, Jon
+ Bergenheim, Raymond Chen, Soren Skak Jensen, Gregory Maxwell,
+ Christopher Montgomery, and Karsten Vandborg Sorensen. We would also
+ like to thank Igor Dyakonov, Hoang Thi Minh Nguyet, Christian Hoene,
+ Gian-Carlo Pascutto, and Jan Skoglund for their help with testing of
+ the Opus codec. Thanks to Andrew D'Addesio, Elwyn Davies, Ralph
+ Giles, John Ridges, Ben Schwartz, Kat Walsh, Mark Warner, Keith Yan,
+ and many others on the Opus and CELT mailing lists for their bug
+ reports and feedback. At last, the authors would like to thank
+ Robert Sparks, Cullen Jennings, and Jonathan Rosenberg for their
+ support throughout the standardization process.
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+Valin, et al. Standards Track [Page 158]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+9. References
+
+9.1. Normative References
+
+ [RFC2119] Bradner, S., "Key words for use in RFCs to Indicate
+ Requirement Levels", BCP 14, RFC 2119, March 1997.
+
+9.2. Informative References
+
+ [BURG] Burg, J., "Maximum Entropy Spectral Analysis", Proceedings
+ of the 37th Annual International SEG Meeting, Vol.
+ 6, 1975.
+
+ [CELT] Valin, JM., Terriberry, T., Maxwell, G., and C.
+ Montgomery, "Constrained-Energy Lapped Transform (CELT)
+ Codec", Work in Progress, July 2010.
+
+ [CODING-THESIS]
+ Pasco, R., "Source coding algorithms for fast data
+ compression", Ph.D. thesis Dept. of Electrical
+ Engineering, Stanford University, May 1976.
+
+ [DOS] Handley, M., Rescorla, E., and IAB, "Internet Denial-of-
+ Service Considerations", RFC 4732, December 2006.
+
+ [FFT] Wikipedia, "Fast Fourier Transform",
+ <http://en.wikipedia.org/w/
+ index.php?title=Fast_Fourier_transform&oldid=508004516>.
+
+ [GOOGLE-NETEQ]
+ "Google NetEQ code", <http://code.google.com/p/webrtc/
+ source/browse/trunk/src/modules/audio_coding/NetEQ/main/
+ source/?r=583>.
+
+ [GOOGLE-WEBRTC]
+ "Google WebRTC code", <http://code.google.com/p/webrtc/>.
+
+ [HADAMARD] Wikipedia, "Hadamard Transform", <http://en.wikipedia.org/
+ w/index.php?title=Hadamard_transform&oldid=508252957>.
+
+ [KABAL86] Kabal, P. and R. Ramachandran, "The Computation of Line
+ Spectral Frequencies Using Chebyshev Polynomials", IEEE
+ Trans. Acoustics, Speech, Signal Processing, Vol. 34, no.
+ 6, pp. 1419-1426, December 1986.
+
+
+
+
+
+
+
+Valin, et al. Standards Track [Page 159]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ [LAROIA-ICASSP]
+ Laroia, R., Phamdo, N., and N. Farvardin, "Robust and
+ Efficient Quantization of Speech LSP Parameters Using
+ Structured Vector Quantization", ICASSP-1991, Proc. IEEE
+ Int. Conf. Acoust., Speech, Signal Processing, pp. 641-
+ 644, October 1991.
+
+ [LPC] Wikipedia, "Linear Prediction", <http://en.wikipedia.org/
+ w/index.php?title=Linear_prediction&oldid=497201278>.
+
+ [MARTIN79] Martin, G., "Range encoding: An algorithm for removing
+ redundancy from a digitised message", Proc. Institution of
+ Electronic and Radio Engineers International Conference on
+ Video and Data Recording, 1979.
+
+ [MATROSKA-WEBSITE]
+ "Matroska website", <http://matroska.org/>.
+
+ [MDCT] Wikipedia, "Modified Discrete Cosine Transform", <http://
+ en.wikipedia.org/w/
+ index.php?title=Modified_discrete_cosine_
+ transform&oldid=490295438>.
+
+ [OPUS-GIT] "Opus Git Repository", <https://git.xiph.org/opus.git>.
+
+ [OPUS-WEBSITE]
+ "Opus website", <http://opus-codec.org/>.
+
+ [PRINCEN86]
+ Princen, J. and A. Bradley, "Analysis/Synthesis Filter
+ Bank Design Based on Time Domain Aliasing Cancellation",
+ IEEE Trans. Acoustics, Speech, and Siginal Processing,
+ ASSP-34 (5), pp. 1153-1161, October, 1986.
+
+ [PVQ] Fischer, T., "A Pyramid Vector Quantizer", IEEE Trans. on
+ Information Theory, Vol. 32, pp. 568-583, July 1986.
+
+ [RANGE-CODING]
+ Wikipedia, "Range Coding", <http://en.wikipedia.org/w/
+ index.php?title=Range_encoding&oldid=509582757>.
+
+ [REQUIREMENTS]
+ Valin, JM. and K. Vos, "Requirements for an Internet Audio
+ Codec", RFC 6366, August 2011.
+
+
+
+
+
+
+
+Valin, et al. Standards Track [Page 160]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ [RFC3533] Pfeiffer, S., "The Ogg Encapsulation Format Version 0",
+ RFC 3533, May 2003.
+
+ [RFC3550] Schulzrinne, H., Casner, S., Frederick, R., and V.
+ Jacobson, "RTP: A Transport Protocol for Real-Time
+ Applications", STD 64, RFC 3550, July 2003.
+
+ [SCHUR] Le Roux, J. and C. Gueguen, "A fixed point computation of
+ partial correlation coefficients", ICASSP-1977, Proc. IEEE
+ Int. Conf. Acoustics, Speech, and Signal Processing, pp.
+ 257-259, June 1977.
+
+ [SILK] Vos, K., Jensen, S., and K. Sorensen, "SILK Speech Codec",
+ Work in Progress, September 2010.
+
+ [SPECTRAL-PAIRS]
+ Wikipedia, "Line Spectral Pairs", <http://
+ en.wikipedia.org/w/
+ index.php?title=Line_spectral_pairs&oldid=365426016>.
+
+ [SRTP-VBR] Perkins, C. and JM. Valin, "Guidelines for the Use of
+ Variable Bit Rate Audio with Secure RTP", RFC 6562,
+ March 2012.
+
+ [VALGRIND] "Valgrind website", <http://valgrind.org/>.
+
+ [VALIN2010]
+ Valin, JM., Terriberry, T., Montgomery, C., and G.
+ Maxwell, "A High-Quality Speech and Audio Codec With Less
+ Than 10 ms Delay", IEEE Trans. on Audio, Speech, and
+ Language Processing, Vol. 18, No. 1, pp. 58-67 2010.
+
+ [VECTORS-PROC]
+ "Opus Testvectors (proceedings)", <http://www.ietf.org/
+ proceedings/83/slides/slides-83-codec-0.gz>.
+
+ [VECTORS-WEBSITE]
+ "Opus Testvectors (website)",
+ <http://opus-codec.org/testvectors/>.
+
+ [VITERBI] Wikipedia, "Viterbi Algorithm", <http://en.wikipedia.org/
+ w/index.php?title=Viterbi_algorithm&oldid=508835871>.
+
+ [VORBIS-WEBSITE]
+ "Vorbis website", <http://xiph.org/vorbis/>.
+
+
+
+
+
+
+Valin, et al. Standards Track [Page 161]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ [WHITENING]
+ Wikipedia, "White Noise", <http://en.wikipedia.org/w/
+ index.php?title=White_noise&oldid=497791998>.
+
+ [Z-TRANSFORM]
+ Wikipedia, "Z-transform", <http://en.wikipedia.org/w/
+ index.php?title=Z-transform&oldid=508392884>.
+
+ [ZWICKER61]
+ Zwicker, E., "Subdivision of the Audible Frequency Range
+ into Critical Bands", The Journal of the Acoustical
+ Society of America, Vol. 33, No 2 pp. 248, February 1961.
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+Valin, et al. Standards Track [Page 162]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+Appendix A. Reference Implementation
+
+ This appendix contains the complete source code for the reference
+ implementation of the Opus codec written in C. By default, this
+ implementation relies on floating-point arithmetic, but it can be
+ compiled to use only fixed-point arithmetic by defining the
+ FIXED_POINT macro. The normative behavior is defined as the output
+ using the floating-point configuration. Information on building and
+ using the reference implementation is available in the README file.
+
+ The implementation can be compiled with either a C89 or a C99
+ compiler. It is reasonably optimized for most platforms such that
+ only architecture-specific optimizations are likely to be useful.
+ The Fast Fourier Transform (FFT) [FFT] used is a slightly modified
+ version of the KISS-FFT library, but it is easy to substitute any
+ other FFT library.
+
+ While the reference implementation does not rely on any _undefined
+ behavior_ as defined by C89 or C99, it relies on common
+ _implementation-defined behavior_ for two's complement architectures:
+
+ o Right shifts of negative values are consistent with two's
+ complement arithmetic, so that a>>b is equivalent to
+ floor(a/(2**b)),
+
+ o For conversion to a signed integer of N bits, the value is reduced
+ modulo 2**N to be within range of the type,
+
+ o The result of integer division of a negative value is truncated
+ towards zero, and
+
+ o The compiler provides a 64-bit integer type (a C99 requirement
+ which is supported by most C89 compilers).
+
+ In its current form, the reference implementation also requires the
+ following architectural characteristics to obtain acceptable
+ performance:
+
+ o Two's complement arithmetic,
+
+ o At least a 16 bit by 16 bit integer multiplier (32-bit result),
+ and
+
+ o At least a 32-bit adder/accumulator.
+
+
+
+
+
+
+
+Valin, et al. Standards Track [Page 163]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+A.1. Extracting the Source
+
+ The complete source code can be extracted from this document, by
+ running the following command line:
+
+ o cat rfc6716.txt | grep '^\ \ \ ###' | sed -e 's/...###//' | base64
+ --decode > opus-rfc6716.tar.gz
+
+ o tar xzvf opus-rfc6716.tar.gz
+
+ o cd opus-rfc6716
+
+ o make
+
+ On systems where the provided Makefile does not work, the following
+ command line may be used to compile the source code:
+
+ o cc -O2 -g -o opus_demo src/opus_demo.c `cat *.mk | grep -v fixed |
+ sed -e 's/.*=//' -e 's/\\\\//'` -DOPUS_BUILD -Iinclude -Icelt
+ -Isilk -Isilk/float -DUSE_ALLOCA -Drestrict= -lm
+
+ On systems where the base64 utility is not present, the following
+ commands can be used instead:
+
+ o cat rfc6716.txt | grep '^\ \ \ ###' | sed -e 's/...###//' >
+ opus.b64
+
+ o openssl base64 -d -in opus.b64 > opus-rfc6716.tar.gz
+
+ The SHA1 hash of the opus-rfc6716.tar.gz file is
+ 86a927223e73d2476646a1b933fcd3fffb6ecc8c.
+
+A.2. Up-to-Date Implementation
+
+ As of the time of publication of this memo, an up-to-date
+ implementation conforming to this RFC is available in a Git
+ repository [OPUS-GIT]. Releases and other resources are available at
+ [OPUS-WEBSITE]. However, although that implementation is expected to
+ remain conformant with the RFC, it is the code in this document that
+ shall remain normative.
+
+A.3. Base64-Encoded Source Code
+
+ ###H4sIAEeqNVACA+xde3PixrLfv/kUfXarEvDF2ODHZrNJajHIWCe8LgJ7t+65pSOL
+ ###AXRWSEQPe52c891v98xISEI8vMZ7kyqTikHSdE93T0/Pr+ehdRehf+hNzPO31fOj
+ ###V8/zOcbP27dn/Bs/2W/+u1o7rp6d1M6qx29fHVfxv7NXcPbqL/TJKvcX+bjJ9m/0
+ ###+p/Ubus5THN+frqu/U9O3lZl+x/XzslPqugF1Vfw6qX9n/3TcBcPnjWdBVB99+70
+ ###EFuhCqoyvIShF/pBGT5ai1ml503LoH1+WDBoW3MrYOMy9MzA8C2zXICcz9+Z4Rx2
+
+
+
+Valin, et al. Standards Track [Page 164]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ ###DM+Ea8O2nDIMrbkbzB7gogJD5nnWLf55yKdtaOqgV4aWx6au9wAd48s9s+0y/vA+
+ ###w4XrTZk3tpxpPrHiWZ9hzKBh+IHnQttduBWo2zZwHX3wmM+8OzauFArDmeXDxLIZ
+ ###4Df7EniGiYrBxHPnMLhsUIeoQN9mhs/AZwyCmRHQA5i4HhjjsRVYrmPYBcvBG3OD
+ ###rpDrgI0trNq6DekGGM4YQmRgOeC7oWcyfufWcgxUjej8MtxbwQyQJ327YVCYu2Nr
+ ###YpmcYxkMj8GCeWh1km7huXfWGH9waYIZQya27d6jQcB0HSGUXyCiOQt+LBQOIS2R
+ ###D+4kEsV00VJzbGY0S2CgiMTPuHXv6JF0i4LjBpbJyvgMzWQjJ2KwrIrrk5YDqzNt
+ ###w5ozr5JXP9aT0D+qHxUbhybbuwgg1CqMXTOcMycwomY5QoujS2IJbDvmWYbtL63L
+ ###m4RYJkXn2nSZxYnooWPMGYmiOsjAYQFormmx4KEsehBWkOxJjsupCkQlWmHBTGpo
+ ###UkVU4nroDnPjAW4ZeQ1q5QJzxnibETcUD3sRKwhboTePUe67yGe5dXx3EtxT60tn
+ ###Wlay8CzyMY/8yClwj/J9odXwStVA610Ob+oDBfB3f9C7VptKEy4+wfBKARoXBmrr
+ ###aghXvXZTGWhQ7zbxbnc4UC9Gw95AK/zzn3UNSb//nj+qdz+B8rE/UDQNegNQO/22
+ ###iuyQ/6DeHaqKhibqNtqjJo42ZUAW0O0NC221ow6x2BC7P1W7Sga9S+gog8YVXtYv
+ ###1LY6/MTru1SHXarrsjco1KFfHwzVxqhdH0B/NOj3NAVIsaaqNdp1taM0K1g71gjK
+ ###tdIdgnZVb7czevZuusqggKInlYQLBdpq/aKtUEVcyaY6UBpD0mb5q4GmQ/HaGDL7
+ ###SkPFHwXlo4K61AefyiB4asp/j7AQPoRmvVNvoWrFVYtAwiIFbJTGaKB0SGQ0gza6
+ ###0IbqcDRUoNXrNbmdNWVwrTYU7T20exo31khTyljDsE4VEwu0FD7GshcjTeU2U7tD
+ ###ZTAY9Ydqr1vCBr5Bq6CMdSRtcuP2ulxVNFBv8AmZFsgG3PZluLlS8P6A7MktVScT
+ ###aGixxhASxbA+NOAwoWOhq7TaakvpNhR62iMuN6qmlLCpVJSsRSyp2ps61jniKlMT
+ ###oVTip6oVIpct84YE9RLqzWuVxJaFsek1VboJN1njSpq7Unj18lnBfyazA10MDn5l
+ ###/vlb4b/zM4H/T8+rteo54f+T4/PjF/z3LT5vYIkAi2YJCAASCqylxq4MnlsDqd4U
+ ###3gDsC1YhqxSy4sz3gK6Qyx4AFnKJMRaX7Mk4C3k8DWqtEePxcOuJkkSIC9nsBXRJ
+ ###vZ4OvEivJ2MvZLIH+EVcEghMdJw9oDBksw8ghmz2g8WQ0R7hGHLbGyJDXvsAZchm
+ ###D7hMcNkHNOMttwd0hnz2ANCQy5MwWqGhtIe61hsN0HjwMxA+ObrFOOJXTPhHgV/S
+ ###n8TVvZd4hqGHYm/qxpiZqWvmJK4/Y4/UJ5MEQ9tY2IaZYIGBa+YuEpXMx2aiPI4t
+ ###LPFwYQXmLC2sbi8SNf4WGk6gZ3TyMDgur+5+q5iFb4L/LMe0wzE7egZo9Lj5X5oK
+ ###fJn//eb4P2p/uqnPQzuggZgZ88rsGfF/rfr2uJaZ/z2rnZ6+4P9v8Tk62CkBiKaB
+ ###4dINnbGA5PlJAADcCJQDtw/ZxAEOjgpHBwUqtK88ATJ5At3YQ5oAe0kTIJEm0MWT
+ ###swR4apaQL8XjkwTYT5IAe0oShFpPzxFgHzkC7CVHgHSOwPvMHlIE2E+KAPtKEWCv
+ ###KQLsMUWA/aQIsJcUAfaWIsCeUgTYS4oAT0wRcEDBEeWgAAfwgY8mq9iFP7v1LDaB
+ ###Hj7EwDZhHsJ+HBDmC5stY0+CCup9tUCjVeGNNXHGRNofaXpn1B6qaB2l3tGvCm/w
+ ###vuWwvEdIJrAUvCaBKrPXnBMx0nVzYYc+/V/AcQ+DE7xuvIY/Cm8wlFiTQiF4WDAq
+ ###iJJgCOEydzTFofHBS1+9zy/bZMmy8up9IZZX17mRzBkzP+toCB/1Z/oi8Ir4fwmK
+ ###4uu/oh+HUCROss6DgxK/XSrl88P8ajd+Uq4Ev/UGbSlDHd2shyFN14b1oaIPqCNq
+ ###QzhD4LiZrqmsoas9psLil/JD6RGCldNWsZyg+KVU3mD6h9Ij1NggTa66u0iTajiU
+ ###hroVQTwXEZBATJaDIzvCuN/xMtVZmHROTg/u7b8YpsTU7aBhIEbMdkldlscqaZX+
+ ###oViigdRjHOxxMj5QCj5wP0MoiXax/BniS+qTXG8csiggpXvHwdqqTLwKWFFuGuDF
+ ###0AonNbjEIT3xQaV/As3AwECAxeP6TFDzBQ3U1hQRJxSvfi+RGIIAuYA5MxyH2WlO
+ ###glU3nN+iYISMZCEJfdI8U+yE6Blugt3QDbC0EzOVRQUQ4QhSAo2If1pON8SAN9bT
+ ###FWTlFIWg6GNsYm4pp46YaeiQ/FgYlUPrz43FgrZmRExFs4xB3kfYFNwzbM3YFORV
+ ###EfuUpEhgx9A7bYKGS9s/CJ0zDCTkCvU+Ao9GnYZA/bqn9o9W7tZxyOplGu2AeR7C
+ ###LcixssKfRKqW3ou+oCbcH4GqjWKPH/Bb9JDx+h6x4rRU/VpPpV4W+WnGuwmppuRM
+ ###9btYuxfv/ut4N+zVuyNXHbAg9DAFs5kzpbx2IlImIzBgYTzYroEGoJzvIWB+iVIX
+ ###Axw2RYEwx2Mp59/RbYXDrnfXTQ6L6ZUfxE5bPYeDhTlPtp6a9CWDXAzbDgcLyqt8
+ ###cmbmV6AtVKVJBQ8zON3HfnoQN4WsijRYPt7o0JIx5WCCZKWnSJ4ZLyEjp3tpLwyI
+ ###6jacTIiXyDRR6/nCYz5lkXGTOC42vMfnOhCNGl90YqbzVgLbdaalpB6Z52k96suo
+ ###xOauyOujet5jyu18H/ApkQlvakxvMUfnPmwFnmya/frSY2KgPkGuT4yBwqk4o6Q/
+ ###5bpU0p+suP+iKsi3Eum92bE2udbXOtYm13oux9rkWvtyLIDItVos8LnMZDIyA0qX
+ ###bm6R14Qeo4lFTOM86YxEQHfSPpUY+NYOr1MW8BYqft2QJEJ+blTPjD/wuPEn0eOa
+
+
+
+Valin, et al. Standards Track [Page 165]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ ###zIhhN0cVuTA7o/uda423I+2VzpRoCuq7Pn0t5NSksxHmPwbTmIFdzOnHROOx30JG
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+
+
+
+Valin, et al. Standards Track [Page 166]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 167]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 168]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 169]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 170]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 171]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 172]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 173]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 174]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 175]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 176]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 177]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 178]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 179]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 180]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 181]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 182]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 183]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 184]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 185]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 186]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 187]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 188]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 189]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 190]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 191]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 192]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 193]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 194]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 195]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 196]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 197]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 198]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 199]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 200]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 201]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 202]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 203]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 204]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 205]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 206]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 207]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 208]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 209]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 210]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 211]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 212]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 213]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 214]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 215]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 216]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 217]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 218]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ ###omwoDF1kVSGs8YTB8Brm8WZIdxmG7Es7nKiEIpOTinNo3ZAioMFyGkKPs8GNY/dM
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+
+
+
+Valin, et al. Standards Track [Page 219]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 220]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 221]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 222]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 223]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 224]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 225]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 226]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 227]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 228]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 229]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 230]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 231]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 232]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 233]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 234]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 235]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 236]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 237]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 238]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 239]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 240]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 241]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 242]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 243]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 244]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 245]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 246]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 247]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 248]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 249]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 250]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 251]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 252]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 253]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 254]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 255]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 256]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 257]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 258]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 259]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 260]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 261]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 262]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 263]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 264]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 265]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 266]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 267]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 268]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 269]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 270]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 271]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 272]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 273]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 274]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ ###hcyc+rOgmoGvBfQ9F5kEs8kk3RHI6dXryYRFMMc6x+CNSunBUPZe0DFWJhjKMyfs
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+
+
+
+Valin, et al. Standards Track [Page 275]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 276]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 277]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 278]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 279]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 280]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 281]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 282]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 283]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 284]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 285]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 286]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 287]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 288]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 289]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 290]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 291]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 292]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 293]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 294]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 295]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 296]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 297]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 298]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 299]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 300]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 301]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 302]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 303]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 304]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 305]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 306]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 307]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 308]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 309]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 310]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 311]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 312]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 313]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 314]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 315]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 316]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 317]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
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+
+
+
+Valin, et al. Standards Track [Page 318]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ ###PN8y0spz44BjzuEycw6XmXO4zJxtHNheCAdkRuwFMMCsGi5cdb4F1FXnXvvUXMPF
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+ ###906Ojv67ffT6he5M8M2X06jfh2L6S0pbhgDjV6ITCGWKi4bzgJd+XpcndG0cjiLQ
+ ###wLqICo6uTP66FN/X7V2ZPcATbBMMrJgmDHMZwUBFaGYcqt25b2CF8KQz0CKQaAGx
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+ ###e/jVqT9D3XuiU0TLS7GTCRjIRVRiRW1yXSUOWdsMHrxnGfJBOUvg6CAgA9BUaN83
+ ###KKETLPo1rMncbhQmQKZ90CvUdf6w5y9P3z07PaoQsknGVFRZ2rMqyhJVvvKvz99V
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+ ###OOn10U8nFUPBV76VF6e/V4S+qnwlfrS0IQxR++3Ru8OKrTtSHmX5bf2Ajbz572c/
+ ###Hj17UXkC3py+n/Lmsq+T6z1zEaldKvVdRbv0a2xM0fdftjEh2KOnokqT7UOghaGa
+ ###M63+uytpO7PwDmQAXtURTFbJyEiMXVfr2shf0PoguohvBnO2Lg3sBW2z52jOlg37
+
+
+
+Valin, et al. Standards Track [Page 319]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ ###fUHzyQ3D9gX6kBb7guZlrJjClsENqKAtSD2a0Q6N7JzdgPDby2iDHKupU9W1g16I
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+ ###udQsuFK1YYycPDrH3swa+8pcs/naIHYN837FxeKZIzlw8D5ZCJqqi1bS7OVziLFO
+ ###qcdqtoHNFnP12UMVzCNG3Un28oq0WNdnca0CXaoe/fO8OkR4aiUk+HpRaSZ7tSqJ
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+ ###VrwmOhxGsMEFBa5bYgkPS6gUMRMGittO/4anLJNv4ciSSV6s+AxuPu5fxpl6zqRm
+ ###DAFCJ6fnBh+QtsofeMIa360JwR4p1XHqmE6LTsLL9B22y6cI+QEibxAngw5k3i7Q
+ ###UK5Kf0sXtIrqxkNxc/Zx/2LXa84e7/Rn3m0ifuXjIjcLI7eUV0qJGli8FNjKN2dj
+ ###mqU3yxIts8XKAo/cFcqEykhn8JtkQUYUv+HZgox4IvhcMzjXKrl3IEO2gUnXLMNE
+ ###T/XRZyyA+XFXfdxbWYCPHU7AZaK51kzLO4+cZpkcVZz3ASkj+4dq8byqDi7ofajV
+ ###MplXGAqDTzw8Yy2cs2oVHtfOF2/KUzVlQK9go+vsX+d42FB8Bt0g2nIOSsbNy1k1
+ ###fTVYhP+zRXlzUAw5foXkTsNeilXFsHx2T/T39qbLfIYd005VtL2K+FUzMcD3nkh1
+ ###5v2Kmyh1bqNJ50qln9o1Zvr4qXQ4yaYPQdTYqMKELKNthWhl5eLiBHwze5DpaI5Z
+ ###nXLG0v0wLjUY2CPWgAxXlFy8d0CpN41vM4BUACU9JNZIWRhB2Ww4iWHA6TG86Ezg
+ ###DLiNRciyvNHgUJJ/T6YVRMB1TjYaiI44xPUKz2turVcRICEjL1BZdh7doWt0AtLo
+ ###x+u4B3LoNJqALx0MeBIlELjK+xhNYPSjCSPuYmtgGPoXR89/+aF9cvrm3VH78Kc3
+ ###J0dtCJJ6wt0I4/6H9imkYD1hOFsR6QjjAbCa05m6SGLoTS8g8tzoDlRA9LPkbeRn
+ ###9ixhPYmEYkUl3AMsMTeVdvFWpZXnd+ocSp8/WEt/hyfr4yU1DtBj6uSXw8OjkxNI
+ ###jfR/Hv48/Hn48/Dn4c/Dn4c/D3/+v/nzP0cUzKcA0CAA
+
+
+
+
+
+
+
+
+Valin, et al. Standards Track [Page 320]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+A.4. Test Vectors
+
+ Because of size constraints, the Opus test vectors are not
+ distributed in this document. They are available in the proceedings
+ of the 83rd IETF meeting (Paris) [VECTORS-PROC] and from the Opus
+ codec website at [VECTORS-WEBSITE]. These test vectors were created
+ specifically to exercise all aspects of the decoder. Therefore, the
+ audio quality of the decoded output is significantly lower than what
+ Opus can achieve in normal operation.
+
+ The SHA1 hash of the files in the test vector package are
+
+ e49b2862ceec7324790ed8019eb9744596d5be01 testvector01.bit
+ b809795ae1bcd606049d76de4ad24236257135e0 testvector02.bit
+ e0c4ecaeab44d35a2f5b6575cd996848e5ee2acc testvector03.bit
+ a0f870cbe14ebb71fa9066ef3ee96e59c9a75187 testvector04.bit
+ 9b3d92b48b965dfe9edf7b8a85edd4309f8cf7c8 testvector05.bit
+ 28e66769ab17e17f72875283c14b19690cbc4e57 testvector06.bit
+ bacf467be3215fc7ec288f29e2477de1192947a6 testvector07.bit
+ ddbe08b688bbf934071f3893cd0030ce48dba12f testvector08.bit
+ 3932d9d61944dab1201645b8eeaad595d5705ecb testvector09.bit
+ 521eb2a1e0cc9c31b8b740673307c2d3b10c1900 testvector10.bit
+ 6bc8f3146fcb96450c901b16c3d464ccdf4d5d96 testvector11.bit
+ 338c3f1b4b97226bc60bc41038becbc6de06b28f testvector12.bit
+ a20a2122d42de644f94445e20185358559623a1f testvector01.dec
+ 48ac1ff1995250a756e1e17bd32acefa8cd2b820 testvector02.dec
+ d15567e919db2d0e818727092c0af8dd9df23c95 testvector03.dec
+ 1249dd28f5bd1e39a66fd6d99449dca7a8316342 testvector04.dec
+ 93eee37e5d26a456d2c24483060132ff7eae2143 testvector05.dec
+ a294fc17e3157768c46c5ec0f2116de0d2c37ee2 testvector06.dec
+ 2bf550e2f072e0941438db3f338fe99444385848 testvector07.dec
+ 2695c1f2d1f9748ea0bf07249c70fd7b87f61680 testvector08.dec
+ 12862add5d53a9d2a7079340a542a2f039b992bb testvector09.dec
+ a081252bb2b1a902fdc500530891f47e2a373d84 testvector10.dec
+ dfd0f844f2a42df506934fac2100a3c03beec711 testvector11.dec
+ 8c16b2a1fb60e3550ba165068f9d7341357fdb63 testvector12.dec
+
+Appendix B. Self-Delimiting Framing
+
+ To use the internal framing described in Section 3, the decoder must
+ know the total length of the Opus packet, in bytes. This section
+ describes a simple variation of that framing that can be used when
+ the total length of the packet is not known. Nothing in the encoding
+ of the packet itself allows a decoder to distinguish between the
+ regular, undelimited framing and the self-delimiting framing
+ described in this appendix. Which one is used and where must be
+
+
+
+
+
+Valin, et al. Standards Track [Page 321]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ established by context at the transport layer. It is RECOMMENDED
+ that a transport layer choose exactly one framing scheme, rather than
+ allowing an encoder to signal which one it wants to use.
+
+ For example, although a regular Opus stream does not support more
+ than two channels, a multi-channel Opus stream may be formed from
+ several one- and two-channel streams. To pack an Opus packet from
+ each of these streams together in a single packet at the transport
+ layer, one could use the self-delimiting framing for all but the last
+ stream, and then the regular, undelimited framing for the last one.
+ Reverting to the undelimited framing for the last stream saves
+ overhead (because the total size of the transport-layer packet will
+ still be known), and ensures that a "multi-channel" stream that only
+ has a single Opus stream uses the same framing as a regular Opus
+ stream does. This avoids the need for signaling to distinguish these
+ two cases.
+
+ The self-delimiting framing is identical to the regular, undelimited
+ framing from Section 3, except that each Opus packet contains one
+ extra length field, encoded using the same one- or two-byte scheme
+ from Section 3.2.1. This extra length immediately precedes the
+ compressed data of the first Opus frame in the packet, and is
+ interpreted in the various modes as follows:
+
+ o Code 0 packets: It is the length of the single Opus frame (see
+ Figure 25).
+
+ o Code 1 packets: It is the length used for both of the Opus frames
+ (see Figure 26).
+
+ o Code 2 packets: It is the length of the second Opus frame (see
+ Figure 27).
+
+ o CBR Code 3 packets: It is the length used for all of the Opus
+ frames (see Figure 28).
+
+ o VBR Code 3 packets: It is the length of the last Opus frame (see
+ Figure 29).
+
+
+
+
+
+
+
+
+
+
+
+
+
+Valin, et al. Standards Track [Page 322]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ 0 1 2 3
+ 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1
+ +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
+ | config |s|0|0| N1 (1-2 bytes): |
+ +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+ |
+ | Compressed frame 1 (N1 bytes)... :
+ : |
+ | |
+ +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
+
+ Figure 25: A Self-Delimited Code 0 Packet
+
+ 0 1 2 3
+ 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1
+ +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
+ | config |s|0|1| N1 (1-2 bytes): |
+ +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+ :
+ | Compressed frame 1 (N1 bytes)... |
+ : +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
+ | | |
+ +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+ :
+ | Compressed frame 2 (N1 bytes)... |
+ : +-+-+-+-+-+-+-+-+
+ | |
+ +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
+
+ Figure 26: A Self-Delimited Code 1 Packet
+
+
+ 0 1 2 3
+ 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1
+ +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
+ | config |s|1|0| N1 (1-2 bytes): N2 (1-2 bytes : |
+ +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+ :
+ | Compressed frame 1 (N1 bytes)... |
+ : +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
+ | | |
+ +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+ |
+ | Compressed frame 2 (N2 bytes)... :
+ : |
+ | |
+ +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
+
+ Figure 27: A Self-Delimited Code 2 Packet
+
+
+
+
+
+
+
+Valin, et al. Standards Track [Page 323]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ 0 1 2 3
+ 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1
+ +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
+ | config |s|1|1|0|p| M | Pad len (Opt) : N1 (1-2 bytes):
+ +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
+ | |
+ : Compressed frame 1 (N1 bytes)... :
+ | |
+ +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
+ | |
+ : Compressed frame 2 (N1 bytes)... :
+ | |
+ +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
+ | |
+ : ... :
+ | |
+ +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
+ | |
+ : Compressed frame M (N1 bytes)... :
+ | |
+ +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
+ : Opus Padding (Optional)... |
+ +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
+
+ Figure 28: A Self-Delimited CBR Code 3 Packet
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+Valin, et al. Standards Track [Page 324]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+ 0 1 2 3
+ 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1
+ +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
+ | config |s|1|1|1|p| M | Padding length (Optional) :
+ +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
+ : N1 (1-2 bytes): ... : N[M-1] | N[M] :
+ +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
+ | |
+ : Compressed frame 1 (N1 bytes)... :
+ | |
+ +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
+ | |
+ : Compressed frame 2 (N2 bytes)... :
+ | |
+ +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
+ | |
+ : ... :
+ | |
+ +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
+ | |
+ : Compressed frame M (N[M] bytes)... :
+ | |
+ +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
+ : Opus Padding (Optional)... |
+ +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
+
+ Figure 29: A Self-Delimited VBR Code 3 Packet
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+Valin, et al. Standards Track [Page 325]
+
+RFC 6716 Interactive Audio Codec September 2012
+
+
+Authors' Addresses
+
+ Jean-Marc Valin
+ Mozilla Corporation
+ 650 Castro Street
+ Mountain View, CA 94041
+ USA
+
+ Phone: +1 650 903-0800
+ EMail: jmvalin@jmvalin.ca
+
+
+ Koen Vos
+ Skype Technologies S.A.
+ Soder Malarstrand 43
+ Stockholm, 11825
+ SE
+
+ Phone: +46 73 085 7619
+ EMail: koenvos74@gmail.com
+
+
+ Timothy B. Terriberry
+ Mozilla Corporation
+ 650 Castro Street
+ Mountain View, CA 94041
+ USA
+
+ Phone: +1 650 903-0800
+ EMail: tterriberry@mozilla.com
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+Valin, et al. Standards Track [Page 326]
+
diff --git a/SPECS/opus.spec b/SPECS/opus.spec
new file mode 100644
index 0000000..c7d9061
--- /dev/null
+++ b/SPECS/opus.spec
@@ -0,0 +1,113 @@
+Name: opus
+Version: 1.0.2
+Release: 4%{?dist}
+Summary: An audio codec for use in low-delay speech and audio communication
+
+Group: System Environment/Libraries
+License: BSD
+URL: http://www.opus-codec.org/
+Source0: http://downloads.xiph.org/releases/%{name}/%{name}-%{version}.tar.gz
+# This is the final IETF Working Group RFC
+Source1: http://tools.ietf.org/rfc/rfc6716.txt
+
+Patch0: 0001-Fix-several-memory-errors-in-the-SILK-resampler.patch
+Patch1: 0001-Fixes-an-assertion-failure-in-SILK.patch
+
+%description
+The Opus codec is designed for interactive speech and audio transmission over
+the Internet. It is designed by the IETF Codec Working Group and incorporates
+technology from Skype's SILK codec and Xiph.Org's CELT codec.
+
+%package devel
+Summary: Development package for opus
+Group: Development/Libraries
+Requires: libogg-devel
+Requires: opus = %{version}-%{release}
+
+%description devel
+Files for development with opus.
+
+%prep
+%setup -q
+%patch0 -p1
+%patch1 -p1
+cp %{SOURCE1} .
+
+%build
+%configure --enable-custom-modes
+
+make %{?_smp_mflags}
+
+%install
+rm -rf %{buildroot}
+make install DESTDIR=%{buildroot}
+
+# Remove libtool archives and static libs
+find %{buildroot} -name '*.la' -exec rm -f {} ';'
+find %{buildroot} -name '*.a' -exec rm -f {} ';'
+
+%check
+make check
+
+%clean
+rm -rf %{buildroot}
+
+%post -p /sbin/ldconfig
+
+%postun -p /sbin/ldconfig
+
+%files
+%defattr(-,root,root,-)
+%doc COPYING README rfc6716.txt
+%{_libdir}/libopus.so.*
+
+%files devel
+%defattr(-,root,root,-)
+%{_includedir}/opus
+%{_libdir}/libopus.so
+%{_libdir}/pkgconfig/opus.pc
+%{_datadir}/aclocal/opus.m4
+
+%changelog
+* Tue Nov 5 2013 Matthias Clasen <mclasen@redhat.com> - 1.0.2-4
+- Apply two crash fixes from upstream
+- Resolves: #1017240
+
+* Thu Feb 14 2013 Fedora Release Engineering <rel-eng@lists.fedoraproject.org> - 1.0.2-3
+- Rebuilt for https://fedoraproject.org/wiki/Fedora_19_Mass_Rebuild
+
+* Thu Jan 10 2013 Peter Robinson <pbrobinson@fedoraproject.org> 1.0.2-2
+- Enable extra custom modes API
+
+* Thu Dec 6 2012 Peter Robinson <pbrobinson@fedoraproject.org> 1.0.2-1
+- Official 1.0.2 release
+
+* Wed Sep 12 2012 Peter Robinson <pbrobinson@fedoraproject.org> - 1.0.1-1
+- Official 1.0.1 release now rfc6716 is stable
+
+* Tue Sep 4 2012 Peter Robinson <pbrobinson@fedoraproject.org> - 1.0.1rc3-0.1
+- Update to 1.0.1rc3
+
+* Thu Aug 9 2012 Peter Robinson <pbrobinson@fedoraproject.org> - 1.0.0rc1-0.1
+- Update to 1.0.0rc1
+
+* Fri Jul 20 2012 Fedora Release Engineering <rel-eng@lists.fedoraproject.org> - 0.9.14-2
+- Rebuilt for https://fedoraproject.org/wiki/Fedora_18_Mass_Rebuild
+
+* Sun May 27 2012 Peter Robinson <pbrobinson@fedoraproject.org> - 0.9.14-1
+- Update to 0.9.14
+
+* Sat May 12 2012 Peter Robinson <pbrobinson@fedoraproject.org> - 0.9.10-2
+- Add make check - fixes RHBZ # 821128
+
+* Fri Apr 27 2012 Peter Robinson <pbrobinson@fedoraproject.org> - 0.9.10-1
+- Update to 0.9.10
+
+* Fri Jan 13 2012 Fedora Release Engineering <rel-eng@lists.fedoraproject.org> - 0.9.8-2
+- Rebuilt for https://fedoraproject.org/wiki/Fedora_17_Mass_Rebuild
+
+* Tue Nov 8 2011 Peter Robinson <pbrobinson@fedoraproject.org> 0.9.8-1
+- Update to 0.9.8
+
+* Mon Oct 10 2011 Peter Robinson <pbrobinson@fedoraproject.org> 0.9.6-1
+- Initial packaging