#Streaming accplus generator

This band represents a lot of the higher frequency content the nature of the content in that band tends to be momentary, so slushiness isn't as noticeable there. The upper three bands are the ones primarily in question the uppermost and lowermost of those bands are being attenuated the midmost of those bands are being clipped sharply as appropriate. As you can see with my algorithm, I am employing both techniques. Or, you can attenuate the audio to reduce the peaks and eliminate the phenomenon overall. You can avoid this by processing the sharper peaks of high frequency audio with quick and abrupt clipping. Any cymbals will then sound like they aren't cymbals but actually sheets of water being smashed with a mallet. Percussion 'slush' occurs primarily when a loud bass tone is played, and the peak of it coincides with a loud peak of something in the SBR range. So, what artifacts actually arise? First and foremost, there is a phenomenon I call percussion 'slush'.

#Streaming accplus generator

The high frequency content has to be reproduced with a noise generator since the true content was never actually encoded. Upon decoding, the CODEC decodes the lower frequencies, and simultaneously translates the high frequency content back to the high frequency range as appropriate. Upon encoding, the CODEC encodes only the lower frequencies (with the higher frequency content riding 'on top'). What is SBR? Simply put, SBR takes high frequencies, translates them algorithmically onto the lower frequency range. With aacPlus (V1 or V2), there are a few types of artifacting which can occur under certain audio conditions, primarily due to the Spectral Band Replication (SBR) algorithm which reproduces high frequencies using a noise generator. When preprocessing audio for aacPlus, especially at lower bitrates, it is important to understand how the CODEC behaves under compression and limiting environments to prevent artifacting. This will also maintain an audio sound similar to the artist's/mastering engineer's intent, while normalizing the audio between tracks. This will keep the 'kick' on snare and bass drums intact. I have developed a preset which keeps dynamic range (per song) as much inline with the source as reasonably possible.