What is Adaptive Transform Acoustic Coding (ATRAC)?

Adaptive Transform Acoustic Coding (ATRAC): Here, we are going to learn about the ATRAC, why and where it is used, its presentation, etc.
Submitted by Anushree Goswami, on January 12, 2021

ATRAC: Adaptive Transform Acoustic Coding

ATRAC is an abbreviation of "Adaptive Transform Acoustic Coding". It is an associated collection of proprietary audio compression algorithms designed and created by Sony and which is based on psychoacoustic principles. It makes use of a range of advanced technologies to study and evaluate digital sound data, enabling it to diminish the size of that data at the same time as keeping up the splendid sound quality. This capability to diminish the size of data has allowed soundtrack recording media to be prepared smaller and additional tracks to be recorded on them, altering the manner in which a music listener listens to music.

  • In 1992, Minidisc was the first commercial product to have as a feature ATRAC. ATRAC enabled a comparatively small disc-like Minidisc to have a similar running time as CD at the same time as storing audio information with minimum loss in audible quality.
  • Enhancement and upgrading to the codec in the form of ATRAC3, ATRAC3plus, and ATRAC Advanced Lossless followed in 1999 when Sony began the Internet music distribution service "bitmusic" using ATRAC, then in 2002, and 2006 correspondingly.
  • Sharp and Panasonic which are other Minidisc manufacturers, also put into operation their individual versions of the ATRAC codec.
  • In the USA and Europe, Sony has the entire, however, put down the ATRAC associated codecs.
  • On 31 March 2008, Sony also put down the ATRAC associated codec's in their Sonic Stage powered 'Connect' Music Service. On the other hand, it is being continual in Japan and a variety of other countries.
  • US and foreign patents licensed from Dolby Laboratories.

Presentation

  • ATRAC algorithms were created in a secure collaboration and support with LSI integrated circuit development engineers inside Sony in order to distribute on a substantial product that could encode at high speeds and with minimum consumption of power.
  • In comparison to further codec’s created on the system of computers with no consideration for the control or restrictions of portable hardware. In the design of the ATRAC codec, this is imitated, which be inclined to lay emphasis on dealing out slighter numbers of samples at a time to set aside memory at the price of compression effectiveness and supplementary multiplies.
  • On the systems of DSP, these transactions are completely reasonable, where memory is frequently at its finest put side by side to multiplier presentation.

Reference: Adaptive Transform Acoustic Coding


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