Digital Audio
`Broadcasting
`
`Principles and Applications
`of DAB, DAB + and DMB
`
`THIRD EDITION
`
`Editors
`
`WOLFGANG HOEG
`
`Audio Cmzsu/tcml, Ber/in, Ger/nmy
`
`and
`
`THOMAS LAUTERBACH
`
`Ge0rg—Si/non-0/1m, Univer.s'iI_r 0fApp/fed Sciences, NL2’r/zberg, Germany
`
`WILEY
`
`A Iohn Wiley and Sons, Ltd, Publication
`
`MTe|., Exhibit 2005, ARRIS V. MTe|., Page 1, IPRZO16-00765
`
`MTel., Exhibit 2005, ARRIS v. MTel., Page 1, IPR2016-00765
`
`

`
`This edition first published 2009
`© 2009 John Wiley & Sons Ltd.
`
`Registered o_/fire
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`
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`be sought.
`
`The authors and publishers would like to acknowledge the European Telecommunications Standards Institute
`(ETSI) for granting permission to reproduce figures and tables from the four ETSI Standards referred to in the
`book
`
`ETSI EN 30040] Vl.4.l © ETSI 2006
`ETSI EN 300797 Vl.2.l © ETSI 2005
`ETSI TS 10l 860 V l.l.l © ETSI 2()0l
`ETSITR 101497 Vl.l.l © ETSI 2002
`
`© ETSI, Further use, modification, redistribution is strictly prohibited. The standards are available from
`pub1ication('_t'g}‘:etsi.fr and http://www.etsi.org/eds/eds.html
`
`Library afCangi'css Cataloging-iu-Publication Data
`Digital audio broadcasting: principles and applications 01' DA B, DAB+ and DMB/edited by
`Wolfgang Hoeg. Thomas Lauterbach. —— 3rd ed.
`p.
`cm.
`Includes bibliographical references and index.
`ISBN 978-0-470-51037-7 (cloth)
`1. Digital audio broadcasting.
`TK6562.D54D54 2009
`62l.384—~dc22
`
`ll. Lauterbach, Thomas.
`
`I.
`
`I-Ioeg, Wolfgang.
`
`200900 I879
`
`A catalogue record for this book is available from the British Library-
`
`ISBN 978-0-470-51037-7 (Hbk)
`
`Set in 10/12pt Times by lntegra Software Services Pvt. Ltd., Pondicherry, India
`Printed and bound in Great Britain by Antony Rowe Ltd, Chippenham. Wiltshire.
`
`MTe|., Exhibit 2005, ARRIS V. MTe|., Page 2, IPRZO16-00765
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`MTel., Exhibit 2005, ARRIS v. MTel., Page 2, IPR2016-00765
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`

`
`1 I
`
`ntroduction
`
`1.1 General
`
`The new digital radio system DAB (Digital Audio Broadcasting, nowadays often called
`Digital Radio) is a very innovative and universal multimedia broadcast system which will
`replace the existing AM and FM audio broadcast services in many parts of the world in
`the future. It was developed in the 19905 by the Eureka 147/DAB project. DAB is ve1'y
`well suited for mobile reception and provides very high robustness against multipath
`reception.
`It allows use of single frequency networks (SFNS) for high frequency
`efticiency.
`Besides high-quality digital audio services (mono, two—channel or multichannel stereo-
`phonic). DAB is able to transmit programme-associated data and a multiplex of other
`data services (e.g.
`travel and traffic information, still and moving pictures, etc.).
`A dynamic multiplex management on the network side opens up possibilities for flexible
`programming.
`In several countries in Europe and overseas broadcast organisations, network provi-
`ders and receiver manufacturers are going to implement digital broadcasting services
`using DAB system in pilot projects and public services.
`DAB works very differently from conventional broadcasting systems. Most of the
`system components such as perceptual audio coding, channel coding and modula-
`tion, multiplex management or data transmission protocols are new solutions and
`typically not so familiar to the expert
`in existing analogue or digital broadcast
`systems.
`
`DAB was developed to a DAB system family. comprising the DAB (Digital Audio
`Broadcasting), DAB + (extended DAB system for new audio coding schemes) and DMB
`(Digital Multimedia Broadcasting) systems.
`The level of standardisation of the DAB system is rather advanced and the various
`recent international standards and related documents are introduced and referred to for
`
`easy access for the reader seeking teclmical details.
`
`Digital /lmlio BI‘0(IdcasriI1g.' Pri'ncipIc'.r and /l/rplicutinrzs 0./‘DAB. D/I B+ and DM B. Third Edition.
`Edited by W. l-locg and T. Lauterbacli © 2009 John Wiley & Sons, Ltd
`
`MTe|., Exhibit 2005, ARRIS V. MTe|., Page 3, IPRZO16-00765
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`MTel., Exhibit 2005, ARRIS v. MTel., Page 3, IPR2016-00765
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`

`
`2
`
`Digital Audio Broadcasting
`
`1.2 Radio in the Digital Age
`
`Radio broadcasting is one of the most widespread electronic mass media comprising
`hundreds of programme providers, thousands of HF transmitters and billions of recei~
`vers worldwide. Since the beginning of broadcasting in the early 1920s, the market has
`been widely covered by the AM and FM audio broadcasting services.
`Today we live in a world of digital communication systems and services. Essential parts
`of the production processes in radio houses were changed to digital ones in recent times,
`beginning with the change from conventional analogue audio tape to digital recording on
`magnetic tape or hard disk, digital signal processing in mixing desks and digital transmis-
`sion links in distribution processes. In addition. there are also other digital distribution or
`storage media in a growing music market such as several digital tape or disk formats
`(CD. MiniDisk or DVD), or streaming and download formats (such as MP3) for
`distribution via the Internet (see also section 1.6.4).
`Consequently. broadcast transmission systems now tend to change from conven-
`tional analogue transmission to digital. The first steps in the introduction of digital
`broadca.sting services were taken by the systems NICAM 728 (Near lnstantaneously
`Companded Audio Multiplex, developed by the BBC for stereo television sound in the
`VHF/UHF bands), DSR (Digital Satellite Radio, which was already shut down), or
`ADR (Astra Digital Radio), see section 1.6.1, but none were suited to replace the
`existing conventional services completely, especially for mobile reception. For that
`reason. the universal digital multimedia broadcasting system Eureka 147 DAB was
`developed and is now being introduced worldwide. In parallel, other digital broad-
`casting systems such as DRM (Digital Radio Mondiale, see section 1.6.3) or DVB—T
`(Digital Video Broadcasting. see section 1.6.2) are going to complement digital radio
`and television.
`
`Normally. it takes a period of a human generation (or at least a period in the life of a
`receiver type generation, i.e. approximately 10 years) to replace an existing broadcasting
`system with a new one. Therefore, strong reasons and very convincin g advantages are
`required to justify the introduction of such a new system.
`
`1.3 Benefits of the Eureka 147 DAB Systems Family
`
`1.3 .1 The Original DAB System
`
`As expected, there will always be some problems, or additional effort will be needed,
`when replacing an existing technology with a new one, such as:
`
`lack of transmission frequencies:
`-
`0 costs for development and investment;
`-
`looking for providers for new non-conventional services (e.g. data services);
`- solving the chicken and egg problem (who will be first — the service provider or the
`receiver manufactureri’).
`
`the Eureka 147 DAB system family provides a wealth of advan-
`Nevertheless,
`tages over conventional audio broadcast systems such as analogue VI-IF/FM or
`
`MTe|., Exhibit 2005, ARRIS V. MTe|., Page 4, IPRZO16-00765
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`MTel., Exhibit 2005, ARRIS v. MTel., Page 4, IPR2016-00765
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`

`
`Introduction
`
`3
`
`AM radio. and also partly over other existing digital broadcast systems such as
`DSR (no longer available), ADR, etc. The following list will only highlight some
`key advantages; many more details will be explained in the corresponding sections
`of the book.
`
`1.3.1.1 Quality of Service
`
`DAB uses all the possibilities of modern digital communication technologies and can
`thus provide a much higher level of quality of service, such as:
`
`0 Superior sauna’ qzzality: DAB users can enjoy pure undistorted sound close to CD
`quality. New features such as Dynamic Range Control (DRC) or Music/Speech
`Control can be used individually by customers to match the audio quality to their
`needs.
`
`- Usability: Rather than searching wavebands. users can select all available stations or
`preferred formats from a simple text menu.
`- Perfect receptirm comlitions: With just a simple, non-directional whip antenna, DAB
`eliminates interference and the problem of multipath while in a car. It covers wide
`geographical areas with an even, uninterrupted signal. Once full services are up and
`running, a driver will be able to cross an entire country and stay tuned to the same
`station with no signal fade and without altering frequency.
`
`1.3.1.2 Wide Range of Value—added Services
`
`DAB is quite unique in that both music and data services can be received using the same
`receiver. One receiver does it all, such as:
`
`- Typical rmdio braaclcasting (main service)1 Music. drama, news, information, etc., can
`be received in monophonic or stereophonic form as is well known from conventional
`radio programmes; there is also the potential to transmit multichannel (5.1 format)
`audio programmes as well.
`
`- Programme-associatezl clam ( PAD ): DAB broadcast receivers can display text infor-
`mation in far greater detail than RDS. such as programme background facts, a menu
`of future broadcasts and complementary advertising information. Receivers attached
`to a small screen will display visual information such as weather maps or CD cover
`images.
`- Informurion .s'ervice.s': Services from sources other than the broadcasting station
`are included within the same channel for the user to access at will. These include
`news headlines, detailed weather information or even the latest stock market
`prices.
`
`- Targeted nmsic or (lam services: Because digital technology can carry a massive amount
`of information, specific user groups can be targeted with great accuracy because each
`receiver can be addressable.
`
`- St/‘ll Or moving p1’cIur~s: Data can also appear as still or moving photographic pictures,
`accompanied by an audio service or as separate information.
`
`MTe|., Exhibit 2005, ARRIS V. MTe|., Page 5, IPRZO16-00765
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`MTel., Exhibit 2005, ARRIS v. MTel., Page 5, IPR2016-00765
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`

`
`4
`
`Digital Audio Broadcasting
`
`1.3.1.3 Universal System Layout
`
`The DAB system has a fairly universal and we1l—standardised system layout which allows
`applications for all known transmission media and receiving situations.
`
`- Standardisation: The level of international standardisation of all basic principles and
`transmission tools for the new DAB system is very high (much more than 50 interna-
`tional standards cover all the necessary details).
`- Unique .s'y.s'ten2 design: DAB services will be available mainly on terrestrial, but are also
`suited for cable and satellite networks, and the same receiver could be used to provide
`radio programmes and/or data services for national, regional, local and international
`coverage.
`
`- Wide choice ofreceivers: It is possible to access DAB services on a wide range of
`receiving equipment including fixed (stationary), mobile and portable radio receivers,
`optionally completed with displays or screens, and even personal computers.
`
`1.3.1.4 Flexibility of Multiplex Configuration
`
`DAB services are transmitted in a flexible multiplex configuration, which can be easily
`changed instantaneously to the actual needs of the content providers.
`
`- Multiplex configuration: The arrangement of services in a DAB multiplex may be
`changed instantaneously to match the needs of the providers of programmes or data
`services, without interrupting ongoing services.
`- Bitratef/exibilit.1.’: The programme provider can choose an appropriate bit rate for a
`certain audio programme according to its quality, for instance less than 100 kbps
`for a pure speech programme. 128 kbps for monophonic or 256 kbps for stereo-
`phonic music; also half sampling frequency can be used for lower quality services.
`So the available bit rate can be split optimally between different services of a DAB
`ensemble.
`
`1.3.1.5 Transmission Efficiency
`
`Compared to conventional broadcast systems much less economic effort in investment
`and operation is needed for a DAB transmission system.
`
`- Lower rransnzz'ss1'0n c-0sts_/or broa(lcuster.s‘: DAB allows broadcasters to provide a wide
`range of programme material simultaneously on the same frequency. This not only
`makes room for a vastly increased number of programmes to increase user choice, but
`also has important broadcast cost—cutting implications.
`- Lower t1'a/z.\'I71i.s'.s‘I'0Iz (’().S‘fSf0I' tranm1ft1‘er network provider's: For digital transmission a
`DAB transmitter needs only a fraction of the electrical energy compared to a conven-
`tional AM or FM transmitter.
`
`0 Frequency cf/ic'I'cr1cy: DAB transmitter networks can be designed as Single Frequency
`Networks (SFNS). which saves a lot of transmission frequencies and thus transmission
`capacity on air.
`
`MTe|., Exhibit 2005, ARRIS V. MTe|., Page 6, IPRZO16-00765
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`MTel., Exhibit 2005, ARRIS v. MTel., Page 6, IPR2016-00765
`
`

`
`Introduction
`
`5
`
`These advantages of DAB (and there are more if we look further into the details) justify
`the introduction of DAB into the media world in order to replace the existing conven-
`
`tional radio systems step by step over a longer period.
`
`1.3.2 Benefits of the Upgraded System DAB+
`
`In the meantime, the WorldDMB (WorldDAB) Forum have developed an upgrade of the
`Eureka 147 DAB system called DAB+ in order to improve the audio coding efficiency
`using the new coding schemes of MPEG-4 HE AAC v2, see Chapter 3. This will provide
`additional advantages over the mentioned benefits of the original DAB system
`
`- Latest MPEG-4 audio codec delivers exceptional pei_-fbrmarzcre efficiency.
`- More stations can be broadcast on a multiplex, greater station choice for consumers
`available.
`
`I-lighe1‘frec/uency C{]7'IiC'l‘L’l'l(.‘)" of radio spectrum than with conventional DAB.
`-
`- Lower tran.s'/11i.s'.s‘ion costs for digital stations than with conventional DAB.
`- New receivers are [me/cwara's compatible with existing MPEG Audio Layer 1]
`broadcasts, including scrolling text and multimedia services.
`0 Current MPEG Audio Layer 1] .s'ervice.s' remain unaffected.
`- More robust audio delivery than with conventional DAB.
`- Optimised for live l7r0(1a'cast radio.
`- Broadcasters/regulators can select di/ferem audio standards — either MPEG-2 Audio
`Layer II. or the new MPEG-4 audio coding, or both, to suit their country.
`- Fast re-tuning response time of the receiver (low Zapping delay).
`0 Transmission of M PEG Surround is possible, with lower bit—rates than with conven-
`tional DAB.
`
`Most of these benefits are also true for DMB (Digital Multimedia Broadcasting), see
`Chapter 9.
`
`1.4 History of the Origins of DAB
`
`1.4.1 Steps 0fDeve[0pment
`
`In the early 1980s the first digital sound broadcasting systems providing CD-like audio
`quality were developed for satellite delivery. These systems made use of the broadcasting
`bands in the 10 to 12 GHZ region, employed very little sound data compression and were
`not aimed at mobile reception. Thus, it was not possible to serve a great majority of
`listeners, such as those travelling in cars. Also, another feature of the well-established FM
`radio could not be provided by satellite delivery, namely ‘local services’. Consequently
`terrestrial digital sound broadcasting was considered as an essential delivery method for
`reaching all listeners.
`At first, investigations were initiated by radio research institutes looking into the
`feasibility of applying digital modulation schemes in the FM bands. However,
`the
`straightforward use of pulse code modulation (PCM) in the upper portions of the FM
`band generated intolerable interference in most existing FM receivers and was spectrally
`
`MTe|., Exhibit 2005, ARRIS V. MTe|., Page 7, IPRZO16-00765
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`MTel., Exhibit 2005, ARRIS v. MTel., Page 7, IPR2016-00765
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`

`
`6
`
`Digital Audio Broadcasting
`
`very inefficient. Mobile reception was never tried and would not have succeeded. A much
`more sophisticated approach was definitely necessary.
`In Germany the Federal Ministry for Research and Technology (BMFT, now
`BMBF) launched a research initiative to assess the feasibility of terrestrial digital
`sound broadcasting comprising more effective methods of sound data compression
`and efficient use of the radio spectrum. A study completed in 1984 indicated that
`promising results could be expected from highly demanding research activities. As a
`new digital sound broadcasting system could only be implemented successfully by
`wide international agreement, BMFT set the task for its Project Management Agency
`at DLR (German Aerospace Centre) to form a European consortium of industry,
`broadcasters, network providers, research centres and academia for the development
`of a new digital audio broadcasting system. Towards the end of 1986 a consorti um of
`19 organisations from France, Germany, The Netherlands and the United Kingdom
`had signed a co-operation agreement and applied for notification as a Eureka project.
`At the meeting in December 1986 of the High Level Representatives of the Eureka
`partner states in Stockholm the project, now called 'Digita l Audio Broadcasting,
`DAB', was notified as the Eureka 147 project. National research grants were awarded
`to that project in France, Germany and The Netherlands. However, owing to granting
`procedures official work on the project could not start before the beginning of 1988
`and was supposed to run for four years.
`Credit must also be given to the European Broadcasting Union (EBU), which had
`launched work on the satellite delivery of digital sound broadcasting to mobiles in the
`frequency range between 1 and 3 GHz, by awarding a research contract to the Centre
`Commun d'Etudes de Telediffusion et Telecommunications (CCETT) in Rennes,
`France, prior to the forming of the DAB consortium. As the CCETT also joined the
`DAB project, the work already begun for the EBU became part of the DAB activities and
`the EBU a close ally and active promoter for DAB. Later, this proved very important and
`helpful in relations with the International Telecommunications Union (ITU-R) and the
`standardisation process with the European Telecommunications Standards Institute
`(ETSI).
`From the beginning the goals set for the project were very demanding and difficult to
`achieve. Perfect mobile reception was the overall aim. In detail the list of requirements to
`be met included the fo ll owing items:
`
`• audio quality comparable to that of the CD;
`• unimpaired mobile reception in a car, even at high speeds;
`• efficient frequency spectrum utilisation;
`• transmission capacity for ancillary data ;
`• low transmitting power;
`• terrestrial, cable and satellite delivery options;
`• easy-to-operate receivers;
`• European or better worldwide standard isation.
`
`The first system approach considered at least 16 stereo programmes of CD audio
`quality plus ancillary data to be transmitted in the 7 MHz bandwidth of a television
`channel. This definitely cannot be achieved by simply transmitting the combined net
`
`MTel., Exhibit 2005, ARRIS v. MTel., Page 8, IPR2016-00765
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`

`
`150
`
`Digital Audio Broadcasting
`
`3.8.5 Error Protection and Concealment
`
`Only very limited error protection for the audio bit-stream is provided in the MPEG
`standard. Error protection has to take into account the characteristics of the source data
`and the transmission channel. The MPEG Audio standards have been written for a wide
`range of applications with very different transmission channels , ranging from nearly
`completely transparent (i.e. error-free transmission channels, like storage on computer
`hard disks) to very hostile transmissions paths, like mobile reception with DAB
`[EN 300401].
`
`3.8.5.1 Error Protection
`In the presence of only a very few errors, say with a bit error ratio of about w-5 to 10- 6
`and lower, the optional CRC check, provided in the ISO standard, will in general be an
`efficient tool to avoid severe impairments of the reconstructed audio signal. Errors in the
`most sensitive information, that is header information, bit allocation (BAL) and scale
`factor select infonnation (SCFSI), can be detected . The chance of bit errors in this part of
`the audio frame are small. If, however, one single bit error occurs in these ftelds, the result
`will be the loss of a complete audio frame. In this case, the result of a single bit error is the
`same as if a complete audio frame is lost by a burst error or cell loss.
`To protect a listener of ISO/MPEG coded audio signals from annoying distortions due
`to bit errors, channel coding has on the one hand the task of correcting as many bit errors
`as possible, and on the other detecting any bit errors remaining after correction. In the
`Eureka 147 DAB system, the data representing each of the programme services being
`broadcast is subjected to energy dispersal scrambling, convolutional coding and time
`interleaving. The convo lutional encoding process involves adding redundancy to the
`service data using a code with a constraint length of7. In the case of an audio programme,
`stronger protection is given to some bits than others , following a pre-selected pattern
`known as the Unequal Error Protection (UEP) profile, shown in Figure 3.27. The
`average code rate, defined as the ratio between the number of source-encoded bits and
`the number of encoded bits after convolutional encoding, may take a value from 0.33 (the
`highest protection level) to 0.75 (the lowest protection level). Different average code rates
`can be applied to ditTerent audio sources. For example, the protection level of audio
`services carried by cable networks may be lower than that of services transmitted in radio
`frequency channels.
`Even with the best error correction scheme residual bit errors cannot be completely
`avoided, and have to be detected, especially for information which is very sensitive to bit
`errors.
`This includes the header and control information, which has been taken into account
`by the ISO CRC, but a lso for scale factors, wh ich has been only partially considered by
`ISO/MPEG.
`The optimisation criterion for protecting encoded audio signals against bit errors is not
`the minimisation of the bit error ratio as the most important issue, but to minimise the
`perception of audio signal distortions in the case of bit errors. The subjective annoyance
`of bit errors depends strongly on the kind of disturbed data for the ISO/MPEG Audio
`coded signal.
`
`MTel., Exhibit 2005, ARRIS v. MTel., Page 9, IPR2016-00765