`Broadcasting
`
`Principles and Applications
`of DAB, DAB+ and DMB
`
`THIRD EDITION
`
`Editors
`
`WOLFGANG HOEG
`
`Audio Consultant, Berlin, Germany
`
`and
`
`THOMAS LAUTERBACH
`
`Georg-Simon-Ohm, University of Applied Sciences, Nurnberg, Germany
`
`@)WILEY
`
`A John Wiley and Sons, Ltd, Publication
`
`MTel., Exhibit 2005, ARRIS v. MTel., Page 1, IPR2016-00765
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`MTel., Exhibit 2005, ARRIS v. MTel., Page 1, IPR2016-00765
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`
`
`This editionfirst published 2009
`© 2009 John Wiley & Sons Ltd.
`
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`
`The authors andpublishers wouldlike to acknowledge the European Telecommunications Standards Institute
`(ETSI) for granting permission to reproducefigures andtables from the four ETSI Standardsreferred toin the
`book
`
`ETSI EN 300401 V1.4.1 © ETSI 2006
`ETSI EN 300797 V1.2.1 © ETSI 2005
`ETSI TS 101 860 V1.1.1 © ETSI 2001
`ETSI TR 101 497 V1.1.1 © ETSI 2002
`
`© ETSI, Further use, modification, redistribution is strictly prohibited. The standards are available from
`publication@etsi.fr and http://www.etsi.org/eds/eds.html
`
`Library ofCongress Cataloging-in-Publication Data
`Digital audio broadcasting:principles andapplications of DAB, DAB+ and DMB /edited by
`Wolfgang Hoeg, Thomas Lauterbach. — 3rded.
`p.
`cm.
`Includes bibliographical references and index.
`ISBN 978-0-470-51037-7 (cloth)
`1. Digital audio broadcasting.
`TK6562.D54D54 2009
`621.384—dc22
`
`II. Lauterbach, Thomas.
`
`I. Hoeg, Wolfgang.
`
`2009001879
`
`A catalogue recordfor this book is available fromthe British Library..
`
`ISBN 978-0-470-51037-7 (Hbk)
`
`Set in 10/12pt Times by Integra Software Services Pvt. Ltd., Pondicherry, India
`Printed and boundin Great Britain by Antony Rowe Ltd, Chippenham, Wiltshire.
`
`MTel., Exhibit 2005, ARRIS v. MTel., Page 2, IPR2016-00765
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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, nowadaysoften 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 developedin the 1990s by the Eureka 147/DAB project. DAB is very
`well suited for mobile reception and provides very high robustness against multipath
`reception.
`It allows use of single frequency networks (SFNs) for high frequency
`efficiency.
`Besides high-quality digital audio services (mono, two-channel or multichannelstereo-
`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 managementon the networkside opensup 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 systemin pilot projects and publicservices.
`DABworksvery 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.
`DABwas 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 technical details.
`
`Digital Audio Broadcasting: Principles and Applications of DAB, DAB+ and DMB, Third Edition,
`Edited by W. Hoeg and T. Lauterbach © 2009 John Wiley & Sons, Ltd
`
`MTel., Exhibit 2005, ARRIS v. MTel., Page 3, IPR2016-00765
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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 programmeproviders, 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 broadcastingservices.
`Todaywelive in a world of digital communication systems andservices. Essential parts
`of the production processes in radio houses were changedto digital ones in recent times,
`beginning with the change from conventional analogue audio tapeto digital recording on
`magnetic tape or hard disk, digital signal processing in mixing desks anddigital transmis-
`sion links in distribution processes. In addition, there arealso otherdigital 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 ofdigital
`broadcasting services were taken by the systems NICAM 728 (Near Instantaneously
`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 humangeneration(orat least a periodin thelife 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 convincing 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
`
`Asexpected, there will always be some problems, or additional effort will be needed,
`when replacing anexisting technology with a new one,suchas:
`
`lack of transmission frequencies;
`e
`¢ costs for development and investment;
`e
`looking for providers for new non-conventionalservices (e.g. data services);
`° solving the chicken and egg problem (who will be first — the service provider or the
`receiver manufacturer?).
`
`the Eureka 147 DAB system family provides a wealth of advan-
`Nevertheless,
`tages over conventional audio broadcast systems such as analogue VHF/FM or
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`MTel., Exhibit 2005, ARRIS v. MTel., Page 4, IPR2016-00765
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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 usesall the possibilities of modern digital communication technologies and can
`thus provide a muchhigherlevel of quality of service, such as:
`
`e Superior sound quality: 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.
`e Usability: Rather than searching wavebands, users canselect all available stations or
`preferred formats from a simple text menu.
`e Perfect reception conditions: 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 audio broadcasting (main service): Music, drama, news, information,etc., can
`be received in monophonic or stereophonic formas is well known from conventional
`radio programmes; there is also the potential to transmit multichannel (5.1 format)
`audio programmesas well.
`e Programme-associated data (PAD): DAB broadcast receivers can display text infor-
`mation in far greater detail than RDS, such as programme backgroundfacts, 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.
`¢ Information services: 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 musicordata services: Becausedigital technology can carry a massive amount
`of information, specific user groups can be targeted with great accuracy because each
`receiver can be addressable.
`° Still or moving pictures: Data can also appear as still ormoving photographicpictures,
`accompanied by an audio service or as separate information.
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`MTel., Exhibit 2005, ARRIS v. MTel., Page 5, IPR2016-00765
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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 systemhasafairly universal and well-standardised system layout which allows
`applications for all known transmission media and receiving situations.
`
`¢ Standardisation: Thelevel of international standardisation of all basic principles and
`transmission tools for the new DAB systemis very high (much more than 50 interna-
`tional standardscoverall the necessary details).
`° Unique system design: DAB serviceswill be available mainly onterrestrial, but are also
`suited for cable and satellite networks, and the samereceiver could be used to provide
`radio programmes and/or dataservices for national, regional, local and international
`coverage.
`e 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
`
`DABservices 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 ofthe providers of programmesordata
`services, without interrupting ongoing services.
`e Bitrateflexibility: The programmeprovider can choose an appropriatebit rate fora
`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 transmission costs for broadcasters: 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 numberof programmesto increase user choice, but
`also has important broadcast cost-cutting implications.
`e Lowertransmission costs for transmitter network providers: For digital transmission a
`DABtransmitter needs only a fractionof the electrical energy compared to a conven-
`tional AM or FM transmitter.
`e Frequencyefficiency: DAB transmitter networks can be designed as Single Frequency
`Networks (SFNs), which savesa lot of transmission frequencies and thus transmission
`capacity on air.
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`MTel., Exhibit 2005, ARRIS v. MTel., Page 6, IPR2016-00765
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`MTel., Exhibit 2005, ARRIS v. MTel., Page 6, IPR2016-00765
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`
`
`Introduction
`
`5
`
`These advantages of DAB (and there are moreif we look furtherinto the details) justify
`the introduction of DAB into the media world in order to replace the existing conven-
`tional radio systems step by step overa longerperiod.
`
`1.3.2 Benefits of the Upgraded System DAB+
`
`In the meantime, the World DMB (WorldDAB) Forumhave developed an upgrade of the
`Eureka 147 DAB system called DAB+ in order to improve the audio codingefficiency
`using the new coding schemes of MPEG-4 HE AACv2,see Chapter3. This will provide
`additional advantages over the mentioned benefits of the original DAB system
`
`e Latest MPEG-4 audio codec delivers exceptional performanceefficiency.
`e More stations can be broadcast on a multiplex, greater station choice for consumers
`available.
`e Higherfrequencyefficiency of radio spectrum than with conventional DAB.
`° Lower transmission costsfor digital stations than with conventional DAB.
`e New receivers are backwards compatible with existing MPEG Audio Layer
`broadcasts, including scrolling text and multimediaservices.
`e Current MPEG Audio LayerIT services remain unaffected.
`e More robust audio delivery than with conventional DAB.
`e Optimised for live broadcast radio.
`¢ Broadcasters/regulators can select different audio standards — either MPEG-2 Audio
`LayerII, or the new MPEG-4 audio coding, or both, to suit their country.
`¢ Fast re-tuning response time of the receiver (low zapping delay).
`e Transmission of MPEG Surroundis possible, with lower bit-rates than with conven-
`tional DAB.
`
`II
`
`Mostof these benefits are also true for DMB (Digital Multimedia Broadcasting), see
`Chapter9.
`
`1.4 History of the Origins of DAB
`1.4.1 Steps of Development
`
`In the early 1980s the first digital sound broadcasting systems providing CD-like audio
`quality were developedforsatellite delivery. These systems madeuse 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, anotherfeature of the well-established FM
`radio could not be provided bysatellite delivery, namely ‘local services’. Consequently
`terrestrial digital sound broadcasting was considered as an essential delivery method for
`reachingall listeners.
`Atfirst, 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 wasspectrally
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`MTel., Exhibit 2005, ARRIS v. MTel., Page 7, IPR2016-00765
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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 terrestr ial 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), wh ich 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;
`• Europea n 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
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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.
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`MTel., Exhibit 2005, ARRIS v. MTel., Page 9, IPR2016-00765
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