Sonic Watermarking
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Sonic Watermarking Ryuki Tachibana Tokyo Research Laboratory, IBM Japan, 1623-14 Shimotsuruma, Yamato-shi, Kanagawa-ken 242-8502, Japan Email: [email protected] Received 5 September 2003; Revised 8 January 2004; Recommended for Publication by Ioannis Pitas Audio watermarking has been used mainly for digital sound. In this paper, we extend the range of its applications to live performances with a new composition method for real-time audio watermarking. Sonic watermarking mixes the sound of the watermark signal and the host sound in the air to detect illegal music recordings recorded from auditoriums. We propose an audio watermarking algorithm for sonic watermarking that increases the magnitudes of the host signal only in segmented areas pseudorandomly chosen in the time-frequency plane. The result of a MUSHRA subjective listening test assesses the acoustic quality of the method in the range of “excellent quality.” The robustness is dependent on the type of music samples. For popular and orchestral music, a watermark can be stably detected from music samples that have been sonic-watermarked and then once compressed in an MPEG 1 layer 3 file. Keywords and phrases: sonic watermarking, audio watermarking, real-time embedding, live performance, bootleg recording, copyright protection.
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INTRODUCTION
A digital audio watermark has been proposed as a means to identify the owner or distributor of digital audio data [1, 2, 3, 4]. Proposed applications of audio watermarks are copyright management, annotation, authentication, broadcast monitoring, and tamper proofing. For these purposes, the transparency, data payload, reliability, and robustness of audio watermarking technologies have been improved by a number of researchers. Recently, several audio watermarking techniques that work by modifying magnitudes in the frequency domain were proposed to achieve robustness against distortions such as time scale modification and pitch shifting [5, 6, 7]. Of the various applications, the primary driving forces for audio watermarking research have been the copy control of digital music and searching for illegally copied digital music, as can be seen in The Secure Digital Music Initiative (http://www.sdmi.org/) and the Japanese Society for the Rights of Authors, Composers and Publishers (Final selection of technology toward the global spread of digital audio watermarks, http://www.jasrac.or.jp/ ejhp/release/2000/1006.html, October 2001). In these usages, it is natural to consider that an original music sample, which is the target of watermark embedding, exists as a file stored digitally on a computer. However, music is performed, created, stored, and listened to in many different ways, and it is much more common that music is not stored as a digital file on a computer.
Earlier research [8] proposed various composition methods for real-time watermark embedding and showed how they can extend the range of applications of audio watermarks. In a proposed composition method named “analog watermarking,” a trusted conventional analog mixer is us
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