B.3. Codecs

Codecs are generally understood to be various mathematical models used to digitally encode (and compress) analog audio information. Many of these models take into account the human brain’s ability to form an impression from incomplete information. We’ve all seen optical illusions; likewise, voice-compression algorithms take advantage of our tendency to interpret what we believe we should hear, rather than what we actually hear.^[253] The purpose of the various encoding algorithms is to strike a balance between efficiency and quality.^[254]

^[253] Read the following: “Aoccdrnig to rsereach at an Elingsh uinervtisy, it deosn’t mttaer in waht oredr the ltteers in a wrod are, the olny iprmoetnt tihng is taht frist and lsat ltteres are in the rghit pclae. The rset can be a toatl mses and you can sitll raed it wouthit a porbelm. Tihs is bcuseae we do not raed ervey lteter by istlef, but the wrod as a wlohe.” (The source of this quote is unknown.) We do the same thing with sound: if there is enough information, our brains can fill in the gaps.

^[254] On an audio CD, quality is far more important than saving bandwidth, so the audio is quantized at 16 bits (times 2, as it’s stereo), with a sampling rate of 44,100 Hz. Considering that the CD was invented in the late 1970s, this was quite impressive stuff back then. The telephone network does not require this level of quality (and needs to optimize bandwidth), so telephone signals are encoded using 8 bits, at a sampling frequency of 8,000 Hz.

Originally, the term codec referred to a COder/DECoder: a device that converts between analog and digital. Now, the term seems to relate more to COmpression/DECompression.