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olds, frequency masking, and temporal masking to remove sounds that you cannot hear The resulting information is compressed to about one-third to one-twelfth the original size with little to no perceptible loss in quality (see Table 22) Digital audio is sampled by taking snapshots of an analog signal thousands of times a second Each sample is a number that represents the amplitude (strength) of the waveform at that instance in time Perceptual audio compression takes a block of samples and divides them into frequency bands of equal or varying widths Bands of different widths are designed to match the sensitivity ranges of the human ear The intensity of sound in each band is analyzed to determine two things: (1) how much masking it causes in nearby frequencies and (2) how much noise the sound can mask within the band Analyzing the masking of nearby bands means that the signal in bands that are completely masked can be ignored Calculating how much noise can be masked in each band determines how much compression can be applied to the signal within the band Compression uses quantization, which involves dividing and rounding, and this can create errors known as quantization noise For example, the number 32 quantized by 10 gives 32 rounded to 3 When re-expanded, the number is reconstructed as 30, creating an error of 2 These errors can manifest themselves as audible noise After masked sounds are ignored, remaining sounds are quantized as coarsely as possible so that quantization noise is either masked or is below the threshold of hearing The technique of noise masking is related to noise shaping and is sometimes called frequency-domain error confinement Another technique of audio compression is to compare each block of samples with the preceding and following blocks to see if any can be ignored on account of temporal masking soft sounds near loud sounds and how much quantization noise will be temporally masked This is sometimes called temporal-domain error confinement Digital audio compression also can take advantage of the redundancies and relationships between channels, especially when there are six or eight channels A strong sound in one channel can mask weak sounds in other channels, information that is the same in more than one channel need only be stored once, and extra bandwidth can be temporarily allocated to deal with a complex signal in one channel by slightly sacrificing the sound of other channels Audio compression techniques result in a set of data that is processed in a specific way by the decoder The form of the data is flexible, so improvements in the encoder can result in improved quality or efficiency without changing the decoder As understanding of psychoacoustic models improves, perceptual encoding systems can be improved At minimal levels of compression, perceptual encoding removes only the imperceptible information and provides decoded audio that is virtually indistinguishable from the original At higher levels of compression, and depending on the nature of the audio, bit starvation may produce identifiable effects of compression These include a slightly harsh or gritty sound, poor reproduction of transients, loss of detail, and less pronounced separation and spaciousness Many listeners claim that DTS audio quality is better than Dolby Digital, but such claims are rarely based on accurate comparisons, and may be another form of perceptual influence that of assuming higher bitrates means higher quality Within the confines of any given.

The aim should be to design bridges for all times and for all occasions AASHTO (LRFD) load combinations for extreme conditions are applicable The extreme-event limit states relate to ood events with return periods (usually 100 years) in excess of the design life of the bridge (usually 75 years) Foundations of new bridges, bridges to be widened, or bridges to be replaced shall be designed to resist scour for a 100-year ood criteria or even more, which may create the deepest scour at foundations

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There are generally two limit states that may involve consideration of the effects of scour: 1 A ood event exceeding a 100-year ood (the check ood for scour or super ood is used to evaluate scour for this event, a 500-year ood is recommended for the check ood for scour) 2 A vessel collision with the bridge 3 In addition to the above, there are other conditions relating to scour that the designer may determine are signi cant for a speci ed watershed, such as ice loads or debris logging operations, etc Use load combination Extreme Event II as follows: (Permanent Loads) WA FR CV

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codec, that is usually true, but it cannot be assumed when comparing codecs of differing efficiencies something that has become abundantly clear when comparing MP3s to iTunes AAC recordings DTS tracks are usually encoded at a reference volume level that is 4 dB higher, and most DTS soundtracks are mixed differently than their Dolby Digital counterparts, including different volume levels in the surround and LFE tracks This makes it nigh impossible to compare them objectively, even using a disc that contains a soundtrack in both formats The limited semi-scientific comparisons that have been done indicate that there is little perceptible difference between the two and that any difference may be noticeable only on high-end audio systems

With all load factors equal to 10, nonlinear structural effects must be included and can be signi cant It is anticipated that the entire substructure (including piles) may have to be replaced and the superstructure repaired if a bridge is subjected to this design impact load; however, the superstructure need not collapse Scour with vessel collision: Substructures must be designed for an extreme vessel collision load by a ship or barge simultaneous with scour Design the substructure to withstand the following two load/scour (LS) combinations:

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