Chapter 2 REVIEW OF RELATED LITERATURE AND STUDIES Digital signal processing (DSP) is concerned with the representation of discrete

time, discrete frequency, or other discrete domain signals by a sequence of numbers or symbols and the processing of these signals. Digital signal processing and analog signal processing are subfields of signal processing. DSP includes subfields like: audio and speech signal processing, sonar and radar signal processing, sensor array processing, spectral estimation, statistical signal processing, digital image processing, signal processing for communications, control of systems, biomedical signal processing, seismic data processing, etc. The goal of DSP is usually to measure, filter and/or compress continuous real-world analog signals. The first step is usually to convert the signal from an analog to a digital form, by sampling and then digitizing it using an analog-to-digital converter (ADC), which turns the analog signal into a stream of numbers. However, often, the required output signal is another analog output signal, which requires a digital-to-analog converter (DAC). Even if this process is more complex than analog processing and has a discrete value range, the application of computational power to digital signal processing allows for many advantages over analog processing in many applications, such as error detection and correction in transmission as well as data compression. DSP algorithms have long been run on standard computers, on specialized processors called digital signal processor on purpose-built hardware such as application-specific integrated circuit(ASICs). Today there are additional technologies used for digital signal processing including more powerful general purpose microprocessors, field-programmable gate arrays (FPGAs), digital signal controllers (mostly for industrial apps such as motor control), and stream processors, among others.

Equalization is the process of adjusting the balance between frequency components within an electronic signal. The most well known use of equalization is in sound recording and reproduction but there are many other applications in electronics and telecommunications. The

circuit or equipment used to achieve equalization is called an equalizer. These devices strengthen (boost) or weaken (cut) the energy of specific frequency bands. Although the range of equalization functions is governed by the theory of linear filters, the adjustment of those functions and the flexibility with which they can be adjusted varies according to the topology of the circuitry and controls presented to the user. Shelving controls are usually simple first-order filter functions which alter the relative gains between frequencies much higher and much lower than the corner frequencies. A low shelf, such as the bass control on most hi-fi equipment, is adjusted to affect the gain of lower frequencies while having no effect well above its corner frequency. A high shelf, such as a treble control adjusts the gain of higher frequencies only. These are coarse adjustments more designed to increase the listener's satisfaction than providing actual equalization in the strict sense of the term. A parametric equalizer, on the other hand, has one or more sections each of which implements a second-order filter function. This involves three adjustments: selection of the center frequency (in Hz), adjustment of the Q which determines the sharpness of the bandwidth, and the level or gain control which determines how much those frequencies are boosted or cut relative to frequencies much above or below the center frequency selected. In a quasi-parametric or semi-parametric equalizer there is no control for the bandwidth (it is preset by the designer) or is only selected between two presets using a switch. A graphic equalizer also implements second-order filter functions in a more userfriendly manner, but with somewhat less flexibility. This equipment is based on a bank of filters covering the audio spectrum in up to 30 frequency bands. Each second-order filter has a fixed center frequency and Q, but an adjustable level. The user can raise or lower each slider in order to visually approximate a "graph" of the intended frequency response. Variable equalization in audio reproduction was first used by John Volkman working at RCA in the 1920s. That system was used to equalize a motion picture theater sound playback system. Equalizers are used in recording studios, broadcast studios, and live sound

reinforcement to correct the response of microphones, instrument pick-ups, loudspeakers,

and hall acoustics. Equalization may also be used to eliminate unwanted sounds, make certain instruments or voices more prominent, enhance particular aspects of an instrument's tone, or combat feedback (howling) in a public address system. Equalizers are also used in music production to adjust the timbre of individual instruments by adjusting their frequency content and to fit individual instruments within the overall frequency spectrum of the mix. Equalizers are used in recording studios, broadcast studios, and live sound reinforcement to correct the response of microphones, instrument pickups, loudspeakers, and hall acoustics. Equalization may also be used to eliminate unwanted sounds, make certain instruments or voices more prominent, enhance particular aspects of an instrument's tone, or combat feedback (howling) in a public address system. Equalizers are also used in music production to adjust the timbre of individual instruments by adjusting their frequency content and to fit individual instruments within the overall frequency spectrum of the mix. The project can also be applied in automotive applications. A car audio equalizer can be defined as a high fidelity audio control. The equalizer enables the user to control different frequency bands in an audio system. The user can also see graphically or digitally (depending on the equalizer design) these sound frequencies with the help of the equalizer. A regular car audio equalizer includes several audio filters or amplifiers. Each audio filter is centered on a particular frequency in the audio range. The user can then decide which frequencies need to be boosted and which need to be turned down. This requires a level of skill. But you can try it out and see what works and what doesn't. Now, that you can tweak the frequencies to change the sound doesn't mean you should do that with every CD you insert. This should actually be done only when you're setting up, upgrading or tuning/retuning your car audio system. It is always good to have an equalizer for your car audio system for several reasons. The most important advantage is a great improvement in sound quality. The audio quality is enhanced. There are several types of equalizers. Most equalizers include both high and low pass filters for all inputs. However, whichever you choose will make a difference in your car audio system if used correctly.

The car graphic equalizer is one of the least understood parts of any car audio setup. While most car stereos come with some form of equalization, very few people understand what it does and how they can use it to improve the overall sound quality of their audio system. Here is a brief rundown of what a graphic equalizer is and how it can be used to refine your listening experience. Basically, a car graphic equalizer is an expanded set of tone controls for your car audio system. Most car stereos allow you to boost or reduce bass or treble frequencies. These are the deepest low frequencies of bass drums or electric/acoustic bass, and the higher frequencies of cymbals and tambourines. When a sound system sounds "too bright," it usually means there's too much treble present. Similarly, when the sound is "boomy," there is too much bass; when "muddy", there's a lack of mid-range. Graphic equalization lets your fine tune these areas of the tonal spectrum with more precision. Many of the more recent car stereos offer preset "audio profiles": rock, jazz, etc. that the listener can choose when listening to music. These presets are examples of graphic equalization. Equalization, originally developed for broadcasting, is applied to any musical source in the recording studio to bring out the full-frequency spectrum of the musical performance. In simple terms, it improves clarity and spatial separation, allowing the listener to better hear every instrument and voice. When you employ graphic equalization in the car, you are tailoring the output of your car stereo system to your own personal listening preferences. This graphic equalization also helps you correct for any idiosyncrasies (drop outs, spikes, etc.) caused by the shape and interior of your car or truck, and/or the deficiencies in your speakers. For most listeners, the number of EQ presets that come with their factory installed stereo is usually more than ample. For those who want a true concert experience while driving, graphic equalization can be a valuable tuning tool and can help bring out all of the best qualities in the music you listen to.