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Polyphase Decomposition of Haar Example


\begin{psfrags}
% latex2html id marker 28066\psfrag{x(n)}{\normalsize $x(n)$} ...
...ion{Two-channel polyphase filter
bank and inverse.}
\end{figure}
\end{psfrags}

Let's look at the polyphase representation for this example. Starting with the filter bank and its reconstruction (see Fig.10.18), the polyphase decomposition of $ H_0(z)$ is

$\displaystyle H_0(z) = E_0(z^2) + z^{-1}E_1(z^2) = \frac{1}{2}+\frac{1}{2}z^{-1}
$

Thus, $ E_0(z^2)=E_1(z^2)=1/2$ , and therefore

$\displaystyle H_1(z) = 1-H_0(z) = E_0(z^2)-z^{-1}E_1(z^2).
$

We may derive polyphase synthesis filters as follows:

\begin{eqnarray*}
\hat{X}(z) &=& \left[F_0(z)H_0(z) + F_1(z)H_1(z)\right] X(z)\\...
...)-H_1(z)\right] + z^{-1}\left[H_0(z) + H_1(z)\right]\right\}X(z)
\end{eqnarray*}

The polyphase representation of the filter bank and its reconstruction can now be drawn as in Fig.10.19. Notice that the reconstruction filter bank is formally the transpose of the analysis filter bank [231]. A filter bank that is inverted by its own transpose is said to be an orthogonal filter bank, a subject to which we will return §10.3.8.

Figure 10.19: Polyphase representation of the general two-channel, critically sampled filter bank and its inverse.
\begin{figure}\input fig/poly2chan.pstex_t
\end{figure}

Figure 10.20: Figure 10.19 with downsamplers commuted inside the filter branches.
\begin{figure}\input fig/poly2chanfast.pstex_t
\end{figure}

Commuting the downsamplers (using the noble identities from §10.2.5), we obtain Figure 10.20. Since $ E_0(z)=E_1(z)=1/2$ , this is simply the OLA form of an STFT filter bank for $ N=2$ , with $ N=M=R=2$ , and rectangular window $ w=[1/2,1/2]$ . That is, the DFT size, window length, and hop size are all 2, and both the DFT and its inverse are simply sum-and-difference operations.




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[How to cite this work] [Order a printed hardcopy]

``Spectral Audio Signal Processing'', by Julius O. Smith III, (August 2008 Draft).
Copyright © 2008-08-13 by Julius O. Smith III
Center for Computer Research in Music and Acoustics (CCRMA),   Stanford University
CCRMA  [Automatic-links disclaimer]