EMD AND PSYCHOACOUSTIC MODEL BASED WATERMARKING FOR AUDIO
Liang Wang, Sabu Emmanuel , Mohan S. Kankanhalli
School of Computer Engineering, Nanyang Technological University, Singapore
School of Computing, National University of Singapore, Singapore
Email: {wangl, asemmanuel}@ntu.edu.sg, mohan@comp.nus.edu.sg
ABSTRACT
The audio watermarking method proposed in this paper offers
the copyright protection to an audio without the use of the orig-
inal signal for watermark detection. The analysis filterbank de-
composition, the psychoacoustic model and the empirical mode
decomposition (EMD) are the three key techniques used in the
novel audio watermarking method. Unlike the traditional audio
watermarking algorithms where the watermark bits are embed-
ded directly in the signal either by time domain or transform
domain processing, the novel blind audio watermarking algo-
rithm proposed in this paper embeds the watermark bits in the
final residue of the subbands in the transform domain. Four
watermark messages are embedded into the proposed audio wa-
termarking system. The inaudibility, capacity and robustness of
the audio watermarking system are evaluated, in order to opti-
mize the system performance. The experimental results show
that the proposed blind watermarking scheme is robust against
MP3 compression and adding Gaussian noise attacks.
Keywords Blind audio watermarking, empirical mode de-
composition (EMD), psychoacoustic model, analysis filterbank
decomposition
1. INTRODUCTION
Over the past decades, significant effort has been focused on
the copyright protection of the digital media (audio, image, and
video). A promising solution to this problem is the addition of
a watermark to the digitized media, where the special infor-
mation (the watermark message) is hidden in the original data
in an imperceptible manner [1].
Compared to embedding watermarks into images, audio wa-
termarking is a more challenging task due to the fact that the
human auditory system (HAS) is more sensitive to distortions
than the human visual system (HVS) [2], and that inaudibility is
much more difficult to achieve than invisibility for images [3].
Also, compared to the visual signals, audio signals are repre-
sented by much less number of samples per time interval, which
limits the watermark capacity for the audio signals.
Several techniques in audio watermarking have been pro-
posed to address these challenges, including the echo coding
We thank the Agency for Science, Technology and Research (A*STAR),
Singapore for supporting this work under the project Digital Rights Violation
Detection for Digital Asset Management (Project No: 0721010022).
978-1-4244-7493-6/10/$26.00 2010
c IEEE
1427
[4], phase coding [5], patchwork coding [4], low-bit coding [1]
and spread spectrum [6]. Among all the audio watermarking
techniques, the watermark bits can be embedded either in the
transform domain or in the spatial domain. In this research
work, the transform domain watermark is studied because it is
demonstrated to be more robust against various attacks [2].
During the past few years, many of the developed audio wa-
termarking algorithms [1][2][5] took advantage of the percep-
tual properties of the HAS in order to increase the robustness of
the watermark message by maximizing its strength while em-
bedding it in a perceptually transparent manner. Therefore, the
psychoacoustic model is adopted to guarantee the impercepti-
bility of the watermark message. In order to efficiently use the
psychoacoustic model in the transform domain audio data, a
polyphase filterbank is used for the time to frequency mapping
of the original input audio data.
Traditional multimedia watermarking in either transform do-
main or temporal domain tends to embed the watermark bits di-
rectly into the coefficients. The empirical mode decomposition
(EMD) [7] is proved useful while processing the nonlinear and
non-stationary time series [8][9]. By using the EMD method,
any multi-component signal is decomposed into a set of intrin-
sic mode functions (IMFs) and the final residual. This residual
is proved to be highly robust under Gaussian noise attack and
MP3 compression [9]. Thus it is possible to embed the wa-
termark bits robustly into the residual rather than the subband
audio signal itself.
The rest of the paper is organized as follows. Section 2 gives
an overview of the empirical mode decomposition. The novel
audio watermark embedding and extracting procedure is pro-
posed in Section 3. Section 4 illustrates the experimental results
for the quality evaluation. The experiments results of the water-
marking capacity and robustness, as well as the performance
against signal processing attacks are given in Section 5. And
finally the paper concludes in Section 6.
2. EMPIRICAL MODE DECOMPOSITION
A detailed mathematically formulated introduction of the em-
pirical mode decomposition (EMD) can be found in [7][8][9].
By applying the EMD, any multi-component signal is decom-
posed into a set of intrinsic mode functions (IMFs). The IMF
can be defined as a hidden oscillation mode that is embedded in
ICME 2010

Fig. 1. The original PCM audio signal, its imf components (imf
1 - imf 8) and the final residue.
the data series, and it is allowed to be non-stationary and either
be amplitude or frequency modulated. Here we only briefly in-
troduce the extraction procedure of all the IMFs and the final
residue.
For an arbitrary signal P (t), EMD is performed and the sig-
nal expressed as a sum of IMFs and a final residue as follows:

N into NS segments of J samples each. Let us denote by Si,j (t)
P (t) = cn (t) + rm (t) (1)
n=1
where cn (t) is the n-th IMF of the signal and rm (t) is the fi-
nal residue. The completeness and orthogonality of IMFs are
shown by Huang [7]. It should be noted that, as the order of
the mode increases, the time scale increases while the mean fre-
quency of the mode decreases.
The final residue is a monotonic function and is the coarsest
component of the signal. It has been shown that the final residue
behave stable under the Gaussian noise and MPEG compression
attack [9]. Thus we choose to embed watermark bits into the
final residue obtained from the EMD process of the audio signal.
An example of the empirical mode decomposition of an au-
dio signal is shown in Fig. 1.
In our experiment, the watermark message is embedded into
the Waveform Audio File Format (WAV) audio signal where the
bit stream is encoded with the Pulse Code Modulation (PCM)
format. For the audio and speech processing, the PCM samples
are stored and processed using floating point numbers which
have the zero mean (or the mean value is sufficiently small com-
pared with the amplitude of the signal) and varies in the interval
[-1.0, 1.0]. Thus, compared with the original audio signal, the
amplitude of its final residue can be regarded sufficiently small
(as shown in Fig. 1), which makes is possible to embed the
watermarks in the final residue of the audio signal while the
watermark messages are perceptually inaudible.
3. PROPOSED ALGORITHM
A novel blind audio watermarking embedding scheme is de-
scribed in this section. The proposed embedding scheme
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(shown in Fig. 2) makes the use of the polyphase filterbank,
psychoacoustic models and the empirical mode decomposition.
3.1. Analysis Filterbank Decomposition
The subband analysis and synthesis filters defined in [10] are
used as the polyphase filter bank in the experiment.
The analysis filterbank map the PCM audio X(t) into M
subbands. Here we let M = 32 to be consistent with the MPEG
Audio Coding Standard defined in ISO/IEC 11172-3:1995 [10].
Thus the in each band, the subband audio signal can be calcu-
lated as:
63 
 7
Si (t) = T (i)(k) (C(k + 64i) x(k + 64i)) (2)
k=0 j=0
where i is the subband index and ranges from 0 to M 1 (M =
32 in this case); Si (t) is the filter output for subband i at time t.
C(n) is the pre-defined analysis window coefficients [10]; x(n)
is the audio input sample; and the analysis matrix coefficients
T (i)(k) is also defined in [10].
In order to increase the watermark capacity, the transform
domain audio samples in each subband will be further divided
the data samples belonging to the j-th segment. Then we have
Si,j (t) = Si (j J + t) (3)
where t = 0, 1, ..., J 1 and j = 0, 1, ..., NS 1.
3.2. Watermark Embedding Domain Control
Often it is required to be able to embed the watermark into a
certain part of the audio, or not to embed the watermark into
a specific region, such as the silent region. Thus the water-
mark embedding domain control module is proposed, which
makes it possible to embed the watermark bits in a more flex-
ible manner. If we denote i as the appropriate bands and
j as the appropriate segments for the watermarking process,
Si,j (t) := Si,j (t)ii,jj is defined as the segmented, band-pass
filtered audio stream that is suitable for the watermark embed-
ding.
3.3. Empirical Mode Decomposition
The EMD is applied to each of the segmented subband stream
Si,j (t). Thus we have

Ni,j
Si,j (t) = ci,j,n (t) + rm,i,j (t) (4)
n=1
where ci,j,n (t) are the IMFs of the segmented stream Si,j (t),
Ni,j is the number of IMFs for the segmented streams Si,j (t)
and rm,i,j (t) is the final residue of stream Si,j (t).
It is worth noting that, the length of the segmented stream
Si,j (t) may affect the watermarking system performance at a
 Watermark
Embedding
Domain Control
IMFs c 0,j,n(t)
EMD for
S 0(t) S 0, j(t)
each
Segmentation Mean Trend
Band 0 segment j
r m,0,j (t)
in band 0 + +

PCM IMFs c 1,j,n(t)

EMD for Watermarked
Audio S 1 (t) S1, j (t)
each PCM
Segmentation Mean Trend
Input X(t) Analysis Band 1 segment j
r m,1,j (t) Audio Output
Filterbank in band 1 + +
Synthesis Xw (t)
(M-band)
Filterbank

...
...

...
EMD for IMFs c M-1,j,n (t)
S M-1 (t) SM-1, j (t) each
Segmentation segment j Mean Trend
Band M-1 in band r m,M-1,j (t)
M-1 + +

Watermark Bits
... Embedded into Mean
Trends
Masking Watermark Strength Watermark
FFT
Thresholds Adjustment Watermark Bits w(j) Generator

Fig. 2. Block diagram of the watermark embedding procedure.

noticeable level. The longer the length of Si,j (t) provides more determine the maximum possible power of the watermark mes-
samples to perform the EMD, thus better performance can be sage. By calculation of the signal-to-mask ratio (SMR) for each
expected. However in the proposed audio watermarking sys- segment in each subband, the total maximum possible water-
tem, the watermarking capacity will be reduced, as more audio mark strength can also be obtained.
samples is used to watermark with 1 bit. If we denote the signal-to-mask ratio for the segment j in
subband i as SM Ri,j , then we should have
3.4. Watermark Embedding
In order to increase the watermarking capacity, the subband au-  
J1 31

dio stream Si (t) is embedded with the watermark sequences |rm,i,j i,j Wi (j)| SM Ri,j (6)
Wi (j) = wi,j , wi,j 1, +1 and 0 j NS 1. Since the (ii,jj) t=0 i=0
watermarking robustness generally increases with the amplitude
of the host audio signal, the signal-dependent watermark should where i,j is the weight for thresholding the amplitude of the
be embedded in the host audio. watermark strength, and i,j should be proportional to the sig-
Each watermark bit wi,j is embedded into the j-th segment nal strength Si,j (t) since the masking threshold is also propor-
in the i-th subband of the original audio signal by modifying tional to the signal strength.
its final residue rm,i,j (t). The segmented stream Si,j (t) after
embedding watermark bit streams Wi (j) are given by the fol-
lowing equations: 3.6. Watermarked Audio

For any 0 i M 1, the watermarked streams Si,j w

(t)(0
w
Si,j (t)=Si,j (t) rm,i,j (t) + Wi (j) j Ns 1, j j) and the non-watermarked streams

Ni,j w
Si,j (t)(0 j Ns 1, j  j) are combined into the sub-
= ci,j,n (t) + Wi (j) (5) w
band signals Si,j (t), and the synthesis filterbank [10] is used
n=1 for the reconstruction. The watermarked PCM audio signal can
be denoted as X w (t).
if i i and j j. The i,j in the above equation is the weight
for thresholding the amplitude of the watermark strength. The
calculation of i,j will be discussed in the following subsection. 3.7. Analysis Filterbank Decomposition
For the segmented stream Si,j (t) where i  i and j  j, the
audio signal is not watermarked. With a watermarked PCM audio signal in hand, one can extract
the watermark bits by following the procedure shown in Fig. 3.
3.5. Watermark Strength Adjustment Apply the same analysis filterbank used in the watermark
embedding procedure to decompose the watermarked PCM au-
In order to embed the watermark bits robustly while in an im- dio X w (t), After which M subband signals Si,jw
(t), 0 i
perceptible manner, the psychoacoustic model [10] is used to M 1, are obtained.

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 Watermark
Embedding Domain
Control

Mean Trend
Band 0 Sw 0, j (t) EMD for each rw m,0,j (t) J-1
Segmentation segment j in r w m,0,j(t)
band 0 t=0

Mean Trend
J-1
Watermarked Band 1 Sw 1, j (t) EMD for each rw m,1,j (t) Extracted
PCM Segmentation segment j in r w m,1,j(t)
t=0 Watermark Watermarks
Audio Output X w(t) Analysis band 1
Bits
Filterbank
Calculation
(M-band)

...
...

...
Mean Trend
Band M-1 S w M-1, j (t) EMD for each r w m,M-1,j (t) J-1
Segmentation segment j in r wm,M-1,j (t)
band M-1 t=0

Fig. 3. Block diagram of the watermark extraction procedure.

3.8. Watermarked Embedding Domain Control

Table 1. The grading scale used in the listening test
The same watermark embedding domain defined in the previous Impairment Grade SDG= Gradewatermarked
section is used for the watermark extraction process. For the Description Graderef erence
watermark extraction process, the watermark message should Imperceptible 5.0 0.0
w
be extracted from Si,j (t), where i i and j j. Perceptible, but 4.0 -1.0
not annoying
3.9. Empirical Mode Decomposition Slightly annoying 3.0 -2.0
w
Apply EMD to each of the watermarked segment Si,j (t), one Annoying 2.0 -3.0
can obtain Very annoying 1.0 -4.0

w
Ni,j

w
Si,j (t) = i,j,n (t) + rm,i,j (t)
cw w
(7) audio clips are used for the evaluation. All audio files are 16-
n=1
bits mono audio sampled at 44.1 kHz (CD quality) ranged from
where cw i,j,n are IMFs of the watermarked signal Si,j (t) and
w 1-5 min. The type of the music includes classical, rock, jazz and
rm,i,j (t) are the final residue of the watermark signal.
w electrical music. There are altogether 20 listeners participate the
listening test. None of the participant was trained for the listen-
3.10. Watermark Bits Calculation and Watermark Mes- ing test all of them were only music listeners. All participants
sage Extraction were given the instruction of the listening test just before the
test began and they all used their own headsets.
w
The final residue value rm,i,j (t) is used to determine the embed- In the first part of the quality evaluation, participants were

ded watermark bits. The watermark bit wi,j can be calculated given the non-watermarked and watermarked audio files in ran-
by using the following formula: dom order, and they had to identify the watermarked ones
blindly. For each of the audio file, the listeners could make

J1
their choices as one of the three options: 1) non-watermarked,

wi,j = 1, if w
rm,i,j (t) 0 (8)
2) watermarked, or 3) can not tell the difference. While most of
t=0
the listeners could not tell the difference, this indicates that the

J1
non-watermarked and watermarked audio can not be discrimi-

wi,j = 1, if w
rm,i,j (t) < 0 (9) nated.
t=0
In the second part of the evaluation, with the prior knowl-
Thus, for each of the watermarked subband i, where i edge of the non-watermarked and watermarked (been water-
i, the corresponding watermark message can be extracted as: marked with one watermark message only) audio files, the lis-
Wi (j) = wi,j

, wi,j 1, +1 and 0 j NS 1. teners were asked to report the dissimilarities between the two
signals, using the so called Subjective Difference Grades (SDG)
4. QUALITY EVALUATION [11] as described in table 1.
The audio quality of a watermarking system can be linked to
Subjective quality evaluation of the watermarking scheme was the perceived difference (impairment) between the watermarked
conducted by the listening tests. A total number of 10 testing audio signal and the original audio signal. To facilitate data

1430
analysis, subjective difference grade (SDG) is calculated as the 2

difference of the grades between the watermarked signal and the 1.8

Miss detected watermark bits/sec

original signal. 1.6

In the subjective listening test, the average SDG score was 1.4

-0.15. This indicates that the proposed EMD based watermark- 1.2

ing scheme cause almost no perceptible distortion to the water- 1

0.8
marked signal. 0.6

0.4

5. WATERMARKING CAPACITY AND ROBUSTNESS 0.2

EXPERIMENTAL RESULTS 0
0 200 400 600 800
The length of segment for EMD process
1000 1200

The inaudibility of the proposed watermarking system is dis-

cussed in the previous section. This section evaluates the wa-
Fig. 4. The average misdetected watermark bits per second ver-
termarking capacity and robustness of the EMD and filterbank
sus the segment length (watermarks embedded into 4 subbands).
analysis based watermarking system.
Given a host audio to be watermarked, the number of max-
imum possible watermark bits in each of the subband i (0 0.016

i M 1) that can be embedded is determined by the length 0.014

of the segment (J) used for the EMD process. For 1 min of 0.012

the mono audio signal with the sampling rate of 44.1 kHz, the

Bit error rate

0.01

maximum number of watermark bits that can be embedded in 0.008

each subband can be calculated as: 44100 60 (32 J) = 0.006

82687.5 J. 0.004

In this experiment, we fix the subbands (i, where i i) that 0.002

are used for watermarking, and then vary the length of the seg-
0

ment in order to optimize the performance of the watermarking 0 200 400 600 800
The length of segment for EMD process
1000 1200

system. In order to avoid the overlapping effect of the adjacent

filter bands, subband 3, subband 7, subband 11 and subband 15
are used to embed watermark messages. We evaluate the wa-
termarking system performance by varying the segment length
from 32 samples to 1,024 samples with the increment of 2.
We have discussed previously, that the mean value for a seg-
ment of the PCM audio signal may no longer be zero, thus the
final residue of the EMD for that segment would be increased
and watermark strength would be increased as well. In the wa-
termark embedding procedure, since the total modification of
the final residue is bounded by the masking threshold calcu-
lated from the psychoacoustic model, when the required water-
mark strength is increased, the accuracy of the watermark ex-
traction will be decreased. If 4 subbands are chosen to be em-
bedded with watermark messages, the maximum number of wa-
termark bits can be achieved with the shortest segment length.
In our experiment, the maximum number of watermark bits per
second equals to 172 when the segment length equals to 32.
Since 4 subbands are embedded with the watermark messages,
we should have 172/4 = 43 bits/sec embedded into each of the
subband. For a typical audio file with 5 min duration, the wa-
termarking capacity for each of the subband would be 12,900
bits.
Fig. 4 shows the relationship between the miss detected wa-
termark bits and the segment length. As expected, when the
segment length is reduced, the number of misdetected water-
mark bits will be increased. When the EMD process is applied
to the segment with the length of 32 samples, the average miss
detected watermark bits in one second is 1.80. The minimum
number of misdetected watermark bits in one second can be
Fig. 5. The bit error rate versus the segment length (watermarks
embedded into 4 subbands).
achieved is 0.0167 bits. When the segment length is longer than
600, the misdetected watermark bits in one second would be
less than 0.1 bits.
It should be noted that, Fig. 4 only shows the average mis-
detected watermark bits in one second. The actual misdetected
watermarked bits should be varied for different audio files, since
the corresponding masking thresholds are different as well.
Fig. 5 shows the relationship between the average bit error
rate and the length of segment for EMD process when there are
4 watermark messages embedded into subband 3, subband 7,
subband 11 and subband 15.
The minimum bit error rate can be achieved is 0 when 4 wa-
termark messages are embedded; while the maximum bit error
rate can be achieved is 0.0153 when 4 watermark messages are
embedded. For the length of segment for EMD process varied
from 32 to 1,024 with the increment of 2, the average bit error
rate is 0.0153.
From Fig. 5, no direct conclusion can be made. This is be-
cause in the proposed audio watermarking system, the system
performance (in terms of the bit error rate) is highly related
with the watermark strength, which depends on the masking
threshold for the particular audio segment. However, the bit
error rate varies in a limited region and shows no significant
change within that region. Considering the cryptographic se-

1431

Table 2. The bit error rate (BER) of the proposed watermark
system under signal processing attacks
MP3 compression Adding Gaussian Noise
(128 kbps)
BER 1.43e-02 1.15e-02
curity of the proposed watermark system, whereas higher wa-
termarking capacity is preferred, one can choose the length of
segment equals to the smallest value. In our experiment, we
choose the length of segment for the EMD process equals to 32.
Thus we choose to embed 4 watermark messages into sub-
bands 3, 7, 11 and 15 with one watermark message embedded
into each of the subband; and to use the segment of 32 samples
for the EMD process. Since each subband has a watermark-
ing capacity of 43 bits/sec, the total watermarking capacity is
172 bits/sec (43 4). With this configuration, bit error rate is
1.04e-2 which is very small. We can employ error correction
technique to the watermark information bits before embedded
which would help to restore the watermarking bits even if the
miss detection exits.
It can be seen from table 2 that, the proposed audio water-
marking scheme is robust against MP3 compression and Gaus-
sian noise attacks. Especially under the Gaussian noise attack,
the bit error rate is still very low. This is because as the EMD de-
composition proceeds, the time scale increases while the mean
frequency of the modes decreases. Thus the IMFs are extracted
with the finest scale from the signal and the remainder final
residue is the coarsest component of the signal [7]. Therefore
for the zero mean Gaussian noise, it is sifted in the lower or-
der of IMFs and the final residue (the mean trend) remains un-
influenced.
Since no other implementation of the watermarking system
or test data is readily available at our site, no direct compar-
ison can be made in this paper. However, it should be noted
that, Cvejic et al. [12] proposed a spread spectrum based audio
watermarking scheme in temporal domain and claimed a wa-
termarking capacity of 14.7 bits per second for the mono audio
signal. In their later research [13], a spread spectrum based au-
dio watermarking scheme in spectral domain is proposed, with
the watermarking capacity increased to 27.1 bits per second.
Bassia et al. [14] proposed an audio watermarking method that
embedded the watermarks in the temporal domain segmented
audio signal. Each watermark bit is embedded in each of the
audio samples. In order to obtain a higher performance, the wa-
termark bits are repeatedly embedded in the audio with the em-
bedding length of 217 samples. However when embedded with
multiple watermarks, the subjective quality evaluation could not
provide promising results (the resulting watermarking system
would produce a noticeable distortion while 4 watermark mes-
sages are embedded).
1432
6. CONCLUSION
In this paper, a novel blind audio watermarking system based
on the psychoacoustic model, the polyphase filterbank analysis
and the empirical mode decomposition is proposed. In our ap-
proach, the analysis filterbank is used to decompose the host au-
dio signal into multiply subbands, and each of the subbands can
be embedded with a unique watermark message. Within each
of the subbands, the signal is firstly segmented and the empir-
ical mode decomposition (EMD) is applied to each of the seg-
ments. The watermark bits are embedded into the final residue
extracted by the EMD process. The inaudibility of the water-
marks is guaranteed with the use of the psychoacoustic model.
The watermark extraction procedure does not use the original
audio signal. The proposed blind audio watermarking scheme
is proved to be robust against MP3 compression and adding
Gaussian noise attacks. However this method may not be robust
to some other attacks such as band-pass filtering and cropping.
Ongoing research focuses in increasing the robustness of our
method against such attacks.
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