16,956 research outputs found
Audio style transfer
'Style transfer' among images has recently emerged as a very active research
topic, fuelled by the power of convolution neural networks (CNNs), and has
become fast a very popular technology in social media. This paper investigates
the analogous problem in the audio domain: How to transfer the style of a
reference audio signal to a target audio content? We propose a flexible
framework for the task, which uses a sound texture model to extract statistics
characterizing the reference audio style, followed by an optimization-based
audio texture synthesis to modify the target content. In contrast to mainstream
optimization-based visual transfer method, the proposed process is initialized
by the target content instead of random noise and the optimized loss is only
about texture, not structure. These differences proved key for audio style
transfer in our experiments. In order to extract features of interest, we
investigate different architectures, whether pre-trained on other tasks, as
done in image style transfer, or engineered based on the human auditory system.
Experimental results on different types of audio signal confirm the potential
of the proposed approach.Comment: ICASSP 2018 - 2018 IEEE International Conference on Acoustics, Speech
and Signal Processing (ICASSP), Apr 2018, Calgary, France. IEE
Deep Learning Techniques for Music Generation -- A Survey
This paper is a survey and an analysis of different ways of using deep
learning (deep artificial neural networks) to generate musical content. We
propose a methodology based on five dimensions for our analysis:
Objective - What musical content is to be generated? Examples are: melody,
polyphony, accompaniment or counterpoint. - For what destination and for what
use? To be performed by a human(s) (in the case of a musical score), or by a
machine (in the case of an audio file).
Representation - What are the concepts to be manipulated? Examples are:
waveform, spectrogram, note, chord, meter and beat. - What format is to be
used? Examples are: MIDI, piano roll or text. - How will the representation be
encoded? Examples are: scalar, one-hot or many-hot.
Architecture - What type(s) of deep neural network is (are) to be used?
Examples are: feedforward network, recurrent network, autoencoder or generative
adversarial networks.
Challenge - What are the limitations and open challenges? Examples are:
variability, interactivity and creativity.
Strategy - How do we model and control the process of generation? Examples
are: single-step feedforward, iterative feedforward, sampling or input
manipulation.
For each dimension, we conduct a comparative analysis of various models and
techniques and we propose some tentative multidimensional typology. This
typology is bottom-up, based on the analysis of many existing deep-learning
based systems for music generation selected from the relevant literature. These
systems are described and are used to exemplify the various choices of
objective, representation, architecture, challenge and strategy. The last
section includes some discussion and some prospects.Comment: 209 pages. This paper is a simplified version of the book: J.-P.
Briot, G. Hadjeres and F.-D. Pachet, Deep Learning Techniques for Music
Generation, Computational Synthesis and Creative Systems, Springer, 201
A Standardised Procedure for Evaluating Creative Systems: Computational Creativity Evaluation Based on What it is to be Creative
Computational creativity is a flourishing research area, with a variety of creative systems being produced and developed. Creativity evaluation has not kept pace with system development with an evident lack of systematic evaluation of the creativity of these systems in the literature. This is partially due to difficulties in defining what it means for a computer to be creative; indeed, there is no consensus on this for human creativity, let alone its computational equivalent. This paper proposes a Standardised Procedure for Evaluating Creative Systems (SPECS). SPECS is a three-step process: stating what it means for a particular computational system to be creative, deriving and performing tests based on these statements. To assist this process, the paper offers a collection of key components of creativity, identified empirically from discussions of human and computational creativity. Using this approach, the SPECS methodology is demonstrated through a comparative case study evaluating computational creativity systems that improvise music
A Feature Learning Siamese Model for Intelligent Control of the Dynamic Range Compressor
In this paper, a siamese DNN model is proposed to learn the characteristics
of the audio dynamic range compressor (DRC). This facilitates an intelligent
control system that uses audio examples to configure the DRC, a widely used
non-linear audio signal conditioning technique in the areas of music
production, speech communication and broadcasting. Several alternative siamese
DNN architectures are proposed to learn feature embeddings that can
characterise subtle effects due to dynamic range compression. These models are
compared with each other as well as handcrafted features proposed in previous
work. The evaluation of the relations between the hyperparameters of DNN and
DRC parameters are also provided. The best model is able to produce a universal
feature embedding that is capable of predicting multiple DRC parameters
simultaneously, which is a significant improvement from our previous research.
The feature embedding shows better performance than handcrafted audio features
when predicting DRC parameters for both mono-instrument audio loops and
polyphonic music pieces.Comment: 8 pages, accepted in IJCNN 201
- âŚ