Inpainting of long audio segments with similarity graphs

We present a novel method for the compensation of long duration data loss in audio signals, in particular music. The concealment of such signal defects is based on a graph that encodes signal structure in terms of time-persistent spectral similarity. A suitable candidate segment for the substitution of the lost content is proposed by an intuitive optimization scheme and smoothly inserted into the gap, i.e. the lost or distorted signal region. Extensive listening tests show that the proposed algorithm provides highly promising results when applied to a variety of real-world music signals

Measurements, Models, Systems and Design

531 s.

Signal separation of musical instruments: simulation-based methods for musical signal decomposition and transcription

This thesis presents techniques for the modelling of musical signals, with particular regard to monophonic and polyphonic pitch estimation. Musical signals are modelled as a set of notes, each comprising of a set of harmonically-related sinusoids. An hierarchical model is presented that is very general and applicable to any signal that can be decomposed as the sum of basis functions. Parameter estimation is posed within a Bayesian framework, allowing for the incorporation of prior information about model parameters. The resulting posterior distribution is of variable dimension and so reversible jump MCMC simulation techniques are employed for the parameter estimation task. The extension of the model to time-varying signals with high posterior correlations between model parameters is described. The parameters and hyperparameters of several frames of data are estimated jointly to achieve a more robust detection. A general model for the description of time-varying homogeneous and heterogeneous multiple component signals is developed, and then applied to the analysis of musical signals. The importance of high level musical and perceptual psychological knowledge in the formulation of the model is highlighted, and attention is drawn to the limitation of pure signal processing techniques for dealing with musical signals. Gestalt psychological grouping principles motivate the hierarchical signal model, and component identifiability is considered in terms of perceptual streaming where each component establishes its own context. A major emphasis of this thesis is the practical application of MCMC techniques, which are generally deemed to be too slow for many applications. Through the design of efficient transition kernels highly optimised for harmonic models, and by careful choice of assumptions and approximations, implementations approaching the order of realtime are viable.Engineering and Physical Sciences Research Counci

Application of singing synthesis techniquest to bertsolaritza

237 p

Application of singing synthesis techniquest to bertsolaritza

237 p

A Graph-Theoretic Approach to Timbre Matching

This paper presents a novel approach to the matching problem associated with timbre morphing. In particular a graph-theoretic technique, that of subgraph isomorphism, is applied to find correspondences between graph representations of a feature set for each timbre. The features are identified from Wigner distributions of the sounds using an adaptation of the McAulay-Quatieri sinusoidal analysis techniques. These features are then interpreted as nodes in graph representations of timbre. An audio morphing application can then be implemented by the application of spatial warping and linear interpolation of the Wigner distributions based on the correspondences established

Refining a Phase Vocoder for Vocal Modulation

Vocal harmonies are a highly sought-after effect in the music industry, as they allow singers to portray more emotion and meaning through their voices. The chords one hears when listening to nearly any modern song are constructed through common ratios of frequencies (e.g., the recipe for a major triad is 4:5:6). Currently, vocal melodies are only readily obtainable through a few methods, including backup singers, looper-effects systems, and post-process overdubbing. The issue with these is that there is currently no publicly-available code that allows solo-artists to modulate input audio to whatever chord structure is desired while maintaining the same duration and timbre in the successive layers. This thesis plans to address this issue using the phase vocoder method. If this modulation technique is successful, this could revolutionize the way vocalists perform. The introduction of real-time self harmonization would allow artists to have access to emphasized lyrical phrases and vocals without needing to hire and train backup vocalists. This phase vocoder would also allow for more vocal improvisation, as the individual would only need to know how to harmonize with themselves and would thus not be relying on interpreting how backup vocalists plan on moving the melody when creating more spontaneously

Final Research Report on Auto-Tagging of Music

The deliverable D4.7 concerns the work achieved by IRCAM until M36 for the “auto-tagging of music”. The deliverable is a research report. The software libraries resulting from the research have been integrated into Fincons/HearDis! Music Library Manager or are used by TU Berlin. The final software libraries are described in D4.5. The research work on auto-tagging has concentrated on four aspects: 1) Further improving IRCAM’s machine-learning system ircamclass. This has been done by developing the new MASSS audio features, including audio augmentation and audio segmentation into ircamclass. The system has then been applied to train HearDis! “soft” features (Vocals-1, Vocals-2, Pop-Appeal, Intensity, Instrumentation, Timbre, Genre, Style). This is described in Part 3. 2) Developing two sets of “hard” features (i.e. related to musical or musicological concepts) as specified by HearDis! (for integration into Fincons/HearDis! Music Library Manager) and TU Berlin (as input for the prediction model of the GMBI attributes). Such features are either derived from previously estimated higher-level concepts (such as structure, key or succession of chords) or by developing new signal processing algorithm (such as HPSS) or main melody estimation. This is described in Part 4. 3) Developing audio features to characterize the audio quality of a music track. The goal is to describe the quality of the audio independently of its apparent encoding. This is then used to estimate audio degradation or music decade. This is to be used to ensure that playlists contain tracks with similar audio quality. This is described in Part 5. 4) Developing innovative algorithms to extract specific audio features to improve music mixes. So far, innovative techniques (based on various Blind Audio Source Separation algorithms and Convolutional Neural Network) have been developed for singing voice separation, singing voice segmentation, music structure boundaries estimation, and DJ cue-region estimation. This is described in Part 6.EC/H2020/688122/EU/Artist-to-Business-to-Business-to-Consumer Audio Branding System/ABC D

Modelling the live-electronics in electroacoustic music using particle systems

Contemporary music is largely influenced by technology. Empowered by the current available tools and resources, composers have the possibility to not only compose with sounds, but also to compose the sounds themselves. Personal computers powered with intuitive and interactive audio applications and development tools allow the creation of a vast range of real-time manipulation of live instrumental input and also real-time generation of sound through synthesis techniques. Consequently, achieving a desired sonority and interaction between the electronic and acoustic sounds in real-time, deeply rely on the choice and technical implementation of the audio processes and logical structures that will perform the electronic part of the composition. Due to the artistic and technical complexity of the development and implementation of such a complex artistic work, a very common strategy historically adopted by composers is to develop the composition in collaboration with a technology expert, which in this context is known as a musical assistant. In this perspective, the work of the musical assistant can be considered as one of translating musical, artistic and aesthetic concepts into mathematical algorithms and audio processes. The work presented in this dissertation addresses the problem of choosing, combining and manipulating the audio processes and logical structures that take place on the liveelectronics (i.e the electronic part of a mixed music composition) of a contemporary electroacoustic music composition, by using particle systems to model and simulate the dynamic behaviors that reflect the conceptual and aesthetic principles envisaged by the composer for a determined musical piece. The presented research work initiates with a thorough identification and analysis of the agents, processes and structures that are present in the live-electronics system of a mixed music composition. From this analysis a logical formalization of a typical live-electronics system is proposed, and then adapted to integrate a particle-based modelling strategy. From the formalization, a theoretical and practical framework for developing and implementing live-electronics systems for mixed music compositions using particle systems is proposed. The framework is experimented and validated in the development of distinct mixed music compositions by distinct composers, in real professional context. From the analysis of the case studies and the logical formalization, and the feedback given by the composers, it is possible to conclude that the proposed particle systems modelling method proves to be effective in the task of assisting the conceptual translation of musical and aesthetic ideas into implementable audio processing software.A música contemporânea é amplamente influenciada pela tecnologia. Os recursos tecnológicos atualmente disponíveis permitem que os compositores criem com sons e ao mesmo tempo criem os sons em si próprios. Os atuais aplicativos e ferramentas de software focados no desenvolvimento, controle e manipulação de processamentos de áudio, permitem a elaboração de diversos tipos de tratamentos e sínteses de som com a capacidade de serem executados e manipulados em tempo real. Consequentemente, a escolha dos algoritmos de processamento de áudio e suas respectivas implementações técnicas em forma de software, são determinantes para que a sonoridade desejada seja atingida, e para que o resultado sonoro satisfaça os objetivos estéticos e conceituais da relação entre as fontes sonoras acústicas e os sons eletrônicos presentes em uma composição eletroacústica de caráter misto. Devido à complexidade artística e técnica do desenvolvimento e implementação do sistema de eletrônica em tempo real de uma composição eletroacústica mista, uma estratégia historicamente adotada por compositores é a de desenvolver a composição em colaboração com um especialista em tecnologia, que neste contexto é usualmente referido como assistente musical. Nesta perspectiva, o trabalho do assistente musical pode ser interpretado como o de traduzir conceitos musicais, artísticos e estéticos em algoritmos matemáticos e processamento de áudio. O trabalho apresentado nesta dissertação aborda a problemática da escolha, combinação e manipulação dos processamentos de áudio e estruturas lógicas presentes no sistema de eletrônica em tempo real de uma composição de música eletroacústica contemporânea, e propõem o uso de sistemas de partículas para modelar e simular os comportamentos dinâmicos e morfológicos que refletem os princípios conceituais e estéticos previstos pelo compositor para uma determinada composição. A parte inicial do trabalho apresentado consiste na identificação e análise detalhada dos agentes, estruturas e processos envolvidos na realização e execução do sistema de eletrônica em tempo real. A partir desta análise é proposta uma formalização lógica e genérica de um sistema de eletrônica em tempo real. Em seguida, esta formalização é modificada e adaptada para integrar uma estratégia de modelagem através de sistemas de partículas. Em sequencia da formalização lógica, um método teórico e prático para o desenvolvimento de sistemas de eletrônica em tempo real para composições de música mista é proposto. O teste e consequente validação do método se dá através de sua utilização na realização da eletrônica em tempo real para obras de diferentes compositores. A análise dos casos de estudo e da formalização lógica, e também o parecer e opinião dos compositores, permitem concluir que o método proposto é de fato eficaz na tarefa de auxiliar o processo de tradução dos conceitos musicais e estéticos propostos pelos compositores em forma de algoritmos e processamentos de som implementados em software