The Effect Of Acoustic Variability On Automatic Speaker Recognition Systems

This thesis examines the influence of acoustic variability on automatic speaker recognition systems (ASRs) with three aims. i. To measure ASR performance under 5 commonly encountered acoustic conditions; ii. To contribute towards ASR system development with the provision of new research data; iii. To assess ASR suitability for forensic speaker comparison (FSC) application and investigative/pre-forensic use. The thesis begins with a literature review and explanation of relevant technical terms. Five categories of research experiments then examine ASR performance, reflective of conditions influencing speech quantity (inhibitors) and speech quality (contaminants), acknowledging quality often influences quantity. Experiments pertain to: net speech duration, signal to noise ratio (SNR), reverberation, frequency bandwidth and transcoding (codecs). The ASR system is placed under scrutiny with examination of settings and optimum conditions (e.g. matched/unmatched test audio and speaker models). Output is examined in relation to baseline performance and metrics assist in informing if ASRs should be applied to suboptimal audio recordings. Results indicate that modern ASRs are relatively resilient to low and moderate levels of the acoustic contaminants and inhibitors examined, whilst remaining sensitive to higher levels. The thesis provides discussion on issues such as the complexity and fragility of the speech signal path, speaker variability, difficulty in measuring conditions and mitigation (thresholds and settings). The application of ASRs to casework is discussed with recommendations, acknowledging the different modes of operation (e.g. investigative usage) and current UK limitations regarding presenting ASR output as evidence in criminal trials. In summary, and in the context of acoustic variability, the thesis recommends that ASRs could be applied to pre-forensic cases, accepting extraneous issues endure which require governance such as validation of method (ASR standardisation) and population data selection. However, ASRs remain unsuitable for broad forensic application with many acoustic conditions causing irrecoverable speech data loss contributing to high error rates

Using a low-bit rate speech enhancement variable post-filter as a speech recognition system pre-filter to improve robustness to GSM speech

Includes bibliographical references.Performance of speech recognition systems degrades when they are used to recognize speech that has been transmitted through GS1 (Global System for Mobile Communications) voice communication channels (GSM speech). This degradation is mainly due to GSM speech coding and GSM channel noise on speech signals transmitted through the network. This poor recognition of GSM channel speech limits the use of speech recognition applications over GSM networks. If speech recognition technology is to be used unlimitedly over GSM networks recognition accuracy of GSM channel speech has to be improved. Different channel normalization techniques have been developed in an attempt to improve recognition accuracy of voice channel modified speech in general (not specifically for GSM channel speech). These techniques can be classified into three broad categories, namely, model modification, signal pre-processing and feature processing techniques. In this work, as a contribution toward improving the robustness of speech recognition systems to GSM speech, the use of a low-bit speech enhancement post-filter as a speech recognition system pre-filter is proposed. This filter is to be used in recognition systems in combination with channel normalization techniques

Speech assessment and characterization for law enforcement applications

Speech signals acquired, transmitted or stored in non-ideal conditions are often degraded by one or more effects including, for example, additive noise. These degradations alter the signal properties in a manner that deteriorates the intelligibility or quality of the speech signal. In the law enforcement context such degradations are commonplace due to the limitations in the audio collection methodology, which is often required to be covert. In severe degradation conditions, the acquired signal may become unintelligible, losing its value in an investigation and in less severe conditions, a loss in signal quality may be encountered, which can lead to higher transcription time and cost. This thesis proposes a non-intrusive speech assessment framework from which algorithms for speech quality and intelligibility assessment are derived, to guide the collection and transcription of law enforcement audio. These methods are trained on a large database labelled using intrusive techniques (whose performance is verified with subjective scores) and shown to perform favorably when compared with existing non-intrusive techniques. Additionally, a non-intrusive CODEC identification and verification algorithm is developed which can identify a CODEC with an accuracy of 96.8 % and detect the presence of a CODEC with an accuracy higher than 97 % in the presence of additive noise. Finally, the speech description taxonomy framework is developed, with the aim of characterizing various aspects of a degraded speech signal, including the mechanism that results in a signal with particular characteristics, the vocabulary that can be used to describe those degradations and the measurable signal properties that can characterize the degradations. The taxonomy is implemented as a relational database that facilitates the modeling of the relationships between various attributes of a signal and promises to be a useful tool for training and guiding audio analysts

Automatic Transcription of Bass Guitar Tracks applied for Music Genre Classification and Sound Synthesis

Musiksignale bestehen in der Regel aus einer Überlagerung mehrerer Einzelinstrumente. Die meisten existierenden Algorithmen zur automatischen Transkription und Analyse von Musikaufnahmen im Forschungsfeld des Music Information Retrieval (MIR) versuchen, semantische Information direkt aus diesen gemischten Signalen zu extrahieren. In den letzten Jahren wurde häufig beobachtet, dass die Leistungsfähigkeit dieser Algorithmen durch die Signalüberlagerungen und den daraus resultierenden Informationsverlust generell limitiert ist. Ein möglicher Lösungsansatz besteht darin, mittels Verfahren der Quellentrennung die beteiligten Instrumente vor der Analyse klanglich zu isolieren. Die Leistungsfähigkeit dieser Algorithmen ist zum aktuellen Stand der Technik jedoch nicht immer ausreichend, um eine sehr gute Trennung der Einzelquellen zu ermöglichen. In dieser Arbeit werden daher ausschließlich isolierte Instrumentalaufnahmen untersucht, die klanglich nicht von anderen Instrumenten überlagert sind. Exemplarisch werden anhand der elektrischen Bassgitarre auf die Klangerzeugung dieses Instrumentes hin spezialisierte Analyse- und Klangsynthesealgorithmen entwickelt und evaluiert.Im ersten Teil der vorliegenden Arbeit wird ein Algorithmus vorgestellt, der eine automatische Transkription von Bassgitarrenaufnahmen durchführt. Dabei wird das Audiosignal durch verschiedene Klangereignisse beschrieben, welche den gespielten Noten auf dem Instrument entsprechen. Neben den üblichen Notenparametern Anfang, Dauer, Lautstärke und Tonhöhe werden dabei auch instrumentenspezifische Parameter wie die verwendeten Spieltechniken sowie die Saiten- und Bundlage auf dem Instrument automatisch extrahiert. Evaluationsexperimente anhand zweier neu erstellter Audiodatensätze belegen, dass der vorgestellte Transkriptionsalgorithmus auf einem Datensatz von realistischen Bassgitarrenaufnahmen eine höhere Erkennungsgenauigkeit erreichen kann als drei existierende Algorithmen aus dem Stand der Technik. Die Schätzung der instrumentenspezifischen Parameter kann insbesondere für isolierte Einzelnoten mit einer hohen Güte durchgeführt werden.Im zweiten Teil der Arbeit wird untersucht, wie aus einer Notendarstellung typischer sich wieder- holender Basslinien auf das Musikgenre geschlossen werden kann. Dabei werden Audiomerkmale extrahiert, welche verschiedene tonale, rhythmische, und strukturelle Eigenschaften von Basslinien quantitativ beschreiben. Mit Hilfe eines neu erstellten Datensatzes von 520 typischen Basslinien aus 13 verschiedenen Musikgenres wurden drei verschiedene Ansätze für die automatische Genreklassifikation verglichen. Dabei zeigte sich, dass mit Hilfe eines regelbasierten Klassifikationsverfahrens nur Anhand der Analyse der Basslinie eines Musikstückes bereits eine mittlere Erkennungsrate von 64,8 % erreicht werden konnte.Die Re-synthese der originalen Bassspuren basierend auf den extrahierten Notenparametern wird im dritten Teil der Arbeit untersucht. Dabei wird ein neuer Audiosynthesealgorithmus vorgestellt, der basierend auf dem Prinzip des Physical Modeling verschiedene Aspekte der für die Bassgitarre charakteristische Klangerzeugung wie Saitenanregung, Dämpfung, Kollision zwischen Saite und Bund sowie dem Tonabnehmerverhalten nachbildet. Weiterhin wird ein parametrischerAudiokodierungsansatz diskutiert, der es erlaubt, Bassgitarrenspuren nur anhand der ermittel- ten notenweisen Parameter zu übertragen um sie auf Dekoderseite wieder zu resynthetisieren. Die Ergebnisse mehrerer Hötest belegen, dass der vorgeschlagene Synthesealgorithmus eine Re- Synthese von Bassgitarrenaufnahmen mit einer besseren Klangqualität ermöglicht als die Übertragung der Audiodaten mit existierenden Audiokodierungsverfahren, die auf sehr geringe Bitraten ein gestellt sind.Music recordings most often consist of multiple instrument signals, which overlap in time and frequency. In the field of Music Information Retrieval (MIR), existing algorithms for the automatic transcription and analysis of music recordings aim to extract semantic information from mixed audio signals. In the last years, it was frequently observed that the algorithm performance is limited due to the signal interference and the resulting loss of information. One common approach to solve this problem is to first apply source separation algorithms to isolate the present musical instrument signals before analyzing them individually. The performance of source separation algorithms strongly depends on the number of instruments as well as on the amount of spectral overlap.In this thesis, isolated instrumental tracks are analyzed in order to circumvent the challenges of source separation. Instead, the focus is on the development of instrument-centered signal processing algorithms for music transcription, musical analysis, as well as sound synthesis. The electric bass guitar is chosen as an example instrument. Its sound production principles are closely investigated and considered in the algorithmic design.In the first part of this thesis, an automatic music transcription algorithm for electric bass guitar recordings will be presented. The audio signal is interpreted as a sequence of sound events, which are described by various parameters. In addition to the conventionally used score-level parameters note onset, duration, loudness, and pitch, instrument-specific parameters such as the applied instrument playing techniques and the geometric position on the instrument fretboard will be extracted. Different evaluation experiments confirmed that the proposed transcription algorithm outperformed three state-of-the-art bass transcription algorithms for the transcription of realistic bass guitar recordings. The estimation of the instrument-level parameters works with high accuracy, in particular for isolated note samples.In the second part of the thesis, it will be investigated, whether the sole analysis of the bassline of a music piece allows to automatically classify its music genre. Different score-based audio features will be proposed that allow to quantify tonal, rhythmic, and structural properties of basslines. Based on a novel data set of 520 bassline transcriptions from 13 different music genres, three approaches for music genre classification were compared. A rule-based classification system could achieve a mean class accuracy of 64.8 % by only taking features into account that were extracted from the bassline of a music piece.The re-synthesis of a bass guitar recordings using the previously extracted note parameters will be studied in the third part of this thesis. Based on the physical modeling of string instruments, a novel sound synthesis algorithm tailored to the electric bass guitar will be presented. The algorithm mimics different aspects of the instrument’s sound production mechanism such as string excitement, string damping, string-fret collision, and the influence of the electro-magnetic pickup. Furthermore, a parametric audio coding approach will be discussed that allows to encode and transmit bass guitar tracks with a significantly smaller bit rate than conventional audio coding algorithms do. The results of different listening tests confirmed that a higher perceptual quality can be achieved if the original bass guitar recordings are encoded and re-synthesized using the proposed parametric audio codec instead of being encoded using conventional audio codecs at very low bit rate settings

Machine Learning for Auditory Hierarchy

Coleman, W. (2021). Machine Learning for Auditory Hierarchy. This dissertation is submitted for the degree of Doctor of Philosophy, Technological University Dublin. Audio content is predominantly delivered in a stereo audio file of a static, pre-formed mix. The content creator makes volume, position and effects decisions, generally for presentation in stereo speakers, but has no control ultimately over how the content will be consumed. This leads to poor listener experience when, for example, a feature film is mixed such that the dialogue is at a low level relative to the sound effects. Consumers can complain that they must turn the volume up to hear the words, but back down again because the effects levels are too loud. Addressing this problem requires a television mix optimised for the stereo speakers used in the vast majority of homes, which is not always available