Adaptive DCTNet for Audio Signal Classification

In this paper, we investigate DCTNet for audio signal classification. Its output feature is related to Cohen's class of time-frequency distributions. We introduce the use of adaptive DCTNet (A-DCTNet) for audio signals feature extraction. The A-DCTNet applies the idea of constant-Q transform, with its center frequencies of filterbanks geometrically spaced. The A-DCTNet is adaptive to different acoustic scales, and it can better capture low frequency acoustic information that is sensitive to human audio perception than features such as Mel-frequency spectral coefficients (MFSC). We use features extracted by the A-DCTNet as input for classifiers. Experimental results show that the A-DCTNet and Recurrent Neural Networks (RNN) achieve state-of-the-art performance in bird song classification rate, and improve artist identification accuracy in music data. They demonstrate A-DCTNet's applicability to signal processing problems.Comment: International Conference of Acoustic and Speech Signal Processing (ICASSP). New Orleans, United States, March, 201

Spectral analysis for nonstationary audio

A new approach for the analysis of nonstationary signals is proposed, with a focus on audio applications. Following earlier contributions, nonstationarity is modeled via stationarity-breaking operators acting on Gaussian stationary random signals. The focus is on time warping and amplitude modulation, and an approximate maximum-likelihood approach based on suitable approximations in the wavelet transform domain is developed. This paper provides theoretical analysis of the approximations, and introduces JEFAS, a corresponding estimation algorithm. The latter is tested and validated on synthetic as well as real audio signal.Comment: IEEE/ACM Transactions on Audio, Speech and Language Processing, Institute of Electrical and Electronics Engineers, In pres

TimbreTron: A WaveNet(CycleGAN(CQT(Audio))) Pipeline for Musical Timbre Transfer

In this work, we address the problem of musical timbre transfer, where the goal is to manipulate the timbre of a sound sample from one instrument to match another instrument while preserving other musical content, such as pitch, rhythm, and loudness. In principle, one could apply image-based style transfer techniques to a time-frequency representation of an audio signal, but this depends on having a representation that allows independent manipulation of timbre as well as high-quality waveform generation. We introduce TimbreTron, a method for musical timbre transfer which applies "image" domain style transfer to a time-frequency representation of the audio signal, and then produces a high-quality waveform using a conditional WaveNet synthesizer. We show that the Constant Q Transform (CQT) representation is particularly well-suited to convolutional architectures due to its approximate pitch equivariance. Based on human perceptual evaluations, we confirmed that TimbreTron recognizably transferred the timbre while otherwise preserving the musical content, for both monophonic and polyphonic samples.Comment: 17 pages, published as a conference paper at ICLR 201

Panako: a scalable acoustic fingerprinting system handling time-scale and pitch modification

In this paper a scalable granular acoustic fingerprinting system robust against time and pitch scale modification is presented. The aim of acoustic fingerprinting is to identify identical, or recognize similar, audio fragments in a large set using condensed representations of audio signals, i.e. fingerprints. A robust fingerprinting system generates similar fingerprints for perceptually similar audio signals. The new system, presented here, handles a variety of distortions well. It is designed to be robust against pitch shifting, time stretching and tempo changes, while remaining scalable. After a query, the system returns the start time in the reference audio, and the amount of pitch shift and tempo change that has been applied. The design of the system that offers this unique combination of features is the main contribution of this research. The fingerprint itself consists of a combination of key points in a Constant-Q spectrogram. The system is evaluated on commodity hardware using a freely available reference database with fingerprints of over 30.000 songs. The results show that the system responds quickly and reliably on queries, while handling time and pitch scale modifications of up to ten percent

Coding overcomplete representations of audio using the MCLT

We propose a system for audio coding using the modulated complex lapped transform (MCLT). In general, it is difficult to encode signals using overcomplete representations without avoiding a penalty in rate-distortion performance. We show that the penalty can be significantly reduced for MCLT-based representations, without the need for iterative methods of sparsity reduction. We achieve that via a magnitude-phase polar quantization and the use of magnitude and phase prediction. Compared to systems based on quantization of orthogonal representations such as the modulated lapped transform (MLT), the new system allows for reduced warbling artifacts and more precise computation of frequency-domain auditory masking functions

Audio Source Separation Using Sparse Representations

This is the author's final version of the article, first published as A. Nesbit, M. G. Jafari, E. Vincent and M. D. Plumbley. Audio Source Separation Using Sparse Representations. In W. Wang (Ed), Machine Audition: Principles, Algorithms and Systems. Chapter 10, pp. 246-264. IGI Global, 2011. ISBN 978-1-61520-919-4. DOI: 10.4018/978-1-61520-919-4.ch010file: NesbitJafariVincentP11-audio.pdf:n\NesbitJafariVincentP11-audio.pdf:PDF owner: markp timestamp: 2011.02.04file: NesbitJafariVincentP11-audio.pdf:n\NesbitJafariVincentP11-audio.pdf:PDF owner: markp timestamp: 2011.02.04The authors address the problem of audio source separation, namely, the recovery of audio signals from recordings of mixtures of those signals. The sparse component analysis framework is a powerful method for achieving this. Sparse orthogonal transforms, in which only few transform coefficients differ significantly from zero, are developed; once the signal has been transformed, energy is apportioned from each transform coefficient to each estimated source, and, finally, the signal is reconstructed using the inverse transform. The overriding aim of this chapter is to demonstrate how this framework, as exemplified here by two different decomposition methods which adapt to the signal to represent it sparsely, can be used to solve different problems in different mixing scenarios. To address the instantaneous (neither delays nor echoes) and underdetermined (more sources than mixtures) mixing model, a lapped orthogonal transform is adapted to the signal by selecting a basis from a library of predetermined bases. This method is highly related to the windowing methods used in the MPEG audio coding framework. In considering the anechoic (delays but no echoes) and determined (equal number of sources and mixtures) mixing case, a greedy adaptive transform is used based on orthogonal basis functions that are learned from the observed data, instead of being selected from a predetermined library of bases. This is found to encode the signal characteristics, by introducing a feedback system between the bases and the observed data. Experiments on mixtures of speech and music signals demonstrate that these methods give good signal approximations and separation performance, and indicate promising directions for future research