A Sequential Processing Model for Speech Separation Based on Auditory Scene Analysis

Speech separation based on auditory scene analysis (ASA) has been widely studied. We propose a sequential processing model of computational ASA (CASA), in which a mixed speech is sequentially decomposed into frequency signals using modified Discrete Fourier Transform (DFT), four features in ASA are extracted from the decomposed frequency signals, the frequency signals are regrouped by examining the extracted features, and each separated speech is obtained by recomposing the frequency signals in a group. In this paper, we attempt to separate speeches only using the harmonic structure, which is one of the features and regarded as the backbone in our sequential implementation model

ARSTREAM: A Neural Network Model of Auditory Scene Analysis and Source Segregation

Multiple sound sources often contain harmonics that overlap and may be degraded by environmental noise. The auditory system is capable of teasing apart these sources into distinct mental objects, or streams. Such an "auditory scene analysis" enables the brain to solve the cocktail party problem. A neural network model of auditory scene analysis, called the AIRSTREAM model, is presented to propose how the brain accomplishes this feat. The model clarifies how the frequency components that correspond to a give acoustic source may be coherently grouped together into distinct streams based on pitch and spatial cues. The model also clarifies how multiple streams may be distinguishes and seperated by the brain. Streams are formed as spectral-pitch resonances that emerge through feedback interactions between frequency-specific spectral representaion of a sound source and its pitch. First, the model transforms a sound into a spatial pattern of frequency-specific activation across a spectral stream layer. The sound has multiple parallel representations at this layer. A sound's spectral representation activates a bottom-up filter that is sensitive to harmonics of the sound's pitch. The filter activates a pitch category which, in turn, activate a top-down expectation that allows one voice or instrument to be tracked through a noisy multiple source environment. Spectral components are suppressed if they do not match harmonics of the top-down expectation that is read-out by the selected pitch, thereby allowing another stream to capture these components, as in the "old-plus-new-heuristic" of Bregman. Multiple simultaneously occuring spectral-pitch resonances can hereby emerge. These resonance and matching mechanisms are specialized versions of Adaptive Resonance Theory, or ART, which clarifies how pitch representations can self-organize durin learning of harmonic bottom-up filters and top-down expectations. The model also clarifies how spatial location cues can help to disambiguate two sources with similar spectral cures. Data are simulated from psychophysical grouping experiments, such as how a tone sweeping upwards in frequency creates a bounce percept by grouping with a downward sweeping tone due to proximity in frequency, even if noise replaces the tones at their interection point. Illusory auditory percepts are also simulated, such as the auditory continuity illusion of a tone continuing through a noise burst even if the tone is not present during the noise, and the scale illusion of Deutsch whereby downward and upward scales presented alternately to the two ears are regrouped based on frequency proximity, leading to a bounce percept. Since related sorts of resonances have been used to quantitatively simulate psychophysical data about speech perception, the model strengthens the hypothesis the ART-like mechanisms are used at multiple levels of the auditory system. Proposals for developing the model to explain more complex streaming data are also provided.Air Force Office of Scientific Research (F49620-01-1-0397, F49620-92-J-0225); Office of Naval Research (N00014-01-1-0624); Advanced Research Projects Agency (N00014-92-J-4015); British Petroleum (89A-1204); National Science Foundation (IRI-90-00530); American Society of Engineering Educatio

ARSTREAM: A Neural Network Model of Auditory Scene Analysis and Source Segregation

Multiple sound sources often contain harmonics that overlap and may be degraded by environmental noise. The auditory system is capable of teasing apart these sources into distinct mental objects, or streams. Such an "auditory scene analysis" enables the brain to solve the cocktail party problem. A neural network model of auditory scene analysis, called the AIRSTREAM model, is presented to propose how the brain accomplishes this feat. The model clarifies how the frequency components that correspond to a give acoustic source may be coherently grouped together into distinct streams based on pitch and spatial cues. The model also clarifies how multiple streams may be distinguishes and seperated by the brain. Streams are formed as spectral-pitch resonances that emerge through feedback interactions between frequency-specific spectral representaion of a sound source and its pitch. First, the model transforms a sound into a spatial pattern of frequency-specific activation across a spectral stream layer. The sound has multiple parallel representations at this layer. A sound's spectral representation activates a bottom-up filter that is sensitive to harmonics of the sound's pitch. The filter activates a pitch category which, in turn, activate a top-down expectation that allows one voice or instrument to be tracked through a noisy multiple source environment. Spectral components are suppressed if they do not match harmonics of the top-down expectation that is read-out by the selected pitch, thereby allowing another stream to capture these components, as in the "old-plus-new-heuristic" of Bregman. Multiple simultaneously occuring spectral-pitch resonances can hereby emerge. These resonance and matching mechanisms are specialized versions of Adaptive Resonance Theory, or ART, which clarifies how pitch representations can self-organize durin learning of harmonic bottom-up filters and top-down expectations. The model also clarifies how spatial location cues can help to disambiguate two sources with similar spectral cures. Data are simulated from psychophysical grouping experiments, such as how a tone sweeping upwards in frequency creates a bounce percept by grouping with a downward sweeping tone due to proximity in frequency, even if noise replaces the tones at their interection point. Illusory auditory percepts are also simulated, such as the auditory continuity illusion of a tone continuing through a noise burst even if the tone is not present during the noise, and the scale illusion of Deutsch whereby downward and upward scales presented alternately to the two ears are regrouped based on frequency proximity, leading to a bounce percept. Since related sorts of resonances have been used to quantitatively simulate psychophysical data about speech perception, the model strengthens the hypothesis the ART-like mechanisms are used at multiple levels of the auditory system. Proposals for developing the model to explain more complex streaming data are also provided.Air Force Office of Scientific Research (F49620-01-1-0397, F49620-92-J-0225); Office of Naval Research (N00014-01-1-0624); Advanced Research Projects Agency (N00014-92-J-4015); British Petroleum (89A-1204); National Science Foundation (IRI-90-00530); American Society of Engineering Educatio

A Neural Network Model of Auditory Scene Anaysis and Source Segregation

In environments with multiple sound sources, the auditory system is capable of teasing apart the impinging jumbled signal into different mental objects, or streams, as in its ability to solve the cocktail party problem. A neural network model of auditory scene analysis, called the ARTSTREAM model, is presented that groups different frequency components based on pitch and spatial location cues, and selectively allocates the components to different streams. The grouping is accomplished through a resonance that develops between a given object's pitch, its harmonic spectral components, and (to a lesser extent) its spatial location. Those spectral components that are not reinforced by being rnatched with the top-down prototype read-out by the selected object's pitch representation are suppressed, thereby allowing another stream to capture these components, as in the "old-plus-new heuristic" of Bregman. These resonance and matching mechanisms are specialized versions of Adaptive Resonance Theory, or ART, mechanisms. The model is used to simulate data from psychophysical grouping experiments, such as how a. tone sweeping upwards in frequency creates a bounce percept by grouping with a downward sweeping tone clue to proximity in frequency, even if noise replaces the tones at their intersection point. The model also simulates illusory auditory percepts such as the auditory continuity illusion of a tone continuing through a noise burst even if the tone is not present during the noise, and the scale illusion of Deutsch whereby downward and upward scales presented alternately to the two ears are regrouped based on frequency proximity, leading to a bounce percept. The stream resonances provide the coherence that allows one voice or instrument to be tracked through a multiple source environment.Air Force Office of Scientific Research (F49620-92-J-0225, F49620-92-J-0225); National Science Foundation (IRI-90-00530); Office of Naval Research (N00014-92-J-4015); British Petroleum (89A-1204

Sound predictability as a higher-order cue in auditory scene analysis

A major challenge for the auditory system is to disentangle signals emitted by two or more sound sources that are active in a temporally interleaved manner (sequential stream segregation). Besides distinct characteristics of the individual signals (e.g., their timbre, location, and pitch), one important cue for distinguishing the sound sources is how their emitted signals unfold over time. It seems intuitively plausible that signals that unfold predictably with respect to their acoustic features and time-points of occurrence, such as the repetitive signature of a train moving on the rails, can be more readily identified as originating from one sound source. Based on this rationale, predictive elements have successfully been incorporated into computational models of auditory scene analysis for many years

Multi-talker Speech Separation with Utterance-level Permutation Invariant Training of Deep Recurrent Neural Networks

In this paper we propose the utterance-level Permutation Invariant Training (uPIT) technique. uPIT is a practically applicable, end-to-end, deep learning based solution for speaker independent multi-talker speech separation. Specifically, uPIT extends the recently proposed Permutation Invariant Training (PIT) technique with an utterance-level cost function, hence eliminating the need for solving an additional permutation problem during inference, which is otherwise required by frame-level PIT. We achieve this using Recurrent Neural Networks (RNNs) that, during training, minimize the utterance-level separation error, hence forcing separated frames belonging to the same speaker to be aligned to the same output stream. In practice, this allows RNNs, trained with uPIT, to separate multi-talker mixed speech without any prior knowledge of signal duration, number of speakers, speaker identity or gender. We evaluated uPIT on the WSJ0 and Danish two- and three-talker mixed-speech separation tasks and found that uPIT outperforms techniques based on Non-negative Matrix Factorization (NMF) and Computational Auditory Scene Analysis (CASA), and compares favorably with Deep Clustering (DPCL) and the Deep Attractor Network (DANet). Furthermore, we found that models trained with uPIT generalize well to unseen speakers and languages. Finally, we found that a single model, trained with uPIT, can handle both two-speaker, and three-speaker speech mixtures