An overview of informed audio source separation

International audienceAudio source separation consists in recovering different unknown signals called sources by filtering their observed mixtures. In music processing, most mixtures are stereophonic songs and the sources are the individual signals played by the instruments, e.g. bass, vocals, guitar, etc. Source separation is often achieved through a classical generalized Wiener filtering, which is controlled by parameters such as the power spectrograms and the spatial locations of the sources. For an efficient filtering, those parameters need to be available and their estimation is the main challenge faced by separation algorithms. In the blind scenario, only the mixtures are available and performance strongly depends on the mixtures considered. In recent years, much research has focused on informed separation, which consists in using additional available information about the sources to improve the separation quality. In this paper, we review some recent trends in this direction

PROJET - Spatial Audio Separation Using Projections

International audienceWe propose a projection-based method for the unmixing of multi-channel audio signals into their different constituent spatial objects. Here, spatial objects are modelled using a unified framework which handles both point sources and diffuse sources. We then propose a novel methodology to estimate and take advantage of the spatial dependencies of an object. Where previous research has processed the original multichannel mixtures directly and has been principally focused on the use of inter-channel covariance structures, here we instead process projections of the multichannel signal on many different spatial directions. These linear combinations consist of observations where some spatial objects are cancelled or enhanced. We then propose an algorithm which takes these projections as the observations, discarding dependencies between them. Since each one contains global information regarding all channels of the original multichannel mixture, this provides an effective means of learning the parameters of the original audio, while avoiding the need for joint-processing of all the channels. We further show how to recover the separated spatial objects and demonstrate the use of the technique on stereophonic music signals

Generalized Wiener filtering with fractional power spectrograms

International audienceIn the recent years, many studies have focused on the single-sensor separation of independent waveforms using so-called soft-masking strategies, where the short term Fourier transform of the mixture is multiplied element-wise by a ratio of spectrogram models. When the signals are wide-sense stationary, this strategy is theoretically justified as an optimal Wiener filtering: the power spectrograms of the sources are supposed to add up to yield the power spectrogram of the mixture. However, experience shows that using fractional spectrograms instead, such as the amplitude, yields good performance in practice, because they experimentally better fit the additivity assumption. To the best of our knowledge, no probabilistic interpretation of this filtering procedure was available to date. In this paper, we show that assuming the additivity of fractional spectrograms for the purpose of building soft-masks can be understood as separating locally stationary alpha-stable harmonizable processes, alpha-harmonizable in short, thus justifying the procedure theoretically

Multi-channel audio source separation using multiple deformed references

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Underdetermined convolutive source separation using two dimensional non-negative factorization techniques

PhD ThesisIn this thesis the underdetermined audio source separation has been considered, that is, estimating the original audio sources from the observed mixture when the number of audio sources is greater than the number of channels. The separation has been carried out using two approaches; the blind audio source separation and the informed audio source separation. The blind audio source separation approach depends on the mixture signal only and it assumes that the separation has been accomplished without any prior information (or as little as possible) about the sources. The informed audio source separation uses the exemplar in addition to the mixture signal to emulate the targeted speech signal to be separated. Both approaches are based on the two dimensional factorization techniques that decompose the signal into two tensors that are convolved in both the temporal and spectral directions. Both approaches are applied on the convolutive mixture and the high-reverberant convolutive mixture which are more realistic than the instantaneous mixture. In this work a novel algorithm based on the nonnegative matrix factor two dimensional deconvolution (NMF2D) with adaptive sparsity has been proposed to separate the audio sources that have been mixed in an underdetermined convolutive mixture. Additionally, a novel Gamma Exponential Process has been proposed for estimating the convolutive parameters and number of components of the NMF2D/ NTF2D, and to initialize the NMF2D parameters. In addition, the effects of different window length have been investigated to determine the best fit model that suit the characteristics of the audio signal. Furthermore, a novel algorithm, namely the fusion K models of full-rank weighted nonnegative tensor factor two dimensional deconvolution (K-wNTF2D) has been proposed. The K-wNTF2D is developed for its ability in modelling both the spectral and temporal changes, and the spatial covariance matrix that addresses the high reverberation problem. Variable sparsity that derived from the Gibbs distribution is optimized under the Itakura-Saito divergence and adapted into the K-wNTF2D model. The tensors of this algorithm have been initialized by a novel initialization method, namely the SVD two-dimensional deconvolution (SVD2D). Finally, two novel informed source separation algorithms, namely, the semi-exemplar based algorithm and the exemplar-based algorithm, have been proposed. These algorithms based on the NMF2D model and the proposed two dimensional nonnegative matrix partial co-factorization (2DNMPCF) model. The idea of incorporating the exemplar is to inform the proposed separation algorithms about the targeted signal to be separated by initializing its parameters and guide the proposed separation algorithms. The adaptive sparsity is derived for both ii of the proposed algorithms. Also, a multistage of the proposed exemplar based algorithm has been proposed in order to further enhance the separation performance. Results have shown that the proposed separation algorithms are very promising, more flexible, and offer an alternative model to the conventional methods

Trennung und Schätzung der Anzahl von Audiosignalquellen mit Zeit- und Frequenzüberlappung

Everyday audio recordings involve mixture signals: music contains a mixture of instruments; in a meeting or conference, there is a mixture of human voices. For these mixtures, automatically separating or estimating the number of sources is a challenging task. A common assumption when processing mixtures in the time-frequency domain is that sources are not fully overlapped. However, in this work we consider some cases where the overlap is severe — for instance, when instruments play the same note (unison) or when many people speak concurrently ("cocktail party") — highlighting the need for new representations and more powerful models. To address the problems of source separation and count estimation, we use conventional signal processing techniques as well as deep neural networks (DNN). We first address the source separation problem for unison instrument mixtures, studying the distinct spectro-temporal modulations caused by vibrato. To exploit these modulations, we developed a method based on time warping, informed by an estimate of the fundamental frequency. For cases where such estimates are not available, we present an unsupervised model, inspired by the way humans group time-varying sources (common fate). This contribution comes with a novel representation that improves separation for overlapped and modulated sources on unison mixtures but also improves vocal and accompaniment separation when used as an input for a DNN model. Then, we focus on estimating the number of sources in a mixture, which is important for real-world scenarios. Our work on count estimation was motivated by a study on how humans can address this task, which lead us to conduct listening experiments, confirming that humans are only able to estimate the number of up to four sources correctly. To answer the question of whether machines can perform similarly, we present a DNN architecture, trained to estimate the number of concurrent speakers. Our results show improvements compared to other methods, and the model even outperformed humans on the same task. In both the source separation and source count estimation tasks, the key contribution of this thesis is the concept of “modulation”, which is important to computationally mimic human performance. Our proposed Common Fate Transform is an adequate representation to disentangle overlapping signals for separation, and an inspection of our DNN count estimation model revealed that it proceeds to find modulation-like intermediate features.Im Alltag sind wir von gemischten Signalen umgeben: Musik besteht aus einer Mischung von Instrumenten; in einem Meeting oder auf einer Konferenz sind wir einer Mischung menschlicher Stimmen ausgesetzt. Für diese Mischungen ist die automatische Quellentrennung oder die Bestimmung der Anzahl an Quellen eine anspruchsvolle Aufgabe. Eine häufige Annahme bei der Verarbeitung von gemischten Signalen im Zeit-Frequenzbereich ist, dass die Quellen sich nicht vollständig überlappen. In dieser Arbeit betrachten wir jedoch einige Fälle, in denen die Überlappung immens ist zum Beispiel, wenn Instrumente den gleichen Ton spielen (unisono) oder wenn viele Menschen gleichzeitig sprechen (Cocktailparty) —, so dass neue Signal-Repräsentationen und leistungsfähigere Modelle notwendig sind. Um die zwei genannten Probleme zu bewältigen, verwenden wir sowohl konventionelle Signalverbeitungsmethoden als auch tiefgehende neuronale Netze (DNN). Wir gehen zunächst auf das Problem der Quellentrennung für Unisono-Instrumentenmischungen ein und untersuchen die speziellen, durch Vibrato ausgelösten, zeitlich-spektralen Modulationen. Um diese Modulationen auszunutzen entwickelten wir eine Methode, die auf Zeitverzerrung basiert und eine Schätzung der Grundfrequenz als zusätzliche Information nutzt. Für Fälle, in denen diese Schätzungen nicht verfügbar sind, stellen wir ein unüberwachtes Modell vor, das inspiriert ist von der Art und Weise, wie Menschen zeitveränderliche Quellen gruppieren (Common Fate). Dieser Beitrag enthält eine neuartige Repräsentation, die die Separierbarkeit für überlappte und modulierte Quellen in Unisono-Mischungen erhöht, aber auch die Trennung in Gesang und Begleitung verbessert, wenn sie in einem DNN-Modell verwendet wird. Im Weiteren beschäftigen wir uns mit der Schätzung der Anzahl von Quellen in einer Mischung, was für reale Szenarien wichtig ist. Unsere Arbeit an der Schätzung der Anzahl war motiviert durch eine Studie, die zeigt, wie wir Menschen diese Aufgabe angehen. Dies hat uns dazu veranlasst, eigene Hörexperimente durchzuführen, die bestätigten, dass Menschen nur in der Lage sind, die Anzahl von bis zu vier Quellen korrekt abzuschätzen. Um nun die Frage zu beantworten, ob Maschinen dies ähnlich gut können, stellen wir eine DNN-Architektur vor, die erlernt hat, die Anzahl der gleichzeitig sprechenden Sprecher zu ermitteln. Die Ergebnisse zeigen Verbesserungen im Vergleich zu anderen Methoden, aber vor allem auch im Vergleich zu menschlichen Hörern. Sowohl bei der Quellentrennung als auch bei der Schätzung der Anzahl an Quellen ist ein Kernbeitrag dieser Arbeit das Konzept der “Modulation”, welches wichtig ist, um die Strategien von Menschen mittels Computern nachzuahmen. Unsere vorgeschlagene Common Fate Transformation ist eine adäquate Darstellung, um die Überlappung von Signalen für die Trennung zugänglich zu machen und eine Inspektion unseres DNN-Zählmodells ergab schließlich, dass sich auch hier modulationsähnliche Merkmale finden lassen

Pitch-Informed Solo and Accompaniment Separation

Das Thema dieser Dissertation ist die Entwicklung eines Systems zur Tonhöhen-informierten Quellentrennung von Musiksignalen in Soloinstrument und Begleitung. Dieses ist geeignet, die dominanten Instrumente aus einem Musikstück zu isolieren, unabhängig von der Art des Instruments, der Begleitung und Stilrichtung. Dabei werden nur einstimmige Melodieinstrumente in Betracht gezogen. Die Musikaufnahmen liegen monaural vor, es kann also keine zusätzliche Information aus der Verteilung der Instrumente im Stereo-Panorama gewonnen werden. Die entwickelte Methode nutzt Tonhöhen-Information als Basis für eine sinusoidale Modellierung der spektralen Eigenschaften des Soloinstruments aus dem Musikmischsignal. Anstatt die spektralen Informationen pro Frame zu bestimmen, werden in der vorgeschlagenen Methode Tonobjekte für die Separation genutzt. Tonobjekt-basierte Verarbeitung ermöglicht es, zusätzlich die Notenanfänge zu verfeinern, transiente Artefakte zu reduzieren, gemeinsame Amplitudenmodulation (Common Amplitude Modulation CAM) einzubeziehen und besser nichtharmonische Elemente der Töne abzuschätzen. Der vorgestellte Algorithmus zur Quellentrennung von Soloinstrument und Begleitung ermöglicht eine Echtzeitverarbeitung und ist somit relevant für den praktischen Einsatz. Ein Experiment zur besseren Modellierung der Zusammenhänge zwischen Magnitude, Phase und Feinfrequenz von isolierten Instrumententönen wurde durchgeführt. Als Ergebnis konnte die Kontinuität der zeitlichen Einhüllenden, die Inharmonizität bestimmter Musikinstrumente und die Auswertung des Phasenfortschritts für die vorgestellte Methode ausgenutzt werden. Zusätzlich wurde ein Algorithmus für die Quellentrennung in perkussive und harmonische Signalanteile auf Basis des Phasenfortschritts entwickelt. Dieser erreicht ein verbesserte perzeptuelle Qualität der harmonischen und perkussiven Signale gegenüber vergleichbaren Methoden nach dem Stand der Technik. Die vorgestellte Methode zur Klangquellentrennung in Soloinstrument und Begleitung wurde zu den Evaluationskampagnen SiSEC 2011 und SiSEC 2013 eingereicht. Dort konnten vergleichbare Ergebnisse im Hinblick auf perzeptuelle Bewertungsmaße erzielt werden. Die Qualität eines Referenzalgorithmus im Hinblick auf den in dieser Dissertation beschriebenen Instrumentaldatensatz übertroffen werden. Als ein Anwendungsszenario für die Klangquellentrennung in Solo und Begleitung wurde ein Hörtest durchgeführt, der die Qualitätsanforderungen an Quellentrennung im Kontext von Musiklernsoftware bewerten sollte. Die Ergebnisse dieses Hörtests zeigen, dass die Solo- und Begleitspur gemäß unterschiedlicher Qualitätskriterien getrennt werden sollten. Die Musiklernsoftware Songs2See integriert die vorgestellte Klangquellentrennung bereits in einer kommerziell erhältlichen Anwendung.This thesis addresses the development of a system for pitch-informed solo and accompaniment separation capable of separating main instruments from music accompaniment regardless of the musical genre of the track, or type of music accompaniment. For the solo instrument, only pitched monophonic instruments were considered in a single-channel scenario where no panning or spatial location information is available. In the proposed method, pitch information is used as an initial stage of a sinusoidal modeling approach that attempts to estimate the spectral information of the solo instrument from a given audio mixture. Instead of estimating the solo instrument on a frame by frame basis, the proposed method gathers information of tone objects to perform separation. Tone-based processing allowed the inclusion of novel processing stages for attack refinement, transient interference reduction, common amplitude modulation (CAM) of tone objects, and for better estimation of non-harmonic elements that can occur in musical instrument tones. The proposed solo and accompaniment algorithm is an efficient method suitable for real-world applications. A study was conducted to better model magnitude, frequency, and phase of isolated musical instrument tones. As a result of this study, temporal envelope smoothness, inharmonicty of musical instruments, and phase expectation were exploited in the proposed separation method. Additionally, an algorithm for harmonic/percussive separation based on phase expectation was proposed. The algorithm shows improved perceptual quality with respect to state-of-the-art methods for harmonic/percussive separation. The proposed solo and accompaniment method obtained perceptual quality scores comparable to other state-of-the-art algorithms under the SiSEC 2011 and SiSEC 2013 campaigns, and outperformed the comparison algorithm on the instrumental dataset described in this thesis.As a use-case of solo and accompaniment separation, a listening test procedure was conducted to assess separation quality requirements in the context of music education. Results from the listening test showed that solo and accompaniment tracks should be optimized differently to suit quality requirements of music education. The Songs2See application was presented as commercial music learning software which includes the proposed solo and accompaniment separation method

Single channel overlapped-speech detection and separation of spontaneous conversations

PhD ThesisIn the thesis, spontaneous conversation containing both speech mixture and speech dialogue is considered. The speech mixture refers to speakers speaking simultaneously (i.e. the overlapped-speech). The speech dialogue refers to only one speaker is actively speaking and the other is silent. That Input conversation is firstly processed by the overlapped-speech detection. Two output signals are then segregated into dialogue and mixture formats. The dialogue is processed by speaker diarization. Its outputs are the individual speech of each speaker. The mixture is processed by speech separation. Its outputs are independent separated speech signals of the speaker. When the separation input contains only the mixture, blind speech separation approach is used. When the separation is assisted by the outputs of the speaker diarization, it is informed speech separation. The research presents novel: overlapped-speech detection algorithm, and two speech separation algorithms. The proposed overlapped-speech detection is an algorithm to estimate the switching instants of the input. Optimization loop is adapted to adopt the best capsulated audio features and to avoid the worst. The optimization depends on principles of the pattern recognition, and k-means clustering. For of 300 simulated conversations, averages of: False-Alarm Error is 1.9%, Missed-Speech Error is 0.4%, and Overlap-Speaker Error is 1%. Approximately, these errors equal the errors of best recent reliable speaker diarization corpuses. The proposed blind speech separation algorithm consists of four sequential techniques: filter-bank analysis, Non-negative Matrix Factorization (NMF), speaker clustering and filter-bank synthesis. Instead of the required speaker segmentation, effective standard framing is contributed. Average obtained objective tests (SAR, SDR and SIR) of 51 simulated conversations are: 5.06dB, 4.87dB and 12.47dB respectively. For the proposed informed speech separation algorithm, outputs of the speaker diarization are a generated-database. The database associated the speech separation by creating virtual targeted-speech and mixture. The contributed virtual signals are trained to facilitate the separation by homogenising them with the NMF-matrix elements of the real mixture. Contributed masking optimized the resulting speech. Average obtained SAR, SDR and SIR of 341 simulated conversations are 9.55dB, 1.12dB, and 2.97dB respectively. Per the objective tests of the two speech separation algorithms, they are in the mid-range of the well-known NMF-based audio and speech separation methods