Application of sound source separation methods to advanced spatial audio systems

This thesis is related to the field of Sound Source Separation (SSS). It addresses the development and evaluation of these techniques for their application in the resynthesis of high-realism sound scenes by means of Wave Field Synthesis (WFS). Because the vast majority of audio recordings are preserved in twochannel stereo format, special up-converters are required to use advanced spatial audio reproduction formats, such as WFS. This is due to the fact that WFS needs the original source signals to be available, in order to accurately synthesize the acoustic field inside an extended listening area. Thus, an object-based mixing is required. Source separation problems in digital signal processing are those in which several signals have been mixed together and the objective is to find out what the original signals were. Therefore, SSS algorithms can be applied to existing two-channel mixtures to extract the different objects that compose the stereo scene. Unfortunately, most stereo mixtures are underdetermined, i.e., there are more sound sources than audio channels. This condition makes the SSS problem especially difficult and stronger assumptions have to be taken, often related to the sparsity of the sources under some signal transformation. This thesis is focused on the application of SSS techniques to the spatial sound reproduction field. As a result, its contributions can be categorized within these two areas. First, two underdetermined SSS methods are proposed to deal efficiently with the separation of stereo sound mixtures. These techniques are based on a multi-level thresholding segmentation approach, which enables to perform a fast and unsupervised separation of sound sources in the time-frequency domain. Although both techniques rely on the same clustering type, the features considered by each of them are related to different localization cues that enable to perform separation of either instantaneous or real mixtures.Additionally, two post-processing techniques aimed at improving the isolation of the separated sources are proposed. The performance achieved by several SSS methods in the resynthesis of WFS sound scenes is afterwards evaluated by means of listening tests, paying special attention to the change observed in the perceived spatial attributes. Although the estimated sources are distorted versions of the original ones, the masking effects involved in their spatial remixing make artifacts less perceptible, which improves the overall assessed quality. Finally, some novel developments related to the application of time-frequency processing to source localization and enhanced sound reproduction are presented.Cobos Serrano, M. (2009). Application of sound source separation methods to advanced spatial audio systems [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/8969Palanci

Convolutive Blind Source Separation Methods

In this chapter, we provide an overview of existing algorithms for blind source separation of convolutive audio mixtures. We provide a taxonomy, wherein many of the existing algorithms can be organized, and we present published results from those algorithms that have been applied to real-world audio separation tasks

Guided Matching Pursuit and its Application to Sound Source Separation

In the last couple of decades there has been an increasing interest in the application of source separation technologies to musical signal processing. Given a signal that consists of a mixture of musical sources, source separation aims at extracting and/or isolating the signals that correspond to the original sources. A system capable of high quality source separation could be an invaluable tool for the sound engineer as well as the end user. Applications of source separation include, but are not limited to, remixing, up-mixing, spatial re-configuration, individual source modification such as filtering, pitch detection/correction and time stretching, music transcription, voice recognition and source-specific audio coding to name a few. Of particular interest is the problem of separating sources from a mixture comprising two channels (2.0 format) since this is still the most commonly used format in the music industry and most domestic listening environments. When the number of sources is greater than the number of mixtures (which is usually the case with stereophonic recordings) then the problem of source separation becomes under-determined and traditional source separation techniques, such as “Independent Component Analysis” (ICA) cannot be successfully applied. In such cases a family of techniques known as “Sparse Component Analysis” (SCA) are better suited. In short a mixture signal is decomposed into a new domain were the individual sources are sparsely represented which implies that their corresponding coefficients will have disjoint (or almost) disjoint supports. Taking advantage of this property along with the spatial information within the mixture and other prior information that could be available, it is possible to identify the sources in the new domain and separate them by going back to the time domain. It is a fact that sparse representations lead to higher quality separation. Regardless, the most commonly used front-end for a SCA system is the ubiquitous short-time Fourier transform (STFT) which although is a sparsifying transform it is not the best choice for this job. A better alternative is the matching pursuit (MP) decomposition. MP is an iterative algorithm that decomposes a signal into a set of elementary waveforms called atoms chosen from an over-complete dictionary in such a way so that they represent the inherent signal structures. A crucial part of MP is the creation of the dictionary which directly affects the results of the decomposition and subsequently the quality of source separation. Selecting an appropriate dictionary could prove a difficult task and an adaptive approach would be appropriate. This work proposes a new MP variant termed guided matching pursuit (GMP) which adds a new pre-processing step into the main sequence of the MP algorithm. The purpose of this step is to perform an analysis of the signal and extract important features, termed guide maps, that are used to create dynamic mini-dictionaries comprising atoms which are expected to correlate well with the underlying signal structures thus leading to focused and more efficient searches around particular supports of the signal. This algorithm is accompanied by a modular and highly flexible MATLAB implementation which is suited to the processing of long duration audio signals. Finally the new algorithm is applied to the source separation of two-channel linear instantaneous mixtures and preliminary testing demonstrates that the performance of GMP is on par with the performance of state of the art systems

Object-based Modeling of Audio for Coding and Source Separation

This thesis studies several data decomposition algorithms for obtaining an object-based representation of an audio signal. The estimation of the representation parameters are coupled with audio-specific criteria, such as the spectral redundancy, sparsity, perceptual relevance and spatial position of sounds. The objective is to obtain an audio signal representation that is composed of meaningful entities called audio objects that reflect the properties of real-world sound objects and events. The estimation of the object-based model is based on magnitude spectrogram redundancy using non-negative matrix factorization with extensions to multichannel and complex-valued data. The benefits of working with object-based audio representations over the conventional time-frequency bin-wise processing are studied. The two main applications of the object-based audio representations proposed in this thesis are spatial audio coding and sound source separation from multichannel microphone array recordings. In the proposed spatial audio coding algorithm, the audio objects are estimated from the multichannel magnitude spectrogram. The audio objects are used for recovering the content of each original channel from a single downmixed signal, using time-frequency filtering. The perceptual relevance of modeling the audio signal is considered in the estimation of the parameters of the object-based model, and the sparsity of the model is utilized in encoding its parameters. Additionally, a quantization of the model parameters is proposed that reflects the perceptual relevance of each quantized element. The proposed object-based spatial audio coding algorithm is evaluated via listening tests and comparing the overall perceptual quality to conventional time-frequency block-wise methods at the same bitrates. The proposed approach is found to produce comparable coding efficiency while providing additional functionality via the object-based coding domain representation, such as the blind separation of the mixture of sound sources in the encoded channels. For the sound source separation from multichannel audio recorded by a microphone array, a method combining an object-based magnitude model and spatial covariance matrix estimation is considered. A direction of arrival-based model for the spatial covariance matrices of the sound sources is proposed. Unlike the conventional approaches, the estimation of the parameters of the proposed spatial covariance matrix model ensures a spatially coherent solution for the spatial parameterization of the sound sources. The separation quality is measured with objective criteria and the proposed method is shown to improve over the state-of-the-art sound source separation methods, with recordings done using a small microphone array

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

Robust Multichannel Microphone Beamforming

In this thesis, a method for the design and implementation of a spatially robust multichannel microphone beamforming system is presented. A set of spatial correlation functions are derived for 2D and 3D far-field/near-field scenarios based on von Mises(-Fisher), Gaussian, and uniform source location distributions. These correlation functions are used to design spatially robust beamformers and blocking beamformers (nullformers) designed to enhance or suppress a known source, where the target source location is not perfectly known due to either an incorrect location estimate or movement of the target while the beamformers are active. The spatially robust beam/null-formers form signal and interferer plus noise references which can be further processed via a blind source separation algorithm to remove mutual components - removing the interference and sensor noise from the signal path and vice versa. The noise reduction performance of the combined beamforming and blind source separation system approaches that of a perfect information MVDR beamformer under reverberant conditions. It is demonstrated that the proposed algorithm can be implemented on low-power hardware with good performance on hardware similar to current mobile platforms using a four-element microphone array

Sparse separation of sources in 3D soundscapes

A novel blind source separation algorithm applicable to extracting sources from within 3D soundscapes is presented. The algorithm is based on constructing a binary mask based on directional information. The validity of filtering using binary masked based on the ω-disjoint assumption is examined for several typical scenarios. Results for these test environments show an improvement by an order of magnitude when compared to similar work using speech mixtures. Also presented is the novel application of a dual-tree complex wavelet transform to sparse source separation, providing an alternative transformation to the short-time Fourier transform often used in this area. Results are presented showing compara- ble signal-to-interference performance, and significantly improved signal-to-distortion performance when compared against the short time Fourier transform. Results presented for the separation algorithm include quantitative measures of the separation performance for robust comparison against other separation algorithms. Consideration is given to the related problem of localising sources within 3D sound- scapes. Two novel methods are presented, the first using a peak estimation on a spherical histogram constructed using a geodesic grid, the second by adapting a self learning plastic self-organising map to operate on the surface of a unit sphere. It is concluded that the separation algorithm presented is effective for soundscapes comprising ecological or zoological sources. Specific areas for further work are recog- nised, both in terms of isolated technologies and towards the integration of this work into an instrument for soundscape recognition, evaluation and identification.EThOS - Electronic Theses Online ServiceGBUnited Kingdo