Final Research Report for Sound Design and Audio Player

This deliverable describes the work on Task 4.3 Algorithms for sound design and feature developments for audio player. The audio player runs on the in-store player (ISP) and takes care of rendering the music playlists via beat-synchronous automatic DJ mixing, taking advantage of the rich musical content description extracted in T4.2 (beat markers, structural segmentation into intro and outro, musical and sound content classification). The deliverable covers prototypes and final results on: (1) automatic beat-synchronous mixing by beat alignment and time stretching – we developed an algorithm for beat alignment and scheduling of time-stretched tracks; (2) compensation of play duration changes introduced by time stretching – in order to make the playlist generator independent of beat mixing, we chose to readjust the tempo of played tracks such that their stretched duration is the same as their original duration; (3) prospective research on the extraction of data from DJ mixes – to alleviate the lack of extensive ground truth databases of DJ mixing practices, we propose steps towards extracting this data from existing mixes by alignment and unmixing of the tracks in a mix. We also show how these methods can be evaluated even without labelled test data, and propose an open dataset for further research; (4) a description of the software player module, a GUI-less application to run on the ISP that performs streaming of tracks from disk and beat-synchronous mixing. The estimation of cue points where tracks should cross-fade is now described in D4.7 Final Research Report on Auto-Tagging of Music.EC/H2020/688122/EU/Artist-to-Business-to-Business-to-Consumer Audio Branding System/ABC D

Speech Processing in Computer Vision Applications

Deep learning has been recently proven to be a viable asset in determining features in the field of Speech Analysis. Deep learning methods like Convolutional Neural Networks facilitate the expansion of specific feature information in waveforms, allowing networks to create more feature dense representations of data. Our work attempts to address the problem of re-creating a face given a speaker\u27s voice and speaker identification using deep learning methods. In this work, we first review the fundamental background in speech processing and its related applications. Then we introduce novel deep learning-based methods to speech feature analysis. Finally, we will present our deep learning approaches to speaker identification and speech to face synthesis. The presented method can convert a speaker audio sample to an image of their predicted face. This framework is composed of several chained together networks, each with an essential step in the conversion process. These include Audio embedding, encoding, and face generation networks, respectively. Our experiments show that certain features can map to the face and that with a speaker\u27s voice, DNNs can create their face and that a GUI could be used in conjunction to display a speaker recognition network\u27s data

Synesthesia: Detecting Screen Content via Remote Acoustic Side Channels

We show that subtle acoustic noises emanating from within computer screens can be used to detect the content displayed on the screens. This sound can be picked up by ordinary microphones built into webcams or screens, and is inadvertently transmitted to other parties, e.g., during a videoconference call or archived recordings. It can also be recorded by a smartphone or "smart speaker" placed on a desk next to the screen, or from as far as 10 meters away using a parabolic microphone. Empirically demonstrating various attack scenarios, we show how this channel can be used for real-time detection of on-screen text, or users' input into on-screen virtual keyboards. We also demonstrate how an attacker can analyze the audio received during video call (e.g., on Google Hangout) to infer whether the other side is browsing the web in lieu of watching the video call, and which web site is displayed on their screen

Review of Research on Speech Technology: Main Contributions From Spanish Research Groups

In the last two decades, there has been an important increase in research on speech technology in Spain, mainly due to a higher level of funding from European, Spanish and local institutions and also due to a growing interest in these technologies for developing new services and applications. This paper provides a review of the main areas of speech technology addressed by research groups in Spain, their main contributions in the recent years and the main focus of interest these days. This description is classified in five main areas: audio processing including speech, speaker characterization, speech and language processing, text to speech conversion and spoken language applications. This paper also introduces the Spanish Network of Speech Technologies (RTTH. Red Temática en Tecnologías del Habla) as the research network that includes almost all the researchers working in this area, presenting some figures, its objectives and its main activities developed in the last years

Sketching sonic interactions by imitation-driven sound synthesis

Sketching is at the core of every design activity. In visual design, pencil and paper are the preferred tools to produce sketches for their simplicity and immediacy. Analogue tools for sonic sketching do not exist yet, although voice and gesture are embodied abilities commonly exploited to communicate sound concepts. The EU project SkAT-VG aims to support vocal sketching with computeraided technologies that can be easily accessed, understood and controlled through vocal and gestural imitations. This imitation-driven sound synthesis approach is meant to overcome the ephemerality and timbral limitations of human voice and gesture, allowing to produce more refined sonic sketches and to think about sound in a more designerly way. This paper presents two main outcomes of the project: The Sound Design Toolkit, a palette of basic sound synthesis models grounded on ecological perception and physical description of sound-producing phenomena, and SkAT-Studio, a visual framework based on sound design workflows organized in stages of input, analysis, mapping, synthesis, and output. The integration of these two software packages provides an environment in which sound designers can go from concepts, through exploration and mocking-up, to prototyping in sonic interaction design, taking advantage of all the possibilities of- fered by vocal and gestural imitations in every step of the process

Movie Description

Audio Description (AD) provides linguistic descriptions of movies and allows visually impaired people to follow a movie along with their peers. Such descriptions are by design mainly visual and thus naturally form an interesting data source for computer vision and computational linguistics. In this work we propose a novel dataset which contains transcribed ADs, which are temporally aligned to full length movies. In addition we also collected and aligned movie scripts used in prior work and compare the two sources of descriptions. In total the Large Scale Movie Description Challenge (LSMDC) contains a parallel corpus of 118,114 sentences and video clips from 202 movies. First we characterize the dataset by benchmarking different approaches for generating video descriptions. Comparing ADs to scripts, we find that ADs are indeed more visual and describe precisely what is shown rather than what should happen according to the scripts created prior to movie production. Furthermore, we present and compare the results of several teams who participated in a challenge organized in the context of the workshop "Describing and Understanding Video & The Large Scale Movie Description Challenge (LSMDC)", at ICCV 2015