5,116 research outputs found
The Sound Manifesto
Computing practice today depends on visual output to drive almost all user
interaction. Other senses, such as audition, may be totally neglected, or used
tangentially, or used in highly restricted specialized ways. We have excellent
audio rendering through D-A conversion, but we lack rich general facilities for
modeling and manipulating sound comparable in quality and flexibility to
graphics. We need co-ordinated research in several disciplines to improve the
use of sound as an interactive information channel.
Incremental and separate improvements in synthesis, analysis, speech
processing, audiology, acoustics, music, etc. will not alone produce the
radical progress that we seek in sonic practice. We also need to create a new
central topic of study in digital audio research. The new topic will assimilate
the contributions of different disciplines on a common foundation. The key
central concept that we lack is sound as a general-purpose information channel.
We must investigate the structure of this information channel, which is driven
by the co-operative development of auditory perception and physical sound
production. Particular audible encodings, such as speech and music, illuminate
sonic information by example, but they are no more sufficient for a
characterization than typography is sufficient for a characterization of visual
information.Comment: To appear in the conference on Critical Technologies for the Future
of Computing, part of SPIE's International Symposium on Optical Science and
Technology, 30 July to 4 August 2000, San Diego, C
Multichannel high resolution NMF for modelling convolutive mixtures of non-stationary signals in the time-frequency domain
Several probabilistic models involving latent components have been proposed for modeling time-frequency (TF) representations of audio signals such as spectrograms, notably in the nonnegative matrix factorization (NMF) literature. Among them, the recent high-resolution NMF (HR-NMF) model is able to take both phases and local correlations in each frequency band into account, and its potential has been illustrated in applications such as source separation and audio inpainting. In this paper, HR-NMF is extended to multichannel signals and to convolutive mixtures. The new model can represent a variety of stationary and non-stationary signals, including autoregressive moving average (ARMA) processes and mixtures of damped sinusoids. A fast variational expectation-maximization (EM) algorithm is proposed to estimate the enhanced model. This algorithm is applied to piano signals, and proves capable of accurately modeling reverberation, restoring missing observations, and separating pure tones with close frequencies
Probabilistic Modeling Paradigms for Audio Source Separation
This is the author's final version of the article, first published as E. Vincent, M. G. Jafari, S. A. Abdallah, M. D. Plumbley, M. E. Davies. Probabilistic Modeling Paradigms for Audio Source Separation. In W. Wang (Ed), Machine Audition: Principles, Algorithms and Systems. Chapter 7, pp. 162-185. IGI Global, 2011. ISBN 978-1-61520-919-4. DOI: 10.4018/978-1-61520-919-4.ch007file: VincentJafariAbdallahPD11-probabilistic.pdf:v\VincentJafariAbdallahPD11-probabilistic.pdf:PDF owner: markp timestamp: 2011.02.04file: VincentJafariAbdallahPD11-probabilistic.pdf:v\VincentJafariAbdallahPD11-probabilistic.pdf:PDF owner: markp timestamp: 2011.02.04Most sound scenes result from the superposition of several sources, which can be separately perceived and analyzed by human listeners. Source separation aims to provide machine listeners with similar skills by extracting the sounds of individual sources from a given scene. Existing separation systems operate either by emulating the human auditory system or by inferring the parameters of probabilistic sound models. In this chapter, the authors focus on the latter approach and provide a joint overview of established and recent models, including independent component analysis, local time-frequency models and spectral template-based models. They show that most models are instances of one of the following two general paradigms: linear modeling or variance modeling. They compare the merits of either paradigm and report objective performance figures. They also,conclude by discussing promising combinations of probabilistic priors and inference algorithms that could form the basis of future state-of-the-art systems
Deep Learning for Audio Signal Processing
Given the recent surge in developments of deep learning, this article
provides a review of the state-of-the-art deep learning techniques for audio
signal processing. Speech, music, and environmental sound processing are
considered side-by-side, in order to point out similarities and differences
between the domains, highlighting general methods, problems, key references,
and potential for cross-fertilization between areas. The dominant feature
representations (in particular, log-mel spectra and raw waveform) and deep
learning models are reviewed, including convolutional neural networks, variants
of the long short-term memory architecture, as well as more audio-specific
neural network models. Subsequently, prominent deep learning application areas
are covered, i.e. audio recognition (automatic speech recognition, music
information retrieval, environmental sound detection, localization and
tracking) and synthesis and transformation (source separation, audio
enhancement, generative models for speech, sound, and music synthesis).
Finally, key issues and future questions regarding deep learning applied to
audio signal processing are identified.Comment: 15 pages, 2 pdf figure
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