Audio source separation for music in low-latency and high-latency scenarios

Aquesta tesi proposa mètodes per tractar les limitacions de les tècniques existents de separació de fonts musicals en condicions de baixa i alta latència. En primer lloc, ens centrem en els mètodes amb un baix cost computacional i baixa latència. Proposem l'ús de la regularització de Tikhonov com a mètode de descomposició de l'espectre en el context de baixa latència. El comparem amb les tècniques existents en tasques d'estimació i seguiment dels tons, que són passos crucials en molts mètodes de separació. A continuació utilitzem i avaluem el mètode de descomposició de l'espectre en tasques de separació de veu cantada, baix i percussió. En segon lloc, proposem diversos mètodes d'alta latència que milloren la separació de la veu cantada, gràcies al modelatge de components específics, com la respiració i les consonants. Finalment, explorem l'ús de correlacions temporals i anotacions manuals per millorar la separació dels instruments de percussió i dels senyals musicals polifònics complexes.Esta tesis propone métodos para tratar las limitaciones de las técnicas existentes de separación de fuentes musicales en condiciones de baja y alta latencia. En primer lugar, nos centramos en los métodos con un bajo coste computacional y baja latencia. Proponemos el uso de la regularización de Tikhonov como método de descomposición del espectro en el contexto de baja latencia. Lo comparamos con las técnicas existentes en tareas de estimación y seguimiento de los tonos, que son pasos cruciales en muchos métodos de separación. A continuación utilizamos y evaluamos el método de descomposición del espectro en tareas de separación de voz cantada, bajo y percusión. En segundo lugar, proponemos varios métodos de alta latencia que mejoran la separación de la voz cantada, gracias al modelado de componentes que a menudo no se toman en cuenta, como la respiración y las consonantes. Finalmente, exploramos el uso de correlaciones temporales y anotaciones manuales para mejorar la separación de los instrumentos de percusión y señales musicales polifónicas complejas.This thesis proposes specific methods to address the limitations of current music source separation methods in low-latency and high-latency scenarios. First, we focus on methods with low computational cost and low latency. We propose the use of Tikhonov regularization as a method for spectrum decomposition in the low-latency context. We compare it to existing techniques in pitch estimation and tracking tasks, crucial steps in many separation methods. We then use the proposed spectrum decomposition method in low-latency separation tasks targeting singing voice, bass and drums. Second, we propose several high-latency methods that improve the separation of singing voice by modeling components that are often not accounted for, such as breathiness and consonants. Finally, we explore using temporal correlations and human annotations to enhance the separation of drums and complex polyphonic music signals

Non-Negative Matrix Factorization Based Algorithms to Cluster Frequency Basis Functions for Monaural Sound Source Separation.

Monophonic sound source separation (SSS) refers to a process that separates out audio signals produced from the individual sound sources in a given acoustic mixture, when the mixture signal is recorded using one microphone or is directly recorded onto one reproduction channel. Many audio applications such as pitch modification and automatic music transcription would benefit from the availability of segregated sound sources from the mixture of audio signals for further processing. Recently, Non-negative matrix factorization (NMF) has found application in monaural audio source separation due to its ability to factorize audio spectrograms into additive part-based basis functions, where the parts typically correspond to individual notes or chords in music. An advantage of NMF is that there can be a single basis function for each note played by a given instrument, thereby capturing changes in timbre with pitch for each instrument or source. However, these basis functions need to be clustered to their respective sources for the reconstruction of the individual source signals. Many clustering methods have been proposed to map the separated signals into sources with considerable success. Recently, to avoid the need of clustering, Shifted NMF (SNMF) was proposed, which assumes that the timbre of a note is constant for all the pitches produced by an instrument. SNMF has two drawbacks. Firstly, the assumption that the timbre of the notes played by an instrument remains constant, is not true in general. Secondly, the SNMF method uses the Constant Q transform (CQT) and the lack of a true inverse of the CQT results in compromising on separation quality of the reconstructed signal. The principal aim of this thesis is to attempt to solve the problem of clustering NMF basis functions. Our first major contribution is the use of SNMF as a method of clustering the basis functions obtained via standard NMF. The proposed SNMF clustering method aims to cluster the frequency basis functions obtained via standard NMF to their respective sources by making use of shift invariance in a log-frequency domain. Further, a minor contribution is made by improving the separation performance of the standard SNMF algorithm (here used directly to separate sources) obtained through the use of an improved inverse CQT. Here, the standard SNMF algorithm finds shift-invariance in a CQ spectrogram, that contain the frequency basis functions, obtained directly from the spectrogram of the audio mixture. Our next contribution is an improvement in the SNMF clustering algorithm through the incorporation of the CQT matrix inside the SNMF model in order to avoid the need of an inverse CQT to reconstruct the clustered NMF basis unctions. Another major contribution deals with the incorporation of a constraint called group sparsity (GS) into the SNMF clustering algorithm at two stages to improve clustering. The effect of the GS is evaluated on various SNMF clustering algorithms proposed in this thesis. Finally, we have introduced a new family of masks to reconstruct the original signal from the clustered basis functions and compared their performance to the generalized Wiener filter masks using three different factorisation-based separation algorithms. We show that better separation performance can be achieved by using the proposed family of masks

Resynthesis of Acoustic Scenes Combining Sound Source Separation and WaveField Synthesis Techniques

[ES] La Separacón de Fuentes ha sido un tema de intensa investigación en muchas aplicaciones de tratamiento de señaal, cubriendo desde el procesado de voz al análisis de im'agenes biomédicas. Aplicando estas técnicas a los sistemas de reproducci'on espacial de audio, se puede solucionar una limitaci ón importante en la resíntesis de escenas sonoras 3D: la necesidad de disponer de las se ñales individuales correspondientes a cada fuente. El sistema Wave-field Synthesis (WFS) puede sintetizar un campo acústico mediante arrays de altavoces, posicionando varias fuentes en el espacio. Sin embargo, conseguir las señales de cada fuente de forma independiente es normalmente un problema. En este trabajo se propone la utilización de distintas técnicas de separaci'on de fuentes sonoras para obtener distintas pistas a partir de grabaciones mono o estéreo. Varios métodos de separación han sido implementados y comprobados, siendo uno de ellos desarrollado por el autor. Aunque los algoritmos existentes están lejos de conseguir una alta calidad, se han realizado tests subjetivos que demuestran cómo no es necesario obtener una separación óptima para conseguir resultados aceptables en la reproducción de escenas 3D[EN] Source Separation has been a subject of intense research in many signal processing applications, ranging from speech processing to medical image analysis. Applied to spatial audio systems, it can be used to overcome one fundamental limitation in 3D scene resynthesis: the need of having the independent signals for each source available. Wave-field Synthesis is a spatial sound reproduction system that can synthesize an acoustic field by means of loudspeaker arrays and it is also capable of positioning several sources in space. However, the individual signals corresponding to these sources must be available and this is often a difficult problem. In this work, we propose to use Sound Source Separation techniques in order to obtain different tracks from stereo and mono mixtures. Some separation methods have been implemented and tested, having been one of them developed by the author. Although existing algorithms are far from getting hi-fi quality, subjective tests show how it is not necessary an optimum separation for getting acceptable results in 3D scene reproductionCobos Serrano, M. (2007). Resynthesis of Acoustic Scenes Combining Sound Source Separation and WaveField Synthesis Techniques. http://hdl.handle.net/10251/12515Archivo delegad

일반화된 디리클레 사전확률을 이용한 비지도적 음원 분리 방법

학위논문 (박사)-- 서울대학교 대학원 : 융합과학기술대학원 융합과학부, 2018. 2. 이교구.Music source separation aims to extract and reconstruct individual instrument sounds that constitute a mixture sound. It has received a great deal of attention recently due to its importance in the audio signal processing. In addition to its stand-alone applications such as noise reduction and instrument-wise equalization, the source separation can directly affect the performance of the various music information retrieval algorithms when used as a pre-processing. However, conventional source separation algorithms have failed to show satisfactory performance especially without the aid of spatial or musical information about the target source. To deal with this problem, we have focused on the spectral and temporal characteristics of sounds that can be observed in the spectrogram. Spectrogram decomposition is a commonly used technique to exploit such characteristicshowever, only a few simple characteristics such as sparsity were utilizable so far because most of the characteristics were difficult to be expressed in the form of algorithms. The main goal of this thesis is to investigate the possibility of using generalized Dirichlet prior to constrain spectral/temporal bases of the spectrogram decomposition algorithms. As the generalized Dirichlet prior is not only simple but also flexible in its usage, it enables us to utilize more characteristics in the spectrogram decomposition frameworks. From harmonic-percussive sound separation to harmonic instrument sound separation, we apply the generalized Dirichlet prior to various tasks and verify its flexible usage as well as fine performance.Chapter 1 Introduction 1 1.1 Motivation 1 1.2 Task of interest 4 1.2.1 Number of channels 4 1.2.2 Utilization of side-information 5 1.3 Approach 6 1.3.1 Spectrogram decomposition with constraints 7 1.3.2 Dirichlet prior 11 1.3.3 Contribution 12 1.4 Outline of the thesis 13 Chapter 2 Theoretical background 17 2.1 Probabilistic latent component analysis 18 2.2 Non-negative matrix factorization 21 2.3 Dirichlet prior 23 2.3.1 PLCA framework 24 2.3.2 NMF framework 26 2.4 Summary 28 Chapter 3 Harmonic-Percussive Source Separation Using Harmonicity and Sparsity Constraints . . 30 3.1 Introduction 30 3.2 Proposed method 33 3.2.1 Formulation of Harmonic-Percussive Separation 33 3.2.2 Relation to Dirichlet Prior 35 3.3 Performance evaluation 37 3.3.1 Sample Problem 37 3.3.2 Qualitative Analysis 38 3.3.3 Quantitative Analysis 42 3.4 Summary 43 Chapter 4 Exploiting Continuity/Discontinuity of Basis Vectors in Spectrogram Decomposition for Harmonic-Percussive Sound Separation 46 4.1 Introduction 46 4.2 Proposed Method 51 4.2.1 Characteristics of harmonic and percussive components 51 4.2.2 Derivation of the proposed method 56 4.2.3 Algorithm interpretation 61 4.3 Performance Evaluation 62 4.3.1 Parameter setting 63 4.3.2 Toy examples 66 4.3.3 SiSEC 2015 dataset 69 4.3.4 QUASI dataset 84 4.3.5 Subjective performance evaluation 85 4.3.6 Audio demo 87 4.4 Summary 87 Chapter 5 Informed Approach to Harmonic Instrument sound Separation 89 5.1 Introduction 89 5.2 Proposed method 91 5.2.1 Excitation-filter model 92 5.2.2 Linear predictive coding 94 5.2.3 Spectrogram decomposition procedure 96 5.3 Performance evaluation 99 5.3.1 Experimental settings 99 5.3.2 Performance comparison 101 5.3.3 Envelope extraction 102 5.4 Summary 104 Chapter 6 Blind Approach to Harmonic Instrument sound Separation 105 6.1 Introduction 105 6.2 Proposed method 106 6.3 Performance evaluation 109 6.3.1 Weight optimization 109 6.3.2 Performance comparison 109 6.3.3 Effect of envelope similarity 112 6.4 Summary 114 Chapter 7 Conclusion and Future Work 115 7.1 Contributions 115 7.2 Future work 119 7.2.1 Application to multi-channel audio environment 119 7.2.2 Application to vocal separation 119 7.2.3 Application to various audio source separation tasks 120 Bibliography 121 초 록 137Docto

Classification and Separation Techniques based on Fundamental Frequency for Speech Enhancement

[ES] En esta tesis se desarrollan nuevos algoritmos de clasificación y mejora de voz basados en las propiedades de la frecuencia fundamental (F0) de la señal vocal. Estas propiedades permiten su discriminación respecto al resto de señales de la escena acústica, ya sea mediante la definición de características (para clasificación) o la definición de modelos de señal (para separación). Tres contribuciones se aportan en esta tesis: 1) un algoritmo de clasificación de entorno acústico basado en F0 para audífonos digitales, capaz de clasificar la señal en las clases voz y no-voz; 2) un algoritmo de detección de voz sonora basado en la aperiodicidad, capaz de funcionar en ruido no estacionario y con aplicación a mejora de voz; 3) un algoritmo de separación de voz y ruido basado en descomposición NMF, donde el ruido se modela de una forma genérica mediante restricciones matemáticas.[EN]This thesis is focused on the development of new classification and speech enhancement algorithms based, explicitly or implicitly, on the fundamental frequency (F0). The F0 of speech has a number of properties that enable speech discrimination from the remaining signals in the acoustic scene, either by defining F0-based signal features (for classification) or F0-based signal models (for separation). Three main contributions are included in this work: 1) an acoustic environment classification algorithm for hearing aids based on F0 to classify the input signal into speech and nonspeech classes; 2) a frame-by-frame basis voiced speech detection algorithm based on the aperiodicity measure, able to work under non-stationary noise and applicable to speech enhancement; 3) a speech denoising algorithm based on a regularized NMF decomposition, in which the background noise is described in a generic way with mathematical constraints.Tesis Univ. Jaén. Departamento de Ingeniería de Telecomunición. Leída el 11 de enero de 201

Applying source separation to music

International audienceSeparation of existing audio into remixable elements is very useful to repurpose music audio. Applications include upmixing video soundtracks to surround sound (e.g. home theater 5.1 systems), facilitating music transcriptions, allowing better mashups and remixes for disk jockeys, and rebalancing sound levels on multiple instruments or voices recorded simultaneously to a single track. In this chapter, we provide an overview of the algorithms and approaches designed to address the challenges and opportunities in music. Where applicable, we also introduce commonalities and links to source separation for video soundtracks, since many musical scenarios involve video soundtracks (e.g. YouTube recordings of live concerts, movie sound tracks). While space prohibits describing every method in detail, we include detail on representative music‐specific algorithms and approaches not covered in other chapters. The intent is to give the reader a high‐level understanding of the workings of key exemplars of the source separation approaches applied in this domain

Automatic transcription of polyphonic music exploiting temporal evolution

PhDAutomatic music transcription is the process of converting an audio recording into a symbolic representation using musical notation. It has numerous applications in music information retrieval, computational musicology, and the creation of interactive systems. Even for expert musicians, transcribing polyphonic pieces of music is not a trivial task, and while the problem of automatic pitch estimation for monophonic signals is considered to be solved, the creation of an automated system able to transcribe polyphonic music without setting restrictions on the degree of polyphony and the instrument type still remains open. In this thesis, research on automatic transcription is performed by explicitly incorporating information on the temporal evolution of sounds. First efforts address the problem by focusing on signal processing techniques and by proposing audio features utilising temporal characteristics. Techniques for note onset and offset detection are also utilised for improving transcription performance. Subsequent approaches propose transcription models based on shift-invariant probabilistic latent component analysis (SI-PLCA), modeling the temporal evolution of notes in a multiple-instrument case and supporting frequency modulations in produced notes. Datasets and annotations for transcription research have also been created during this work. Proposed systems have been privately as well as publicly evaluated within the Music Information Retrieval Evaluation eXchange (MIREX) framework. Proposed systems have been shown to outperform several state-of-the-art transcription approaches. Developed techniques have also been employed for other tasks related to music technology, such as for key modulation detection, temperament estimation, and automatic piano tutoring. Finally, proposed music transcription models have also been utilized in a wider context, namely for modeling acoustic scenes

Real-time detection of overlapping sound events with non-negative matrix factorization

International audienceIn this paper, we investigate the problem of real-time detection of overlapping sound events by employing non-negative matrix factorization techniques. We consider a setup where audio streams arrive in real-time to the system and are decomposed onto a dictionary of event templates learned off-line prior to the decomposition. An important drawback of existing approaches in this context is the lack of controls on the decomposition. We propose and compare two provably convergent algorithms that address this issue, by controlling respectively the sparsity of the decomposition and the trade-off of the decomposition between the different frequency components. Sparsity regularization is considered in the framework of convex quadratic programming, while frequency compromise is introduced by employing the beta-divergence as a cost function. The two algorithms are evaluated on the multi-source detection tasks of polyphonic music transcription, drum transcription and environmental sound recognition. The obtained results show how the proposed approaches can improve detection in such applications, while maintaining low computational costs that are suitable for real-time

Automatic music transcription: challenges and future directions

Automatic music transcription is considered by many to be a key enabling technology in music signal processing. However, the performance of transcription systems is still significantly below that of a human expert, and accuracies reported in recent years seem to have reached a limit, although the field is still very active. In this paper we analyse limitations of current methods and identify promising directions for future research. Current transcription methods use general purpose models which are unable to capture the rich diversity found in music signals. One way to overcome the limited performance of transcription systems is to tailor algorithms to specific use-cases. Semi-automatic approaches are another way of achieving a more reliable transcription. Also, the wealth of musical scores and corresponding audio data now available are a rich potential source of training data, via forced alignment of audio to scores, but large scale utilisation of such data has yet to be attempted. Other promising approaches include the integration of information from multiple algorithms and different musical aspects