Automatic Transcription of Bass Guitar Tracks applied for Music Genre Classification and Sound Synthesis

Musiksignale bestehen in der Regel aus einer Überlagerung mehrerer Einzelinstrumente. Die meisten existierenden Algorithmen zur automatischen Transkription und Analyse von Musikaufnahmen im Forschungsfeld des Music Information Retrieval (MIR) versuchen, semantische Information direkt aus diesen gemischten Signalen zu extrahieren. In den letzten Jahren wurde häufig beobachtet, dass die Leistungsfähigkeit dieser Algorithmen durch die Signalüberlagerungen und den daraus resultierenden Informationsverlust generell limitiert ist. Ein möglicher Lösungsansatz besteht darin, mittels Verfahren der Quellentrennung die beteiligten Instrumente vor der Analyse klanglich zu isolieren. Die Leistungsfähigkeit dieser Algorithmen ist zum aktuellen Stand der Technik jedoch nicht immer ausreichend, um eine sehr gute Trennung der Einzelquellen zu ermöglichen. In dieser Arbeit werden daher ausschließlich isolierte Instrumentalaufnahmen untersucht, die klanglich nicht von anderen Instrumenten überlagert sind. Exemplarisch werden anhand der elektrischen Bassgitarre auf die Klangerzeugung dieses Instrumentes hin spezialisierte Analyse- und Klangsynthesealgorithmen entwickelt und evaluiert.Im ersten Teil der vorliegenden Arbeit wird ein Algorithmus vorgestellt, der eine automatische Transkription von Bassgitarrenaufnahmen durchführt. Dabei wird das Audiosignal durch verschiedene Klangereignisse beschrieben, welche den gespielten Noten auf dem Instrument entsprechen. Neben den üblichen Notenparametern Anfang, Dauer, Lautstärke und Tonhöhe werden dabei auch instrumentenspezifische Parameter wie die verwendeten Spieltechniken sowie die Saiten- und Bundlage auf dem Instrument automatisch extrahiert. Evaluationsexperimente anhand zweier neu erstellter Audiodatensätze belegen, dass der vorgestellte Transkriptionsalgorithmus auf einem Datensatz von realistischen Bassgitarrenaufnahmen eine höhere Erkennungsgenauigkeit erreichen kann als drei existierende Algorithmen aus dem Stand der Technik. Die Schätzung der instrumentenspezifischen Parameter kann insbesondere für isolierte Einzelnoten mit einer hohen Güte durchgeführt werden.Im zweiten Teil der Arbeit wird untersucht, wie aus einer Notendarstellung typischer sich wieder- holender Basslinien auf das Musikgenre geschlossen werden kann. Dabei werden Audiomerkmale extrahiert, welche verschiedene tonale, rhythmische, und strukturelle Eigenschaften von Basslinien quantitativ beschreiben. Mit Hilfe eines neu erstellten Datensatzes von 520 typischen Basslinien aus 13 verschiedenen Musikgenres wurden drei verschiedene Ansätze für die automatische Genreklassifikation verglichen. Dabei zeigte sich, dass mit Hilfe eines regelbasierten Klassifikationsverfahrens nur Anhand der Analyse der Basslinie eines Musikstückes bereits eine mittlere Erkennungsrate von 64,8 % erreicht werden konnte.Die Re-synthese der originalen Bassspuren basierend auf den extrahierten Notenparametern wird im dritten Teil der Arbeit untersucht. Dabei wird ein neuer Audiosynthesealgorithmus vorgestellt, der basierend auf dem Prinzip des Physical Modeling verschiedene Aspekte der für die Bassgitarre charakteristische Klangerzeugung wie Saitenanregung, Dämpfung, Kollision zwischen Saite und Bund sowie dem Tonabnehmerverhalten nachbildet. Weiterhin wird ein parametrischerAudiokodierungsansatz diskutiert, der es erlaubt, Bassgitarrenspuren nur anhand der ermittel- ten notenweisen Parameter zu übertragen um sie auf Dekoderseite wieder zu resynthetisieren. Die Ergebnisse mehrerer Hötest belegen, dass der vorgeschlagene Synthesealgorithmus eine Re- Synthese von Bassgitarrenaufnahmen mit einer besseren Klangqualität ermöglicht als die Übertragung der Audiodaten mit existierenden Audiokodierungsverfahren, die auf sehr geringe Bitraten ein gestellt sind.Music recordings most often consist of multiple instrument signals, which overlap in time and frequency. In the field of Music Information Retrieval (MIR), existing algorithms for the automatic transcription and analysis of music recordings aim to extract semantic information from mixed audio signals. In the last years, it was frequently observed that the algorithm performance is limited due to the signal interference and the resulting loss of information. One common approach to solve this problem is to first apply source separation algorithms to isolate the present musical instrument signals before analyzing them individually. The performance of source separation algorithms strongly depends on the number of instruments as well as on the amount of spectral overlap.In this thesis, isolated instrumental tracks are analyzed in order to circumvent the challenges of source separation. Instead, the focus is on the development of instrument-centered signal processing algorithms for music transcription, musical analysis, as well as sound synthesis. The electric bass guitar is chosen as an example instrument. Its sound production principles are closely investigated and considered in the algorithmic design.In the first part of this thesis, an automatic music transcription algorithm for electric bass guitar recordings will be presented. The audio signal is interpreted as a sequence of sound events, which are described by various parameters. In addition to the conventionally used score-level parameters note onset, duration, loudness, and pitch, instrument-specific parameters such as the applied instrument playing techniques and the geometric position on the instrument fretboard will be extracted. Different evaluation experiments confirmed that the proposed transcription algorithm outperformed three state-of-the-art bass transcription algorithms for the transcription of realistic bass guitar recordings. The estimation of the instrument-level parameters works with high accuracy, in particular for isolated note samples.In the second part of the thesis, it will be investigated, whether the sole analysis of the bassline of a music piece allows to automatically classify its music genre. Different score-based audio features will be proposed that allow to quantify tonal, rhythmic, and structural properties of basslines. Based on a novel data set of 520 bassline transcriptions from 13 different music genres, three approaches for music genre classification were compared. A rule-based classification system could achieve a mean class accuracy of 64.8 % by only taking features into account that were extracted from the bassline of a music piece.The re-synthesis of a bass guitar recordings using the previously extracted note parameters will be studied in the third part of this thesis. Based on the physical modeling of string instruments, a novel sound synthesis algorithm tailored to the electric bass guitar will be presented. The algorithm mimics different aspects of the instrument’s sound production mechanism such as string excitement, string damping, string-fret collision, and the influence of the electro-magnetic pickup. Furthermore, a parametric audio coding approach will be discussed that allows to encode and transmit bass guitar tracks with a significantly smaller bit rate than conventional audio coding algorithms do. The results of different listening tests confirmed that a higher perceptual quality can be achieved if the original bass guitar recordings are encoded and re-synthesized using the proposed parametric audio codec instead of being encoded using conventional audio codecs at very low bit rate settings

Deep Learning for Environmentally Robust Speech Recognition: An Overview of Recent Developments

Eliminating the negative effect of non-stationary environmental noise is a long-standing research topic for automatic speech recognition that stills remains an important challenge. Data-driven supervised approaches, including ones based on deep neural networks, have recently emerged as potential alternatives to traditional unsupervised approaches and with sufficient training, can alleviate the shortcomings of the unsupervised methods in various real-life acoustic environments. In this light, we review recently developed, representative deep learning approaches for tackling non-stationary additive and convolutional degradation of speech with the aim of providing guidelines for those involved in the development of environmentally robust speech recognition systems. We separately discuss single- and multi-channel techniques developed for the front-end and back-end of speech recognition systems, as well as joint front-end and back-end training frameworks

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

Two Decades of Colorization and Decolorization for Images and Videos

Colorization is a computer-aided process, which aims to give color to a gray image or video. It can be used to enhance black-and-white images, including black-and-white photos, old-fashioned films, and scientific imaging results. On the contrary, decolorization is to convert a color image or video into a grayscale one. A grayscale image or video refers to an image or video with only brightness information without color information. It is the basis of some downstream image processing applications such as pattern recognition, image segmentation, and image enhancement. Different from image decolorization, video decolorization should not only consider the image contrast preservation in each video frame, but also respect the temporal and spatial consistency between video frames. Researchers were devoted to develop decolorization methods by balancing spatial-temporal consistency and algorithm efficiency. With the prevalance of the digital cameras and mobile phones, image and video colorization and decolorization have been paid more and more attention by researchers. This paper gives an overview of the progress of image and video colorization and decolorization methods in the last two decades.Comment: 12 pages, 19 figure

DEEP-RHYTHM FOR TEMPO ESTIMATION AND RHYTHM PATTERN RECOGNITION

International audienceIt has been shown that the harmonic series at the tempo frequency of the onset-strength-function of an audio signal accurately describes its rhythm pattern and can be used to perform tempo or rhythm pattern estimation. Recently, in the case of multi-pitch estimation, the depth of the input layer of a convolutional network has been used to represent the harmonic series of pitch candidates. We use a similar idea here to represent the harmonic series of tempo candidates. We propose the Harmonic-Constant-Q-Modulation which represents, using a 4D-tensors, the harmonic series of modulation frequencies (considered as tempo frequencies) in several acoustic frequency bands over time. This representation is used as input to a convolutional network which is trained to estimate tempo or rhythm pattern classes. Using a large number of datasets, we evaluate the performance of our approach and compare it with previous approaches. We show that it slightly increases Accuracy-1 for tempo estimation but not the average-mean-Recall for rhythm pattern recognition

A survey on perceived speaker traits: personality, likability, pathology, and the first challenge

The INTERSPEECH 2012 Speaker Trait Challenge aimed at a unified test-bed for perceived speaker traits – the first challenge of this kind: personality in the five OCEAN personality dimensions, likability of speakers, and intelligibility of pathologic speakers. In the present article, we give a brief overview of the state-of-the-art in these three fields of research and describe the three sub-challenges in terms of the challenge conditions, the baseline results provided by the organisers, and a new openSMILE feature set, which has been used for computing the baselines and which has been provided to the participants. Furthermore, we summarise the approaches and the results presented by the participants to show the various techniques that are currently applied to solve these classification tasks