Wavenet based low rate speech coding

Traditional parametric coding of speech facilitates low rate but provides poor reconstruction quality because of the inadequacy of the model used. We describe how a WaveNet generative speech model can be used to generate high quality speech from the bit stream of a standard parametric coder operating at 2.4 kb/s. We compare this parametric coder with a waveform coder based on the same generative model and show that approximating the signal waveform incurs a large rate penalty. Our experiments confirm the high performance of the WaveNet based coder and show that the speech produced by the system is able to additionally perform implicit bandwidth extension and does not significantly impair recognition of the original speaker for the human listener, even when that speaker has not been used during the training of the generative model.Comment: 5 pages, 2 figure

Scalable and perceptual audio compression

This thesis deals with scalable perceptual audio compression. Two scalable perceptual solutions as well as a scalable to lossless solution are proposed and investigated. One of the scalable perceptual solutions is built around sinusoidal modelling of the audio signal whilst the other is built on a transform coding paradigm. The scalable coders are shown to scale both in a waveform matching manner as well as a psychoacoustic manner. In order to measure the psychoacoustic scalability of the systems investigated in this thesis, the similarity between the original signal\u27s psychoacoustic parameters and that of the synthesized signal are compared. The psychoacoustic parameters used are loudness, sharpness, tonahty and roughness. This analysis technique is a novel method used in this thesis and it allows an insight into the perceptual distortion that has been introduced by any coder analyzed in this manner

Anthropomorphic Coding of Speech and Audio: A Model Inversion Approach

Auditory modeling is a well-established methodology that provides insight into human perception and that facilitates the extraction of signal features that are most relevant to the listener. The aim of this paper is to provide a tutorial on perceptual speech and audio coding using an invertible auditory model. In this approach, the audio signal is converted into an auditory representation using an invertible auditory model. The auditory representation is quantized and coded. Upon decoding, it is then transformed back into the acoustic domain. This transformation converts a complex distortion criterion into a simple one, thus facilitating quantization with low complexity. We briefly review past work on auditory models and describe in more detail the components of our invertible model and its inversion procedure, that is, the method to reconstruct the signal from the output of the auditory model. We summarize attempts to use the auditory representation for low-bit-rate coding. Our approach also allows the exploitation of the inherent redundancy of the human auditory system for the purpose of multiple description (joint source-channel) coding

Perceptual models in speech quality assessment and coding

The ever-increasing demand for good communications/toll quality speech has created a renewed interest into the perceptual impact of rate compression. Two general areas are investigated in this work, namely speech quality assessment and speech coding. In the field of speech quality assessment, a model is developed which simulates the processing stages of the peripheral auditory system. At the output of the model a "running" auditory spectrum is obtained. This represents the auditory (spectral) equivalent of any acoustic sound such as speech. Auditory spectra from coded speech segments serve as inputs to a second model. This model simulates the information centre in the brain which performs the speech quality assessment. [Continues.

Computer Models for Musical Instrument Identification

PhDA particular aspect in the perception of sound is concerned with what is commonly termed as texture or timbre. From a perceptual perspective, timbre is what allows us to distinguish sounds that have similar pitch and loudness. Indeed most people are able to discern a piano tone from a violin tone or able to distinguish different voices or singers. This thesis deals with timbre modelling. Specifically, the formant theory of timbre is the main theme throughout. This theory states that acoustic musical instrument sounds can be characterised by their formant structures. Following this principle, the central point of our approach is to propose a computer implementation for building musical instrument identification and classification systems. Although the main thrust of this thesis is to propose a coherent and unified approach to the musical instrument identification problem, it is oriented towards the development of algorithms that can be used in Music Information Retrieval (MIR) frameworks. Drawing on research in speech processing, a complete supervised system taking into account both physical and perceptual aspects of timbre is described. The approach is composed of three distinct processing layers. Parametric models that allow us to represent signals through mid-level physical and perceptual representations are considered. Next, the use of the Line Spectrum Frequencies as spectral envelope and formant descriptors is emphasised. Finally, the use of generative and discriminative techniques for building instrument and database models is investigated. Our system is evaluated under realistic recording conditions using databases of isolated notes and melodic phrases

Singing voice analysis/synthesis

Thesis (Ph. D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2003.Includes bibliographical references (p. 109-115).The singing voice is the oldest and most variable of musical instruments. By combining music, lyrics, and expression, the voice is able to affect us in ways that no other instrument can. As listeners, we are innately drawn to the sound of the human voice, and when present it is almost always the focal point of a musical piece. But the acoustic flexibility of the voice in intimating words, shaping phrases, and conveying emotion also makes it the most difficult instrument to model computationally. Moreover, while all voices are capable of producing the common sounds necessary for language understanding and communication, each voice possesses distinctive features independent of phonemes and words. These unique acoustic qualities are the result of a combination of innate physical factors and expressive characteristics of performance, reflecting an individual's vocal identity. A great deal of prior research has focused on speech recognition and speaker identification, but relatively little work has been performed specifically on singing. There are significant differences between speech and singing in terms of both production and perception. Traditional computational models of speech have focused on the intelligibility of language, often sacrificing sound quality for model simplicity. Such models, however, are detrimental to the goal of singing, which relies on acoustic authenticity for the non-linguistic communication of expression and emotion. These differences between speech and singing dictate that a different and specialized representation is needed to capture the sound quality and musicality most valued in singing.(cont.) This dissertation proposes an analysis/synthesis framework specifically for the singing voice that models the time-varying physical and expressive characteristics unique to an individual voice. The system operates by jointly estimating source-filter voice model parameters, representing vocal physiology, and modeling the dynamic behavior of these features over time to represent aspects of expression. This framework is demonstrated to be useful for several applications, such as singing voice coding, automatic singer identification, and voice transformation.by Youngmoo Edmund Kim.Ph.D