A computational framework for sound segregation in music signals

Tese de doutoramento. Engenharia Electrotécnica e de Computadores. Faculdade de Engenharia. Universidade do Porto. 200

Real time speaker recognition using MFCC and VQ

Speaker Recognition is a process of automatically recognizing who is speaking on the basis of the individual information included in speech waves. Speaker Recognition is one of the most useful biometric recognition techniques in this world where insecurity is a major threat. Many organizations like banks, institutions, industries etc are currently using this technology for providing greater security to their vast databases.Speaker Recognition mainly involves two modules namely feature extraction and feature matching. Feature extraction is the process that extracts a small amount of data from the speaker’s voice signal that can later be used to represent that speaker. Feature matching involves the actual procedure to identify the unknown speaker by comparing the extracted features from his/her voice input with the ones that are already stored in our speech database.In feature extraction we find the Mel Frequency Cepstrum Coefficients, which are based on the known variation of the human ear’s critical bandwidths with frequency and these, are vector quantized using LBG algorithm resulting in the speaker specific codebook. In feature matching we find the VQ distortion between the input utterance of an unknown speaker and the codebooks stored in our database. Based on this VQ distortion we decide whether to accept/reject the unknown speaker’s identity. The system I implemented in my work is 80% accurate in recognizing the correct speaker.In second phase we implement on the acoustic of Real Time speaker ecognition using mfcc and vq on a TMS320C6713 DSP board. We analyze the workload and identify the most timeconsuming operations

Statistical parametric speech synthesis based on sinusoidal models

This study focuses on improving the quality of statistical speech synthesis based on sinusoidal models. Vocoders play a crucial role during the parametrisation and reconstruction process, so we first lead an experimental comparison of a broad range of the leading vocoder types. Although our study shows that for analysis / synthesis, sinusoidal models with complex amplitudes can generate high quality of speech compared with source-filter ones, component sinusoids are correlated with each other, and the number of parameters is also high and varies in each frame, which constrains its application for statistical speech synthesis. Therefore, we first propose a perceptually based dynamic sinusoidal model (PDM) to decrease and fix the number of components typically used in the standard sinusoidal model. Then, in order to apply the proposed vocoder with an HMM-based speech synthesis system (HTS), two strategies for modelling sinusoidal parameters have been compared. In the first method (DIR parameterisation), features extracted from the fixed- and low-dimensional PDM are statistically modelled directly. In the second method (INT parameterisation), we convert both static amplitude and dynamic slope from all the harmonics of a signal, which we term the Harmonic Dynamic Model (HDM), to intermediate parameters (regularised cepstral coefficients (RDC)) for modelling. Our results show that HDM with intermediate parameters can generate comparable quality to STRAIGHT. As correlations between features in the dynamic model cannot be modelled satisfactorily by a typical HMM-based system with diagonal covariance, we have applied and tested a deep neural network (DNN) for modelling features from these two methods. To fully exploit DNN capabilities, we investigate ways to combine INT and DIR at the level of both DNN modelling and waveform generation. For DNN training, we propose to use multi-task learning to model cepstra (from INT) and log amplitudes (from DIR) as primary and secondary tasks. We conclude from our results that sinusoidal models are indeed highly suited for statistical parametric synthesis. The proposed method outperforms the state-of-the-art STRAIGHT-based equivalent when used in conjunction with DNNs. To further improve the voice quality, phase features generated from the proposed vocoder also need to be parameterised and integrated into statistical modelling. Here, an alternative statistical model referred to as the complex-valued neural network (CVNN), which treats complex coefficients as a whole, is proposed to model complex amplitude explicitly. A complex-valued back-propagation algorithm using a logarithmic minimisation criterion which includes both amplitude and phase errors is used as a learning rule. Three parameterisation methods are studied for mapping text to acoustic features: RDC / real-valued log amplitude, complex-valued amplitude with minimum phase and complex-valued amplitude with mixed phase. Our results show the potential of using CVNNs for modelling both real and complex-valued acoustic features. Overall, this thesis has established competitive alternative vocoders for speech parametrisation and reconstruction. The utilisation of proposed vocoders on various acoustic models (HMM / DNN / CVNN) clearly demonstrates that it is compelling to apply them for the parametric statistical speech synthesis

Pitch-Informed Solo and Accompaniment Separation

Das Thema dieser Dissertation ist die Entwicklung eines Systems zur Tonhöhen-informierten Quellentrennung von Musiksignalen in Soloinstrument und Begleitung. Dieses ist geeignet, die dominanten Instrumente aus einem Musikstück zu isolieren, unabhängig von der Art des Instruments, der Begleitung und Stilrichtung. Dabei werden nur einstimmige Melodieinstrumente in Betracht gezogen. Die Musikaufnahmen liegen monaural vor, es kann also keine zusätzliche Information aus der Verteilung der Instrumente im Stereo-Panorama gewonnen werden. Die entwickelte Methode nutzt Tonhöhen-Information als Basis für eine sinusoidale Modellierung der spektralen Eigenschaften des Soloinstruments aus dem Musikmischsignal. Anstatt die spektralen Informationen pro Frame zu bestimmen, werden in der vorgeschlagenen Methode Tonobjekte für die Separation genutzt. Tonobjekt-basierte Verarbeitung ermöglicht es, zusätzlich die Notenanfänge zu verfeinern, transiente Artefakte zu reduzieren, gemeinsame Amplitudenmodulation (Common Amplitude Modulation CAM) einzubeziehen und besser nichtharmonische Elemente der Töne abzuschätzen. Der vorgestellte Algorithmus zur Quellentrennung von Soloinstrument und Begleitung ermöglicht eine Echtzeitverarbeitung und ist somit relevant für den praktischen Einsatz. Ein Experiment zur besseren Modellierung der Zusammenhänge zwischen Magnitude, Phase und Feinfrequenz von isolierten Instrumententönen wurde durchgeführt. Als Ergebnis konnte die Kontinuität der zeitlichen Einhüllenden, die Inharmonizität bestimmter Musikinstrumente und die Auswertung des Phasenfortschritts für die vorgestellte Methode ausgenutzt werden. Zusätzlich wurde ein Algorithmus für die Quellentrennung in perkussive und harmonische Signalanteile auf Basis des Phasenfortschritts entwickelt. Dieser erreicht ein verbesserte perzeptuelle Qualität der harmonischen und perkussiven Signale gegenüber vergleichbaren Methoden nach dem Stand der Technik. Die vorgestellte Methode zur Klangquellentrennung in Soloinstrument und Begleitung wurde zu den Evaluationskampagnen SiSEC 2011 und SiSEC 2013 eingereicht. Dort konnten vergleichbare Ergebnisse im Hinblick auf perzeptuelle Bewertungsmaße erzielt werden. Die Qualität eines Referenzalgorithmus im Hinblick auf den in dieser Dissertation beschriebenen Instrumentaldatensatz übertroffen werden. Als ein Anwendungsszenario für die Klangquellentrennung in Solo und Begleitung wurde ein Hörtest durchgeführt, der die Qualitätsanforderungen an Quellentrennung im Kontext von Musiklernsoftware bewerten sollte. Die Ergebnisse dieses Hörtests zeigen, dass die Solo- und Begleitspur gemäß unterschiedlicher Qualitätskriterien getrennt werden sollten. Die Musiklernsoftware Songs2See integriert die vorgestellte Klangquellentrennung bereits in einer kommerziell erhältlichen Anwendung.This thesis addresses the development of a system for pitch-informed solo and accompaniment separation capable of separating main instruments from music accompaniment regardless of the musical genre of the track, or type of music accompaniment. For the solo instrument, only pitched monophonic instruments were considered in a single-channel scenario where no panning or spatial location information is available. In the proposed method, pitch information is used as an initial stage of a sinusoidal modeling approach that attempts to estimate the spectral information of the solo instrument from a given audio mixture. Instead of estimating the solo instrument on a frame by frame basis, the proposed method gathers information of tone objects to perform separation. Tone-based processing allowed the inclusion of novel processing stages for attack refinement, transient interference reduction, common amplitude modulation (CAM) of tone objects, and for better estimation of non-harmonic elements that can occur in musical instrument tones. The proposed solo and accompaniment algorithm is an efficient method suitable for real-world applications. A study was conducted to better model magnitude, frequency, and phase of isolated musical instrument tones. As a result of this study, temporal envelope smoothness, inharmonicty of musical instruments, and phase expectation were exploited in the proposed separation method. Additionally, an algorithm for harmonic/percussive separation based on phase expectation was proposed. The algorithm shows improved perceptual quality with respect to state-of-the-art methods for harmonic/percussive separation. The proposed solo and accompaniment method obtained perceptual quality scores comparable to other state-of-the-art algorithms under the SiSEC 2011 and SiSEC 2013 campaigns, and outperformed the comparison algorithm on the instrumental dataset described in this thesis.As a use-case of solo and accompaniment separation, a listening test procedure was conducted to assess separation quality requirements in the context of music education. Results from the listening test showed that solo and accompaniment tracks should be optimized differently to suit quality requirements of music education. The Songs2See application was presented as commercial music learning software which includes the proposed solo and accompaniment separation method

A Perceptual Representation of Audio

The human auditory system performs many remarkable feats; we only fully appreciate how sophisticated these are when we try to simulate them on a computer. Through building such computer models, we gain insight into perceptual processing in general, and develop useful new ways to analyze signals. This thesis describes a transformation of sound into a representation with various properties specifically oriented towards simulations of source separation. Source separation denotes the ability of listeners to perceive sound originating from a particular origin as separate from simultaneous interfering sounds. An example would be following the notes of a single instrument while listening to an orchestra. Using a cochlea-inspired filterbank and strategies of peak-picking and track-formation, the representation organizes time-frequency energy into distinct elements; these are argued to correspond to indivisible components of the perception. The elements contain information such as fine time structure which is important to perceptual quality and source separability. A high quality resynthesis method is described which gives good results even for modified representations. The performance and results of the analysis and synthesis methods are discussed, and the intended applications of the new domain are described in detail. This description also explains how the principles of source separation, as established by previous research in psychoacoustics, will be applied as the next step towards a fully functional source separator

Sequential decision making in artificial musical intelligence

Over the past 60 years, artificial intelligence has grown from a largely academic field of research to a ubiquitous array of tools and approaches used in everyday technology. Despite its many recent successes and growing prevalence, certain meaningful facets of computational intelligence have not been as thoroughly explored. Such additional facets cover a wide array of complex mental tasks which humans carry out easily, yet are difficult for computers to mimic. A prime example of a domain in which human intelligence thrives, but machine understanding is still fairly limited, is music. Over the last decade, many researchers have applied computational tools to carry out tasks such as genre identification, music summarization, music database querying, and melodic segmentation. While these are all useful algorithmic solutions, we are still a long way from constructing complete music agents, able to mimic (at least partially) the complexity with which humans approach music. One key aspect which hasn't been sufficiently studied is that of sequential decision making in musical intelligence. This thesis strives to answer the following question: Can a sequential decision making perspective guide us in the creation of better music agents, and social agents in general? And if so, how? More specifically, this thesis focuses on two aspects of musical intelligence: music recommendation and human-agent (and more generally agent-agent) interaction in the context of music. The key contributions of this thesis are the design of better music playlist recommendation algorithms; the design of algorithms for tracking user preferences over time; new approaches for modeling people's behavior in situations that involve music; and the design of agents capable of meaningful interaction with humans and other agents in a setting where music plays a roll (either directly or indirectly). Though motivated primarily by music-related tasks, and focusing largely on people's musical preferences, this thesis also establishes that insights from music-specific case studies can also be applicable in other concrete social domains, such as different types of content recommendation. Showing the generality of insights from musical data in other contexts serves as evidence for the utility of music domains as testbeds for the development of general artificial intelligence techniques. Ultimately, this thesis demonstrates the overall usefulness of taking a sequential decision making approach in settings previously unexplored from this perspectiveComputer Science

Proceedings of the 7th Sound and Music Computing Conference

Proceedings of the SMC2010 - 7th Sound and Music Computing Conference, July 21st - July 24th 2010

Reverberation: models, estimation and application

The use of reverberation models is required in many applications such as acoustic measurements, speech dereverberation and robust automatic speech recognition. The aim of this thesis is to investigate different models and propose a perceptually-relevant reverberation model with suitable parameter estimation techniques for different applications. Reverberation can be modelled in both the time and frequency domain. The model parameters give direct information of both physical and perceptual characteristics. These characteristics create a multidimensional parameter space of reverberation, which can be to a large extent captured by a time-frequency domain model. In this thesis, the relationship between physical and perceptual model parameters will be discussed. In the first application, an intrusive technique is proposed to measure the reverberation or reverberance, perception of reverberation and the colouration. The room decay rate parameter is of particular interest. In practical applications, a blind estimate of the decay rate of acoustic energy in a room is required. A statistical model for the distribution of the decay rate of the reverberant signal named the eagleMax distribution is proposed. The eagleMax distribution describes the reverberant speech decay rates as a random variable that is the maximum of the room decay rates and anechoic speech decay rates. Three methods were developed to estimate the mean room decay rate from the eagleMax distributions alone. The estimated room decay rates form a reverberation model that will be discussed in the context of room acoustic measurements, speech dereverberation and robust automatic speech recognition individually