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Register a new userSimilarity measures for vocal-based drum sample retrieval using deep convolutional auto-encoders
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Added by
Keunwoo Choi Mr
Publication date
2018
fields
Informatics Engineering
and research's language is
English
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The expressive nature of the voice provides a powerful medium for communicating sonic ideas, motivating recent research on methods for query by vocalisation. Meanwhile, deep learning methods have demonstrated state-of-the-art results for matching vocal imitations to imitated sounds, yet little is known about how well learned features represent the perceptual similarity between vocalisations and queried sounds. In this paper, we address this question using similarity ratings between vocal imitations and imitated drum sounds. We use a linear mixed effect regression model to show how features learned by convolutional auto-encoders (CAEs) perform as predictors for perceptual similarity between sounds. Our experiments show that CAEs outperform three baseline feature sets (spectrogram-based representations, MFCCs, and temporal features) at predicting the subjective similarity ratings. We also investigate how the size and shape of the encoded layer effects the predictive power of the learned features. The results show that preservation of temporal information is more important than spectral resolution for this application.
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Variational auto-encoders (VAEs) are deep generative latent variable models that can be used for learning the distribution of complex data. VAEs have been successfully used to learn a probabilistic prior over speech signals, which is then used to perform speech enhancement. One advantage of this generative approach is that it does not require pairs of clean and noisy speech signals at training. In this paper, we propose audio-visual variants of VAEs for single-channel and speaker-independent speech enhancement. We develop a conditional VAE (CVAE) where the audio speech generative process is conditioned on visual information of the lip region. At test time, the audio-visual speech generative model is combined with a noise model based on nonnegative matrix factorization, and speech enhancement relies on a Monte Carlo expectation-maximization algorithm. Experiments are conducted with the recently published NTCD-TIMIT dataset as well as the GRID corpus. The results confirm that the proposed audio-visual CVAE effectively fuses audio and visual information, and it improves the speech enhancement performance compared with the audio-only VAE model, especially when the speech signal is highly corrupted by noise. We also show that the proposed unsupervised audio-visual speech enhancement approach outperforms a state-of-the-art supervised deep learning method.
Recently, the end-to-end approach that learns hierarchical representations from raw data using deep convolutional neural networks has been successfully explored in the image, text and speech domains. This approach was applied to musical signals as well but has been not fully explored yet. To this end, we propose sample-level deep convolutional neural networks which learn representations from very small grains of waveforms (e.g. 2 or 3 samples) beyond typical frame-level input representations. Our experiments show how deep architectures with sample-level filters improve the accuracy in music auto-tagging and they provide results comparable to previous state-of-the-art performances for the Magnatagatune dataset and Million Song Dataset. In addition, we visualize filters learned in a sample-level DCNN in each layer to identify hierarchically learned features and show that they are sensitive to log-scaled frequency along layer, such as mel-frequency spectrogram that is widely used in music classification systems.
This paper addresses the issue of building a part-based representation of a dataset of images. More precisely, we look for a non-negative, sparse decomposition of the images on a reduced set of atoms, in order to unveil a morphological and interpretable structure of the data. Additionally, we want this decomposition to be computed online for any new sample that is not part of the initial dataset. Therefore, our solution relies on a sparse, non-negative auto-encoder where the encoder is deep (for accuracy) and the decoder shallow (for interpretability). This method compares favorably to the state-of-the-art online methods on two datasets (MNIST and Fashion MNIST), according to classical metrics and to a new one we introduce, based on the invariance of the representation to morphological dilation.
The frequent exchange of multimedia information in the present era projects an increasing demand for copyright protection. In this work, we propose a novel audio zero-watermarking technology based on graph Fourier transform for enhancing the robustness with respect to copyright protection. In this approach, the combined shift operator is used to construct the graph signal, upon which the graph Fourier analysis is performed. The selected maximum absolute graph Fourier coefficients representing the characteristics of the audio segment are then encoded into a feature binary sequence using K-means algorithm. Finally, the resultant feature binary sequence is XOR-ed with the watermark binary sequence to realize the embedding of the zero-watermarking. The experimental studies show that the proposed approach performs more effectively in resisting common or synchronization attacks than the existing state-of-the-art methods.
We introduce DrummerNet, a drum transcription system that is trained in an unsupervised manner. DrummerNet does not require any ground-truth transcription and, with the data-scalability of deep neural networks, learns from a large unlabeled dataset. In DrummerNet, the target drum signal is first passed to a (trainable) transcriber, then reconstructed in a (fixed) synthesizer according to the transcription estimate. By training the system to minimize the distance between the input and the output audio signals, the transcriber learns to transcribe without ground truth transcription. Our experiment shows that DrummerNet performs favorably compared to many other recent drum transcription systems, both supervised and unsupervised.
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