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Register a new userProximal binaural sound can induce subjective frisson
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Added by
Masashi Nakatani
Publication date
2019
fields
Informatics Engineering
and research's language is
English
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Auditory frisson is the experience of feeling of cold or shivering related to sound in the absence of a physical cold stimulus. Multiple examples of frisson-inducing sounds have been reported, but the mechanism of auditory frisson remains elusive. Typical frisson-inducing sounds may contain a looming effect, in which a sound appears to approach the listeners peripersonal space. Previous studies on sound in peripersonal space have provided objective measurements of sound-inducing effects, but few have investigated the subjective experience of frisson-inducing sounds. Here we explored whether it is possible to produce subjective feelings of frisson by moving a noise sound (white noise, rolling beads noise, or frictional noise produced by rubbing a plastic bag) stimulus around a listeners head. Our results demonstrated that sound-induced frisson can be experienced stronger when auditory stimuli are rotated around the head (binaural moving sounds) than the one without the rotation (monaural static sounds), regardless of the source of the noise sound. Pearsons correlation analysis showed that several acoustic features of auditory stimuli, such as variance of interaural level difference (ILD), loudness, and sharpness, were correlated with the magnitude of subjective frisson. We had also observed that the subjective feelings of frisson by moving a musical sound had increased comparing with a static musical sound.
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Humans can robustly recognize and localize objects by using visual and/or auditory cues. While machines are able to do the same with visual data already, less work has been done with sounds. This work develops an approach for scene understanding purely based on binaural sounds. The considered tasks include predicting the semantic masks of sound-making objects, the motion of sound-making objects, and the depth map of the scene. To this aim, we propose a novel sensor setup and record a new audio-visual dataset of street scenes with eight professional binaural microphones and a 360-degree camera. The co-existence of visual and audio cues is leveraged for supervision transfer. In particular, we employ a cross-modal distillation framework that consists of multiple vision teacher methods and a sound student method -- the student method is trained to generate the same results as the teacher methods do. This way, the auditory system can be trained without using human annotations. To further boost the performance, we propose another novel auxiliary task, coined Spatial Sound Super-Resolution, to increase the directional resolution of sounds. We then formulate the four tasks into one end-to-end trainable multi-tasking network aiming to boost the overall performance. Experimental results show that 1) our method achieves good results for all four tasks, 2) the four tasks are mutually beneficial -- training them together achieves the best performance, 3) the number and orientation of microphones are both important, and 4) features learned from the standard spectrogram and features obtained by the classic signal processing pipeline are complementary for auditory perception tasks. The data and code are released.
Most existing methods in binaural sound source localization rely on some kind of aggregation of phase-and level-difference cues in the time-frequency plane. While different ag-gregation schemes exist, they are often heuristic and suffer in adverse noise conditions. In this paper, we introduce the rectified binaural ratio as a new feature for sound source local-ization. We show that for Gaussian-process point source signals corrupted by stationary Gaussian noise, this ratio follows a complex t-distribution with explicit parameters. This new formulation provides a principled and statistically sound way to aggregate binaural features in the presence of noise. We subsequently derive two simple and efficient methods for robust relative transfer function and time-delay estimation. Experiments on heavily corrupted simulated and speech signals demonstrate the robustness of the proposed scheme.
Stereophonic audio, especially binaural audio, plays an essential role in immersive viewing environments. Recent research has explored generating visually guided stereophonic audios supervised by multi-channel audio collections. However, due to the requirement of professional recording devices, existing datasets are limited in scale and variety, which impedes the generalization of supervised methods in real-world scenarios. In this work, we propose PseudoBinaural, an effective pipeline that is free of binaural recordings. The key insight is to carefully build pseudo visual-stereo pairs with mono data for training. Specifically, we leverage spherical harmonic decomposition and head-related impulse response (HRIR) to identify the relationship between spatial locations and received binaural audios. Then in the visual modality, corresponding visual cues of the mono data are manually placed at sound source positions to form the pairs. Compared to fully-supervised paradigms, our binaural-recording-free pipeline shows great stability in cross-dataset evaluation and achieves comparable performance under subjective preference. Moreover, combined with binaural recordings, our method is able to further boost the performance of binaural audio generation under supervised settings.
Background noise is a major source of quality impairments in Voice over Internet Protocol (VoIP) and Public Switched Telephone Network (PSTN) calls. Recent work shows the efficacy of deep learning for noise suppression, but the datasets have been relatively small compared to those used in other domains (e.g., ImageNet) and the associated evaluations have been more focused. In order to better facilitate deep learning research in Speech Enhancement, we present a noisy speech dataset (MS-SNSD) that can scale to arbitrary sizes depending on the number of speakers, noise types, and Speech to Noise Ratio (SNR) levels desired. We show that increasing dataset sizes increases noise suppression performance as expected. In addition, we provide an open-source evaluation methodology to evaluate the results subjectively at scale using crowdsourcing, with a reference algorithm to normalize the results. To demonstrate the dataset and evaluation framework we apply it to several noise suppressors and compare the subjective Mean Opinion Score (MOS) with objective quality measures such as SNR, PESQ, POLQA, and VISQOL and show why MOS is still required. Our subjective MOS evaluation is the first large scale evaluation of Speech Enhancement algorithms that we are aware of.
The INTERSPEECH 2020 Deep Noise Suppression Challenge is intended to promote collaborative research in real-time single-channel Speech Enhancement aimed to maximize the subjective (perceptual) quality of the enhanced speech. A typical approach to evaluate the noise suppression methods is to use objective metrics on the test set obtained by splitting the original dataset. Many publications report reasonable performance on the synthetic test set drawn from the same distribution as that of the training set. However, often the model performance degrades significantly on real recordings. Also, most of the conventional objective metrics do not correlate well with subjective tests and lab subjective tests are not scalable for a large test set. In this challenge, we open-source a large clean speech and noise corpus for training the noise suppression models and a representative test set to real-world scenarios consisting of both synthetic and real recordings. We also open source an online subjective test framework based on ITU-T P.808 for researchers to quickly test their developments. The winners of this challenge will be selected based on subjective evaluation on a representative test set using P.808 framework.
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