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Register a new userTransferring neural speech waveform synthesizers to musical instrument sounds generation
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Recent neural waveform synthesizers such as WaveNet, WaveGlow, and the neural-source-filter (NSF) model have shown good performance in speech synthesis despite their different methods of waveform generation. The similarity between speech and music audio synthesis techniques suggests interesting avenues to explore in terms of the best way to apply speech synthesizers in the music domain. This work compares three neural synthesizers used for musical instrument sounds generation under three scenarios: training from scratch on music data, zero-shot learning from the speech domain, and fine-tuning-based adaptation from the speech to the music domain. The results of a large-scale perceptual test demonstrated that the performance of three synthesizers improved when they were pre-trained on speech data and fine-tuned on music data, which indicates the usefulness of knowledge from speech data for music audio generation. Among the synthesizers, WaveGlow showed the best potential in zero-shot learning while NSF performed best in the other scenarios and could generate samples that were perceptually close to natural audio.
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Timbre representations of musical instruments, essential for diverse applications such as musical audio synthesis and separation, might be learned as bottleneck features from an instrumental recognition model. Given the similarities between speaker recognition and musical instrument recognition, in this paper, we investigate how to adapt successful speaker recognition algorithms to musical instrument recognition to learn meaningful instrumental timbre representations. To address the mismatch between musical audio and models devised for speech, we introduce a group of trainable filters to generate proper acoustic features from input raw waveforms, making it easier for a model to be optimized in an input-agnostic and end-to-end manner. Through experiments on both the NSynth and RWC databases in both musical instrument closed-set identification and open-set verification scenarios, the modified speaker recognition model was capable of generating discriminative embeddings for instrument and instrument-family identities. We further conducted extensive experiments to characterize the encoded information in learned timbre embeddings.
The state-of-the-art in text-to-speech synthesis has recently improved considerably due to novel neural waveform generation methods, such as WaveNet. However, these methods suffer from their slow sequential inference process, while their parall
Recent advances in neural-network based generative modeling of speech has shown great potential for speech coding. However, the performance of such models drops when the input is not clean speech, e.g., in the presence of background noise, preventing its use in practical applications. In this paper we examine the reason and discuss methods to overcome this issue. Placing a denoising preprocessing stage when extracting features and target clean speech during training is shown to be the best performing strategy.
Neural network architectures are at the core of powerful automatic speech recognition systems (ASR). However, while recent researches focus on novel model architectures, the acoustic input features remain almost unchanged. Traditional ASR systems rely on multidimensional acoustic features such as the Mel filter bank energies alongside with the first, and second order derivatives to characterize time-frames that compose the signal sequence. Considering that these components describe three different views of the same element, neural networks have to learn both the internal relations that exist within these features, and external or global dependencies that exist between the time-frames. Quaternion-valued neural networks (QNN), recently received an important interest from researchers to process and learn such relations in multidimensional spaces. Indeed, quaternion numbers and QNNs have shown their efficiency to process multidimensional inputs as entities, to encode internal dependencies, and to solve many tasks with up to four times less learning parameters than real-valued models. We propose to investigate modern quaternion-valued models such as convolutional and recurrent quaternion neural networks in the context of speech recognition with the TIMIT dataset. The experiments show that QNNs always outperform real-valued equivalent models with way less free parameters, leading to a more efficient, compact, and expressive representation of the relevant information.
In this paper, we learn disentangled representations of timbre and pitch for musical instrument sounds. We adapt a framework based on variational autoencoders with Gaussian mixture latent distributions. Specifically, we use two separate encoders to learn distinct latent spaces for timbre and pitch, which form Gaussian mixture components representing instrument identity and pitch, respectively. For reconstruction, latent variables of timbre and pitch are sampled from corresponding mixture components, and are concatenated as the input to a decoder. We show the model efficacy by latent space visualization, and a quantitative analysis indicates the discriminability of these spaces, even with a limited number of instrument labels for training. The model allows for controllable synthesis of selected instrument sounds by sampling from the latent spaces. To evaluate this, we trained instrument and pitch classifiers using original labeled data. These classifiers achieve high accuracy when tested on our synthesized sounds, which verifies the model performance of controllable realistic timbre and pitch synthesis. Our model also enables timbre transfer between multiple instruments, with a single autoencoder architecture, which is evaluated by measuring the shift in posterior of instrument classification. Our in depth evaluation confirms the model ability to successfully disentangle timbre and pitch.
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