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Register a new userThe impact of Audio input representations on neural network based music transcription
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This paper thoroughly analyses the effect of different input representations on polyphonic multi-instrument music transcription. We use our own GPU based spectrogram extraction tool, nnAudio, to investigate the influence of using a linear-frequency spectrogram, log-frequency spectrogram, Mel spectrogram, and constant-Q transform (CQT). Our results show that a $8.33$% increase in transcription accuracy and a $9.39$% reduction in error can be obtained by choosing the appropriate input representation (log-frequency spectrogram with STFT window length 4,096 and 2,048 frequency bins in the spectrogram) without changing the neural network design (single layer fully connected). Our experiments also show that Mel spectrogram is a compact representation for which we can reduce the number of frequency bins to only 512 while still keeping a relatively high music transcription accuracy.
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In recent years, music source separation has been one of the most intensively studied research areas in music information retrieval. Improvements in deep learning lead to a big progress in music source separation performance. However, most of the previous studies are restricted to separating a few limited number of sources, such as vocals, drums, bass, and other. In this study, we propose a network for audio query-based music source separation that can explicitly encode the source information from a query signal regardless of the number and/or kind of target signals. The proposed method consists of a Query-net and a Separator: given a query and a mixture, the Query-net encodes the query into the latent space, and the Separator estimates masks conditioned by the latent vector, which is then applied to the mixture for separation. The Separator can also generate masks using the latent vector from the training samples, allowing separation in the absence of a query. We evaluate our method on the MUSDB18 dataset, and experimental results show that the proposed method can separate multiple sources with a single network. In addition, through further investigation of the latent space we demonstrate that our method can generate continuous outputs via latent vector interpolation.
We present in this paper PerformacnceNet, a neural network model we proposed recently to achieve score-to-audio music generation. The model learns to convert a music piece from the symbolic domain to the audio domain, assigning performance-level attributes such as changes in velocity automatically to the music and then synthesizing the audio. The model is therefore not just a neural audio synthesizer, but an AI performer that learns to interpret a musical score in its own way. The code and sample outputs of the model can be found online at https://github.com/bwang514/PerformanceNet.
Recent studies have shown that neural vocoders based on generative adversarial network (GAN) can generate audios with high quality. While GAN based neural vocoders have shown to be computationally much more efficient than those based on autoregressive predictions, the real-time generation of the highest quality audio on CPU is still a very challenging task. One major computation of all GAN-based neural vocoders comes from the stacked upsampling layers, which were designed to match the length of the waveforms length of output and temporal resolution. Meanwhile, the computational complexity of upsampling networks is closely correlated with the numbers of samples generated for each window. To reduce the computation of upsampling layers, we propose a new GAN based neural vocoder called Basis-MelGAN where the raw audio samples are decomposed with a learned basis and their associated weights. As the prediction targets of Basis-MelGAN are the weight values associated with each learned basis instead of the raw audio samples, the upsampling layers in Basis-MelGAN can be designed with much simpler networks. Compared with other GAN based neural vocoders, the proposed Basis-MelGAN could produce comparable high-quality audio but significantly reduced computational complexity from HiFi-GAN V1s 17.74 GFLOPs to 7.95 GFLOPs.
Personalized recommendation on new track releases has always been a challenging problem in the music industry. To combat this problem, we first explore user listening history and demographics to construct a user embedding representing the users music preference. With the user embedding and audio data from users liked and disliked tracks, an audio embedding can be obtained for each track using metric learning with Siamese networks. For a new track, we can decide the best group of users to recommend by computing the similarity between the tracks audio embedding and different user embeddings, respectively. The proposed system yields state-of-the-art performance on content-based music recommendation tested with millions of users and tracks. Also, we extract audio embeddings as features for music genre classification tasks. The results show the generalization ability of our audio embeddings.
In this paper, we adapt triplet neural networks (TNNs) to a regression task, music emotion prediction. Since TNNs were initially introduced for classification, and not for regression, we propose a mechanism that allows them to provide meaningful low dimensional representations for regression tasks. We then use these new representations as the input for regression algorithms such as support vector machines and gradient boosting machines. To demonstrate the TNNs effectiveness at creating meaningful representations, we compare them to different dimensionality reduction methods on music emotion prediction, i.e., predicting valence and arousal values from musical audio signals. Our results on the DEAM dataset show that by using TNNs we achieve 90% feature dimensionality reduction with a 9% improvement in valence prediction and 4% improvement in arousal prediction with respect to our baseline models (without TNN). Our TNN method outperforms other dimensionality reduction methods such as principal component analysis (PCA) and autoencoders (AE). This shows that, in addition to providing a compact latent space representation of audio features, the proposed approach has a higher performance than the baseline models.
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