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Demucs: Deep Extractor for Music Sources with extra unlabeled data remixed

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 Added by Alexandre Defossez
 Publication date 2019
and research's language is English




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We study the problem of source separation for music using deep learning with four known sources: drums, bass, vocals and other accompaniments. State-of-the-art approaches predict soft masks over mixture spectrograms while methods working on the waveform are lagging behind as measured on the standard MusDB benchmark. Our contribution is two fold. (i) We introduce a simple convolutional and recurrent model that outperforms the state-of-the-art model on waveforms, that is, Wave-U-Net, by 1.6 points of SDR (signal to distortion ratio). (ii) We propose a new scheme to leverage unlabeled music. We train a first model to extract parts with at least one source silent in unlabeled tracks, for instance without bass. We remix this extract with a bass line taken from the supervised dataset to form a new weakly supervised training example. Combining our architecture and scheme, we show that waveform methods can play in the same ballpark as spectrogram ones.



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Existing automatic music generation approaches that feature deep learning can be broadly classified into two types: raw audio models and symbolic models. Symbolic models, which train and generate at the note level, are currently the more prevalent approach; these models can capture long-range dependencies of melodic structure, but fail to grasp the nuances and richness of raw audio generations. Raw audio models, such as DeepMinds WaveNet, train directly on sampled audio waveforms, allowing them to produce realistic-sounding, albeit unstructured music. In this paper, we propose an automatic music generation methodology combining both of these approaches to create structured, realistic-sounding compositions. We consider a Long Short Term Memory network to learn the melodic structure of different styles of music, and then use the unique symbolic generations from this model as a conditioning input to a WaveNet-based raw audio generator, creating a model for automatic, novel music. We then evaluate this approach by showcasing results of this work.
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Recent work has proposed the use of tensor decomposition to model repetitions and to separate tracks in loop-based electronic music. The present work investigates further on the ability of Nonnegative Tucker Decompositon (NTD) to uncover musical patterns and structure in pop songs in their audio form. Exploiting the fact that NTD tends to express the content of bars as linear combinations of a few patterns, we illustrate the ability of the decomposition to capture and single out repeated motifs in the corresponding compressed space, which can be interpreted from a musical viewpoint. The resulting features also turn out to be efficient for structural segmentation, leading to experimental results on the RWC Pop data set which are potentially challenging state-of-the-art approaches that rely on extensive example-based learning schemes.
Convolutional Neural Networks have been extensively explored in the task of automatic music tagging. The problem can be approached by using either engineered time-frequency features or raw audio as input. Modulation filter bank representations that have been actively researched as a basis for timbre perception have the potential to facilitate the extraction of perceptually salient features. We explore end-to-end learned front-ends for audio representation learning, ModNet and SincModNet, that incorporate a temporal modulation processing block. The structure is effectively analogous to a modulation filter bank, where the FIR filter center frequencies are learned in a data-driven manner. The expectation is that a perceptually motivated filter bank can provide a useful representation for identifying music features. Our experimental results provide a fully visualisable and interpretable front-end temporal modulation decomposition of raw audio. We evaluate the performance of our model against the state-of-the-art of music tagging on the MagnaTagATune dataset. We analyse the impact on performance for particular tags when time-frequency bands are subsampled by the modulation filters at a progressively reduced rate. We demonstrate that modulation filtering provides promising results for music tagging and feature representation, without using extensive musical domain knowledge in the design of this front-end.

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