ترغب بنشر مسار تعليمي؟ اضغط هنا

A Differentiable Perceptual Audio Metric Learned from Just Noticeable Differences

448   0   0.0 ( 0 )
 نشر من قبل Pranay Manocha
 تاريخ النشر 2020
والبحث باللغة English




اسأل ChatGPT حول البحث

Many audio processing tasks require perceptual assessment. The ``gold standard`` of obtaining human judgments is time-consuming, expensive, and cannot be used as an optimization criterion. On the other hand, automated metrics are efficient to compute but often correlate poorly with human judgment, particularly for audio differences at the threshold of human detection. In this work, we construct a metric by fitting a deep neural network to a new large dataset of crowdsourced human judgments. Subjects are prompted to answer a straightforward, objective question: are two recordings identical or not? These pairs are algorithmically generated under a variety of perturbations, including noise, reverb, and compression artifacts; the perturbation space is probed with the goal of efficiently identifying the just-noticeable difference (JND) level of the subject. We show that the resulting learned metric is well-calibrated with human judgments, outperforming baseline methods. Since it is a deep network, the metric is differentiable, making it suitable as a loss function for other tasks. Thus, simply replacing an existing loss (e.g., deep feature loss) with our metric yields significant improvement in a denoising network, as measured by subjective pairwise comparison.



قيم البحث

اقرأ أيضاً

Subjective evaluations are critical for assessing the perceptual realism of sounds in audio-synthesis driven technologies like augmented and virtual reality. However, they are challenging to set up, fatiguing for users, and expensive. In this work, w e tackle the problem of capturing the perceptual characteristics of localizing sounds. Specifically, we propose a framework for building a general purpose quality metric to assess spatial localization differences between two binaural recordings. We model localization similarity by utilizing activation-level distances from deep networks trained for direction of arrival (DOA) estimation. Our proposed metric (DPLM) outperforms baseline metrics on correlation with subjective ratings on a diverse set of datasets, even without the benefit of any human-labeled training data.
We propose the Frechet Audio Distance (FAD), a novel, reference-free evaluation metric for music enhancement algorithms. We demonstrate how typical evaluation metrics for speech enhancement and blind source separation can fail to accurately measure t he perceived effect of a wide variety of distortions. As an alternative, we propose adapting the Frechet Inception Distance (FID) metric used to evaluate generative image models to the audio domain. FAD is validated using a wide variety of artificial distortions and is compared to the signal based metrics signal to distortion ratio (SDR), cosine distance and magnitude L2 distance. We show that, with a correlation coefficient of 0.52, FAD correlates more closely with human perception than either SDR, cosine distance or magnitude L2 distance, with correlation coefficients of 0.39, -0.15 and -0.01 respectively.
Applications of deep learning to automatic multitrack mixing are largely unexplored. This is partly due to the limited available data, coupled with the fact that such data is relatively unstructured and variable. To address these challenges, we propo se a domain-inspired model with a strong inductive bias for the mixing task. We achieve this with the application of pre-trained sub-networks and weight sharing, as well as with a sum/difference stereo loss function. The proposed model can be trained with a limited number of examples, is permutation invariant with respect to the input ordering, and places no limit on the number of input sources. Furthermore, it produces human-readable mixing parameters, allowing users to manually adjust or refine the generated mix. Results from a perceptual evaluation involving audio engineers indicate that our approach generates mixes that outperform baseline approaches. To the best of our knowledge, this work demonstrates the first approach in learning multitrack mixing conventions from real-world data at the waveform level, without knowledge of the underlying mixing parameters.
Estimation of perceptual quality in audio and speech is possible using a variety of methods. The combined v3 release of ViSQOL and ViSQOLAudio (for speech and audio, respectively,) provides improvements upon previo
86 - Zhaofeng Shi 2021
With the development of deep learning and artificial intelligence, audio synthesis has a pivotal role in the area of machine learning and shows strong applicability in the industry. Meanwhile, significant efforts have been dedicated by researchers to handle multimodal tasks at present such as audio-visual multimodal processing. In this paper, we conduct a survey on audio synthesis and audio-visual multimodal processing, which helps understand current research and future trends. This review focuses on text to speech(TTS), music generation and some tasks that combine visual and acoustic information. The corresponding technical methods are comprehensively classified and introduced, and their future development trends are prospected. This survey can provide some guidance for researchers who are interested in the areas like audio synthesis and audio-visual multimodal processing.
التعليقات
جاري جلب التعليقات جاري جلب التعليقات
سجل دخول لتتمكن من متابعة معايير البحث التي قمت باختيارها
mircosoft-partner

هل ترغب بارسال اشعارات عن اخر التحديثات في شمرا-اكاديميا