اشترك بالحزمة الذهبية واحصل على وصول غير محدود شمرا أكاديميا
تسجيل مستخدم جديدPoint Cloud Audio Processing
279
0
0.0
(
0
)
اسأل ChatGPT حول البحث
ﻻ يوجد ملخص باللغة العربية
Most audio processing pipelines involve transformations that act on fixed-dimensional input representations of audio. For example, when using the Short Time Fourier Transform (STFT) the DFT size specifies a fixed dimension for the input representation. As a consequence, most audio machine learning models are designed to process fixed-size vector inputs which often prohibits the repurposing of learned models on audio with different sampling rates or alternative representations. We note, however, that the intrinsic spectral information in the audio signal is invariant to the choice of the input representation or the sampling rate. Motivated by this, we introduce a novel way of processing audio signals by treating them as a collection of points in feature space, and we use point cloud machine learning models that give us invariance to the choice of representation parameters, such as DFT size or the sampling rate. Additionally, we observe that these methods result in smaller models, and allow us to significantly subsample the input representation with minimal effects to a trained model performance.
قيم البحث
اقرأ أيضاً
We present a data-driven approach to automate audio signal processing by incorporating stateful third-party, audio effects as layers within a deep neural network. We then train a deep encoder to analyze input audio and control effect parameters to pe
rform the desired signal manipulation, requiring only input-target paired audio data as supervision. To train our network with non-differentiable black-box effects layers, we use a fast, parallel stochastic gradient approximation scheme within a standard auto differentiation graph, yielding efficient end-to-end backpropagation. We demonstrate the power of our approach with three separate automatic audio production applications: tube amplifier emulation, automatic removal of breaths and pops from voice recordings, and automatic music mastering. We validate our results with a subjective listening test, showing our approach not only can enable new automatic audio effects tasks, but can yield results comparable to a specialized, state-of-the-art commercial solution for music mastering.
Audio captioning aims to automatically generate a natural language description of an audio clip. Most captioning models follow an encoder-decoder architecture, where the decoder predicts words based on the audio features extracted by the encoder. Con
volutional neural networks (CNNs) and recurrent neural networks (RNNs) are often used as the audio encoder. However, CNNs can be limited in modelling temporal relationships among the time frames in an audio signal, while RNNs can be limited in modelling the long-range dependencies among the time frames. In this paper, we propose an Audio Captioning Transformer (ACT), which is a full Transformer network based on an encoder-decoder architecture and is totally convolution-free. The proposed method has a better ability to model the global information within an audio signal as well as capture temporal relationships between audio events. We evaluate our model on AudioCaps, which is the largest audio captioning dataset publicly available. Our model shows competitive performance compared to other state-of-the-art approaches.
In this paper, we investigate the potential effect of the adversarially training on the robustness of six advanced deep neural networks against a variety of targeted and non-targeted adversarial attacks. We firstly show that, the ResNet-56 model trai
ned on the 2D representation of the discrete wavelet transform appended with the tonnetz chromagram outperforms other models in terms of recognition accuracy. Then we demonstrate the positive impact of adversarially training on this model as well as other deep architectures against six types of attack algorithms (white and black-box) with the cost of the reduced recognition accuracy and limited adversarial perturbation. We run our experiments on two benchmarking environmental sound datasets and show that without any imposed limitations on the budget allocations for the adversary, the fooling rate of the adversarially trained models can exceed 90%. In other words, adversarial attacks exist in any scales, but they might require higher adversarial perturbations compared to non-adversarially trained models.
We learn audio representations by solving a novel self-supervised learning task, which consists of predicting the phase of the short-time Fourier transform from its magnitude. A convolutional encoder is used to map the magnitude spectrum of the input
waveform to a lower dimensional embedding. A convolutional decoder is then used to predict the instantaneous frequency (i.e., the temporal rate of change of the phase) from such embedding. To evaluate the quality of the learned representations, we evaluate how they transfer to a wide variety of downstream audio tasks. Our experiments reveal that the phase prediction task leads to representations that generalize across different tasks, partially bridging the gap with fully-supervised models. In addition, we show that the predicted phase can be used as initialization of the Griffin-Lim algorithm, thus reducing the number of iterations needed to reconstruct the waveform in the time domain.
It has been suggested in developmental psychology literature that the communication of affect between mothers and their infants correlates with the socioemotional and cognitive development of infants. In this study, we obtained day-long audio recordi
ngs of 10 mother-infant pairs in order to study their affect communication in speech with a focus on mothers speech. In order to build a model for speech emotion detection, we used the Ryerson Audio-Visual Database of Emotional Speech and Song (RAVDESS) and trained a Convolutional Neural Nets model which is able to classify 6 different emotions at 70% accuracy. We applied our model to mothers speech and found the dominant emotions were angry and sad, which were not true. Based on our own observations, we concluded that emotional speech databases made with the help of actors cannot generalize well to real-life settings, suggesting an active learning or unsupervised approach in the future.
الأسئلة المقترحة
سجل دخول لتتمكن من نشر تعليقات
التعليقات
جاري جلب التعليقات
سجل دخول لتتمكن من متابعة معايير البحث التي قمت باختيارها
