We propose here an original method for the automatic alignment of temporally distorted occurrences of audio items. The method is based on a so-called item-restricted fingerprinting process and a segment detection scheme. The high-precision estimation of the temporal distortions allows to compensate these alterations and obtain a perfect synchronization between the original item and the altered occurrence. Among the applications of this process, we focus on the verification and the alignment of audio fingerprinting annotations. Perceptual evaluation confirms the efficiency of the method in detecting wrong annotations, and confirms the high precision of the synchronization on the occurrences.

Download

In this paper we address the problem of the description of music production techniques from the audio signal. Over the past decades sound engineering techniques have changed drastically. New recording technologies, extensive use of compressors and limiters or new stereo techniques have deeply modified the sound of records. We propose three features to describe these evolutions in music production. They are based on the dynamic range of the signal, energy difference between channels and phase spread between channels. We measure the relevance of these features on a task of automatic classification of Pop/Rock songs into decades. In the context of Music Information Retrieval this kind of description could be very useful to better describe the content of a song or to assess the similarity between songs.

Download

In this paper, we propose the Modulation Scale Spectrum as an extension of the Modulation Spectrum through the Scale domain. The Modulation Spectrum expresses the evolution over time of the amplitude content of various frequency bands by a second Fourier Transform. While its use has been proven for many applications, it is not scale-invariant. Because of this, we propose the use of the Scale Transform instead of the second Fourier Transform. The Scale Transform is a special case of the Mellin Transform. Among its properties is "scale-invariance". This implies that two timestretched version of a same music track will have (almost) the same Scale Spectrum. Our proposed Modulation Scale Spectrum therefore inherits from this property while describing frequency content evolution over time. We then propose a specific implementation of the Modulation Scale Spectrum in order to represent rhythm content. This representation is therefore tempo-independent. We evaluate the ability of this representation to catch rhythm characteristics on a classification task. We demonstrate that for this task our proposed representation largely exceeds results obtained so far while being highly tempo-independent.

Download

In this paper, a novel approach for the computation of a pitch salience function is presented. The aim of a pitch (considered here as synonym for fundamental frequency) salience function is to estimate the relevance of the most salient musical pitches that are present in a certain audio excerpt. Such a function is used in numerous Music Information Retrieval (MIR) tasks such as pitch, multiple-pitch estimation, melody extraction and audio features computation (such as chroma or Pitch Class Profiles). In order to compute the salience of a pitch candidate f , the classical approach uses the weighted sum of the energy of the short time spectrum at its integer multiples frequencies hf . In the present work, we propose a different approach which does not rely on energy but only on frequency location. For this, we first estimate the peaks of the short time spectrum. From the frequency location of these peaks, we evaluate the likelihood that each peak is an harmonic of a given fundamental frequency. The specificity of our method is to use as likelihood the deviation of the harmonic frequency locations from the pitch locations of the equal tempered scale. This is used to create a theoretical sequence of deviations which is then compared to an observed one. The proposed method is then evaluated for a task of multiple-pitch estimation using the MAPS test-set.

Download

In our current project, vocal signal has to be used to drive sound synthesis. In order to study the mapping between voice and synthesis parameters, the inverse problem is first studied. A set of reference synthesizer sounds have been created and each sound has been imitated by a large number of people. Each reference synthesizer sound belongs to one of the six following morphological categories: “up”, “down”, “up/down”, “impulse”, “repetition”, “stable”. The goal of this paper is to study the automatic estimation of these morphological categories from the vocal imitations. We propose three approaches for this. A base-line system is first introduced. It uses standard audio descriptors as inputs for a continuous Hidden Markov Model (HMM) and provides an accuracy of 55.1%. To improve this, we propose a set of slope descriptors which, converted into symbols, are used as input for a discrete HMM. This system reaches 70.8% accuracy. The recognition performance has been further increased by developing specific compact audio descriptors that directly highlight the morphological aspects of sounds instead of relying on HMM. This system allows reaching the highest accuracy: 83.6%.

Download

Swing is a typical long-short rhythmical pattern that is mostly present in jazz music. In this article, we propose an algorithm to automatically estimate how much a track, a frame of a track, is swinging. We denote this by swing ratio. The algorithm we propose is based on the analysis of the auto-correlation of the onset energy function of the audio signal and a simple set of rules. For the purpose of the evaluation of this algorithm, we propose and share the “GTZAN-rhythm” test-set, which is an extension of a well-known test-set by adding annotations of the whole rhythmical structure (downbeat, beat and eight-note positions). We test our algorithm for two tasks: detecting tracks with or without swing, and estimating the amount of swing. Our algorithm achieves 91% mean recall. Finally we use our annotations to study the relationship between the swing ratio and the tempo (study the common belief that swing ratio decreases linearly with the tempo) and the musicians. How much and how to swing is never written on scores, and is therefore something to be learned by the jazzstudents mostly by listening. Our algorithm could be useful for jazz student who wants to learn what is swing.

Download