Learning about perception of temporal fine structure by building audio codecs
Nøgleord:
audio coding, quality assessment, audio synthesis, textureResumé
The goal of audio coding is to efficiently describe an auditory experience while enabling a faithful reconstruction to the listener. The subjective quality compared to the original is measured by established psychoacoustic tests (BS.1116, 2015; BS.1534, 2015) and the description cost is measured in number of bits. As it is much cheaper to describe coarse scale signal properties than temporal fine structure (TFS), tools like noise fill, spectral extension, binaural cue coding, and machine learning have increased performance of audio codecs far beyond the first generation based on masking principles (e.g., mp3). In this evolution, implicit knowledge on hearing has been acquired by codec developers, but it has become increasingly difficult to construct tools to predict subjective quality. For example, it is yet unknown which aspects of the TFS that are essential for the listening impression to be preserved. To explore these issues, we study models of auditory representations with the mindset from audio coding. Given a method to solve the inverse problem of creating a signal with a specified representation, evaluating by listening can immediately reveal strengths and weaknesses of a candidate model.
Referencer
BS.1116 (2015). “Methods for the subjective assessment of small impairments in audio systems,” Recommendation ITU-R BS.1116-3. Retrieved from: https://www.itu.int/rec/R-REC-BS.1116/en
BS.1387 (2001). “Method for objective measurements of perceived audio quality,” Recommendation ITU-R BS.1387-1, https://www.itu.int/rec/R-REC-BS.1387
BS.1534 (2015). “Method for the subjective assessment of intermediate quality levels of coding systems,” Recommendation ITU-R BS.1534-3. Retrieved from: https://www.itu.int/rec/R-REC-BS.1534
Dau, T., Püschel, D., and Kohlrausch, A. (1996). “A quantitative model of the “effective” signal processing in the auditory system. I. Model structure,” J. Acous. Soc. of Am., 99, 3615-3622, doi: 10.1121/1.414959
Decorsière, R., Søndergaard, P. L., MacDonald, E. N., and Dau, T., (2015). “Inversion of Auditory Spectrograms, Traditional Spectrograms, and Other Envelope Representations,” IEEE-ACM T. Audio Spe., 23, 46-56, doi: 10.1109/TASLP.2014.2367821
Herre, J., and Dick, S., (2019), “Psychoacoustic Models for Perceptual Audio Coding—A Tutorial Review,” Appl. Sci., 9, 2854, doi: 10.3390/app9142854
McDermott, J. H., Oxenham, A. J., and Simoncelli, E. P., (2009). “Sound texture synthesis via filter statistics,” IEEE WASPAA, 297-300, doi:10.1109/aspaa.2009.5346467
Meddis, R., and O'Mard, L. (1997). “A unitary model of pitch perception,” J. Acoust. Soc. Am., 102, 1811-20, doi:10.1121/1.420088
Moore, B., (2019). “The roles of temporal envelope and fine structure information in auditory perception,” Acoust. Sci. Technol., 40, 61-83, doi: 10.1250/ast.40.61
Kleijn, W. B., Lim, F. S. C., Luebs, A., Skoglund, J., Stimberg, F., Wang Q., and Walters, T. C., (2018). “Wavenet Based Low Rate Speech Coding,” IEEE ICASSP, 676-680, doi: 10.1109/icassp.2018.8462529
Klejsa, J., Hedelin, P., Zhou, C., Fejgin, R., and Villemoes, L., (2019). “High-quality Speech Coding with Sample RNN,” IEEE ICASSP, 7155-7159. doi: 10.1109/icassp.2019.8682435 (Samples retrieved from: https://sigport.org/documents/high-quality-speech-coding-sample-rnn)
P.863 (2018). “Perceptual objective listening quality prediction,” Recommendation ITU-T P.863. Retrieved from: https://www.itu.int/rec/T-REC-P.863
Slaney, M. (1995). “Pattern playback from 1950 to 1995,” Proc. IEEE Int. Conf. Syst. Man. Cybern., 4, 3519-3524, doi:10.1109/icsmc.1995.538332
Yderligere filer
Publiceret
Citation/Eksport
Nummer
Sektion
Licens
Authors who publish with this journal agree to the following terms:
a. Authors retain copyright* and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.
b. Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.
c. Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
*From the 2017 issue onward. The Danavox Jubilee Foundation owns the copyright of all articles published in the 1969-2015 issues. However, authors are still allowed to share the work with an acknowledgement of the work's authorship and initial publication in this journal.