Time-Varying and Nonlinear Audio Signal Processing Using Deep Neural Networks

Abstract

1. A computer-implemented method for processing audio signal data, comprising the steps of receiving input audio signal data (x) comprising a time series of amplitude values; converting the input audio signal data (x) to an input frequency band decomposition (X1) of the input audio signal data (x); converting the input frequency band decomposition (X1) to a first latent representation (Z); processing the first latent representation (Z) with a first deep neural network to obtain a second latent representation (Ẑ, Ẑ1̂); transforming the second latent representation (Ẑ, Ẑ1̂) to obtain a discrete approximation (X3̂); and element-wise multiplying the discrete approximation (X3̂) with a residual feature map (R,X5̂) to obtain a modified feature map, wherein the residual feature map (R,X5̂) is a modified feature map obtained by element-wise multiplying the discrete approximation (X3̂) with a residual feature map (R,X5̂). processing the pre-shaped frequency band decomposition by a waveform shaping unit to obtain a waveform-shaped frequency band decomposition (X1^, X1.2^), where the pre-shaped frequency band decomposition is derived from the input frequency band decomposition (X1), and the waveform shaping unit includes a second deep neural network; summing the waveform-shaped frequency band decomposition (X1^, X1.2^) and the modified frequency band decomposition (X2^, X1.1^) to obtain a total output (X0^), where the modified frequency band decomposition (X2^, X1.1^) is derived from the modified feature map; and transforming the total output (X0^) to obtain target audio signal data (y^).

Description

[Technical field]

[0001] The present invention relates to audio signal processing, and in particular to audio signal processing using deep neural networks. [Background technology]

[0002] Audio effects are widely used in various media, including music, live performance, television, film and video games. In the context of music production, audio effects are primarily used for aesthetic reasons and are typically applied to manipulate the dynamics, spatialization, timbre or pitch of vocal or instrument recordings. This manipulation is achieved by effects units or audio processors, which can be linear or nonlinear, time-invariant or time-varying, and equipped with short-term or long-term memory.

[0003] Most of these effects can be implemented directly in the digital domain using digital filters and delay lines. Nevertheless, modeling of specific effect units or analog circuits, and their salient perceptual properties, has been considerably researched and remains an active field. This is because analog circuits, often together with mechanical elements, produce nonlinear, time-varying systems that are difficult to fully emulate digitally.

[0004] Methods for modeling audio effects mainly involve circuit modeling and optimization of specific analog components such as vacuum tubes, op-amps, or transistors. Such audio processors cannot be easily modeled, as they require complex and customized digital signal processing (DSP) algorithms. This often requires models that are too specific to a particular circuit, or to make certain assumptions when modeling certain nonlinearities or components. Such models are therefore not easily transferable to different effect units, as expert knowledge of the type of circuit being modeled is always required. Musicians also tend to prefer analog counterparts, as digital implementations may lack the extensive behavior of analog reference devices. Summary of the Invention [Problem to be solved by the invention]

[0005] There is a general need to improve upon known techniques for modeling audio effects. [Means for solving the problem]

[0006] 1. A computer-implemented method for processing audio signal data, comprising the steps of receiving input audio signal data (x) comprising a time series of amplitude values; converting the input audio signal data (x) into an input frequency band decomposition (X1) of the input audio signal data (x); converting the input frequency band decomposition (X1) into a first latent representation (Z); processing the first latent representation (Z) with a first deep neural network to obtain a second latent representation (Z^, Z1^); transforming the second latent representation (Z^, Z1^) to obtain a discrete approximation (X3^); and element-wise multiplying the discrete approximation (X3^) with a residual feature map (R,X5^) to obtain a modified feature map, wherein the residual feature map (R,X5^) is a time series of amplitude values ​​of the input frequency band decomposition (X1^). ), processing the pre-shaped frequency band decomposition by a waveform shaping unit to obtain a waveform-shaped frequency band decomposition (X1^, X1.2^), where the pre-shaped frequency band decomposition is derived from the input frequency band decomposition (X1), and the waveform shaping unit includes a second deep neural network; summing the waveform-shaped frequency band decomposition (X1^, X1.2^) and the modified frequency band decomposition (X2^, X1.1^) to obtain a sum output (X0^), where the modified frequency band decomposition (X2^, X1.1^) is derived from the modified feature map; and transforming the sum output (X0^) to obtain target audio signal data (y^).

[0007] Optionally, converting the input audio signal data (x) into the input frequency band decomposition (X1) comprises convolving the input audio signal data (x) with a kernel matrix (W1).

[0008] Optionally, transforming the sum output (X0^) to obtain the target audio signal data (y^) comprises convolving the sum output (X0^) with the transpose of a kernel matrix (W1T).

[0009] Converting the input frequency band decomposition (X1) into a first latent representation (Z) optionally includes locally jointly convolving the absolute value (|X1|) of the input frequency band decomposition (X1) with a weighting matrix (W2) to obtain a feature map (X2), and optionally max pooling the feature map (X2) to obtain the first latent representation (Z).

[0010] Optionally, the waveform shaping unit further includes a locally connected Smooth Adaptive activation function layer following the second deep neural network.

[0011] Optionally, the waveform shaping unit further includes a first Squeeze-and-Excitation layer following the locally coupled Smooth Adaptive activation function layer.

[0012] At least one of the waveform-shaped frequency band decompositions (X1^, X1.2^) and the modified frequency band decompositions (X2^, X1.1^) are optionally scaled by a gain factor (se, se1, se2) before summing to produce a sum output (X0^).

[0013] Optionally, each of the kernel matrix (W1) and the weight matrix (W2) includes less than 128 filters, optionally less than 32 filters, optionally less than 8 filters.

[0014] Optionally, the second deep neural network includes first through fourth Dense layers optionally including 32, 16, 16, and 32 hidden units, respectively, and optionally each of the first through third Dense layers of the second deep neural network is followed by a tanh function.

[0015] Optionally, in the waveform shaping unit, the first Squeeze-and-Excitation layer includes a magnitude layer preceding a global average pooling operation.

[0016] The method may further include passing the input frequency band decomposition (X1) as a residual feature map (R). The method may further include passing the modified feature map as a pre-shaped frequency band decomposition. The method may further include passing the modified feature map as a modified frequency band decomposition (X2^, X1.1^).

[0017] Optionally, the first deep neural network includes multiple bidirectional long short-term memory layers, optionally followed by a Smooth Adaptive activation function layer.

[0018] Optionally, the multiple bidirectional long short-term memory layers include first, second and third bidirectional long short-term memory layers, optionally including 64, 32 and 16 units, respectively.

[0019] Optionally, multiple bidirectional long short-term memory layers are followed by multiple Smooth Adaptive activation function layers, each optionally configured with 25 intervals between −1 and +1.

[0020] Optionally, the first deep neural network includes a feedforward WaveNet including multiple layers, and optionally the final layer of the WaveNet is a fully connected layer.

[0021] Optionally, the first deep neural network includes multiple shared bidirectional long short-term memory layers followed by first and second independent bidirectional long short-term memory layers in parallel. Optionally, the second latent representation (Z1^) is derived from an output of the first independent bidirectional long short-term memory layer. Optionally, in the waveform shaping unit, the first squeeze-and-excitation layer further includes a long short-term memory layer. Optionally, the method further includes passing the input frequency band decomposition (X1) as a pre-shaped frequency band decomposition. The method may further include processing the first latent representation (Z) using the second independent bidirectional long short-term memory layer to obtain a third latent representation (Z2^). The method may further include processing the third latent representation (Z2^) using a sparse finite impulse response layer to obtain a fourth latent representation (Z3^). The method may further include convolving the frequency band representation (X1) with a fourth latent representation (Z3^) to obtain the residual feature map (X5^). The method may further include processing the modified feature map by a second squeeze-and-excitation layer including a long short-term memory layer to obtain the modified frequency band decomposition (X2^, X1.1^).

[0022] Optionally, the multiple shared bidirectional long short-term memory layers include first and second shared bidirectional long short-term memory layers optionally including 64 units and 32 units, respectively, and optionally each of the first and second shared bidirectional long short-term memory layers has a tanh activation function.

[0023] Optionally, each of the first and second independent bidirectional long short-term memory layers includes 16 units, and optionally each of the first and second independent bidirectional long short-term memory layers includes a locally-connected Smooth Adaptive activation function.

[0024] Optionally, the sparse finite impulse response layer includes first and second independent Dense layers that take as input the third latent representation (Z^2). The sparse finite impulse response layer may further include a sparse tensor that takes as input the outputs of each of the first and second independent Dense layers, the output of the sparse tensor being the fourth latent representation (Z^3). Optionally, the first and second independent Dense layers each include a tanh function and a sigmoid function.

[0025] Optionally, all convolutions are along the time dimension and have a stride of unit value.

[0026] Optionally, at least one of the deep neural networks is trained in response to data representing one or more audio effects selected from the group including tube amplifier, distortion, speaker amplifier, ladder filter, power amplifier, equalization, equalization and distortion, compressor, ring modulator, phaser, modulation based on operational transconductance amplifier, flanger using bucket brigade delay, modulation using bucket brigade delay, Leslie speaker horn, Leslie speaker horn and woofer, flanger and chorus, modulation base, modulation base and compressor, plate and spring reverb, echo, feedback delay, slapback delay, tape based delay, noise driven stochastic effects, dynamic equalization based on input signal level, audio morphing, timbre transformation, phase vocoder, time stretching, pitch shifting, time shuffle, granulation, 3D loudspeaker setup modeling, and room acoustics.

[0027] Disclosed is a computer program comprising instructions which, when executed by a computer, cause the computer to carry out the methods disclosed herein above.

[0028] A computer readable storage medium containing the above computer program is disclosed.

[0029] Also disclosed is an audio signal data processing apparatus comprising a processor configured to perform the methods disclosed herein above. [Brief description of the drawings]

[0030] [Figure 1.1] Block diagram of CAFx: adaptive front-end, synthetic back-end, and latent space DNN. [Figure 1.2] Block diagram of a feedforward WaveNet, including a stack of dilated convolutional layers and a post-processing block. [Figure 2.0] Block diagram of an audio signal processing architecture built on CAFx and WaveNet, capable of modeling time-varying and nonlinear audio effects. [Figure 2.1] Block diagram of CRAFx: adaptive frontend, latent space Bi-LSTM, and synthesis backend. [Figure 2.2] Block diagram of DNN-SAAF-SE. [Figure 2.3] Block diagram of CWAFx: adaptive frontend, latent space WaveNet, and synthesis backend. [Figure 2.4] Results for selected samples from the test dataset for the Leslie Speaker Task (right channel). Figures 2.9a and 2.9b show the waveforms and their respective modulation spectra. The vertical axis represents the amplitude and the center frequency (Hz) of the gamma tone, respectively. [Figure 3.1] Box plots showing the results of the listening test ratings. Figure 3.2a Preamplifier, Figure 3.2b Limiter, Figure 3.2c Horn Tremolo with Leslie Speaker, Figure 3.2d Woofer Tremolo with Leslie Speaker, Figure 3.2e Horn Chorale with Leslie Speaker, Figure 3.2f Woofer Chorale with Leslie Speaker. [Figure 4.1]Block diagram of CSAFx: adaptive front-end, latent space, and synthesis back-end. [Figure 4.2] Block diagram of the latent space of CSAFx. [Figure 4.3] Block diagram of the CSAFx synthesis backend. [Figure 4.4] Box plots showing the scores for the listening test. From top to bottom, the plate reverb task and the spring reverb task. DETAILED DESCRIPTION OF THE PREFERRED EMBODIMENTS

[0031] Embodiments provide improved techniques for modeling audio effects.

[0032] Deep Neural Networks (DNNs) for music have seen significant growth in recent years. Most music applications are in the fields of music information retrieval, music recommendation, and music generation. End-to-end deep learning architectures, where raw audio signals are both the input and output of the system, follow a black-box modeling approach that allows treating the entire problem as a single indivisible task that needs to be learned from input to output. Thus, the desired output is obtained by directly learning and processing the input raw audio signal, which reduces the amount of prior knowledge required and minimizes the engineering effort.

[0033] Prior to the present invention, deep learning architectures using this principle, i.e. directly processing raw audio signals, have not been considered for audio signal processing tasks such as audio effects modeling.

[0034] Nevertheless, DNNs for audio effects modeling have recently become an emerging field and are being studied as end-to-end methods or as parameter estimators for audio processors. Most of the end-to-end research focuses on modeling nonlinear audio processors with short-term memory, such as distortion effects. Furthermore, methods based on parameter estimation are based on fixed audio signal processing architectures. As a result, they are usually difficult to generalize across different types of audio effect units. This lack of generalization is accentuated when taking into account the wide range of characteristics of different types of audio effects, some of which are based on highly complex nonlinear and time-varying systems, whose modeling methods remain an active field.

[0035] A generic deep learning architecture for audio signal processing in the context of audio effect modeling is disclosed. Thus, the motivation is to demonstrate the feasibility of DNNs as audio signal processing blocks for generic black-box modeling of all types of audio effects. In this way, given any audio processor, the neural network can learn and apply the unique properties of this transformation. This architecture can reproduce the sound, behavior, and main perceptual features of various types of audio effects. Based on the modeling capabilities of DNNs together with domain knowledge from digital audio effects, various deep learning architectures are proposed. These models are able to process and output audio signals that match the acoustic and perceptual qualities of the reference audio effects. Throughout this disclosure, we measure the performance of the models via objective perception-based metrics and subjective listening tests.

[0036] Publication I: “End-to-end equalization with convolutional neural networks”, Martinez Ramirez, MA; Reiss, JD In Proceedings of the 21st International Conference on Digital Audio Effects (DAFx-18), Aveiro, Portugal, 4-8 September 2018. http: / / dafx2018.web.ua.pt / papers / DAFx2018_paper_27.pdf Publication I, which is incorporated herein by reference, contains a derivative of the Convolutional EQ Modeling Network (CEQ), a DNN for end-to-end black-box modeling of linear audio effects.

[0037] Publication II: “Modeling nonlinear audio effects with end-to-end deep neural networks”, Martinez Ramirez, MA; Reiss, JD In Proceedings of the IEEE International Conference on Acoustics, Speech, and Signal Processing (ICASSP), Brighton, UK, 12-17 May 2019. https: / / ieeexplore.ieee.org / document / 8683529 Publication II, which is incorporated herein by reference, contains derivatives of the Convolutional Audio Effects Modeling Network (CAFx) for black-box modeling of nonlinear and linear audio effects.

[0038] The embodiments are described in detail in the following sections of this specification.

[0039] 1- Modeling non-linear audio effects In this chapter, we build on the CEQ modeling network from Publication I to emulate much more complex transformations such as distortion effects. We therefore introduce CAFx, a new deep learning architecture for modeling nonlinear and linear audio effects using short-term memory. We also provide a nonlinear modeling network based on a feedforward variant of the wavenet architecture.

[0040] Distortion effects are primarily used for aesthetic reasons and are typically applied in electronic musical instruments. Most of the existing methods for nonlinear modeling are often simplified or optimized for very specific circuits. Therefore, in this chapter, we study a generic end-to-end DNN for black-box modeling of nonlinear audio effects.

[0041] For any combination of linear and nonlinear audio effects and short-term memory, the model learns how to directly process the audio signal to match the target audio signal. Given the nonlinearity assumptions, consider x and y as the raw and distorted audio signals, respectively. We train the DNN to modify x based on the nonlinear task to obtain y^ that matches the target y.

[0042] We provide nonlinear emulation as a content-based transformation without explicitly obtaining the solution of the nonlinear system. We report that CAFx, a model based on convolutional and dense layers, can incorporate adaptive activation functions such as SAAF to explicitly train SAAF to act as a waveshaper in audio signal processing tasks such as nonlinear modeling. Thus, since the distortion effect is characterized by the nonlinearity of waveshaping, we rely on the smooth attribute of SAAF, which can approximate any continuous function, to act as a trainable waveshaper within the DNN modeling framework.

[0043] In this way, we provide the functionality of DNNs as audio signal processing blocks in the context of modeling nonlinear audio effects. By using specific domain knowledge, such as nonlinearities in waveform shaping, we improve the function approximation capabilities of DNNs in performing nonlinear audio signal processing tasks with short-term memory.

[0044] We analyze WaveNet, a model based solely on time-dilated convolutions, through the same nonlinear modeling tasks. We measure the model's performance via perceptually-based objective metrics and report that both models perform similarly when modeling distortion, overdrive, amplifier emulation, and combinations of linear and nonlinear digital audio effects.

[0045] In the following sections, we present the architectures of the different modeling networks. All models are fully time-domain and end-to-end based, taking raw audio signals as input and processed audio signals as output. The code is available online (https: / / github.com / mchijmma / DL-AFx / tree / master / src).

[0046] 1.1- Convolutional Audio Effects Modeling Networks - CAFX

[0047] The model is divided into three parts: an adaptive front-end, a synthesis back-end, and a latent space DNN. The architecture is designed to model nonlinear audio effects using short-term memory and is based on a parallel combination of cascaded input filters, trainable waveshaping nonlinearities, and output filters.

[0048] All convolutions are along the time dimension, and all strides are unit-valued, which means that we move the filter one sample at a time during the convolutions. Also, padding is done on both sides of the input feature maps so that the output maintains the resolution of the input. No dilation is introduced.

[0049] The model is shown in Figure 1.1 and its structure is detailed in Table 1.1. We use an input frame of size 1024 and sample with a hop size of 256 samples.

[0050] The adaptive front-end and latent space DNN are exactly the same as in CEQ (see Publication I). The main difference is that Dense layers and SAAF are incorporated in the back-end to allow the model to learn the waveform shaping nonlinearities that characterize the distortion effects.

[0051] [Table 1.1]

[0052] Adaptive Front End

[0053] The adaptive front-end contains a convolutional encoder, which contains two convolutional layers (one pooling layer and one residual connection). The front-end is considered adaptive because its convolutional layers learn a filter bank for each modeling task directly from the audio signal.

[0054] The first convolutional layer is followed by absolute value as the nonlinear activation function, and the second convolutional layer is locally connected (LC). This means that it follows a filter bank architecture, since each filter is applied only to its corresponding row of the input feature map. Subsequent layers are followed by soft-plus nonlinearities. The max pooling layer is a moving window of size 16, where the maximum value within each window corresponds to the output, and the location of the maximum value is saved and used by the backend. The operations performed by the first layer can be described as follows:

[0055]

number

[0056] where W1 is the kernel matrix from the first layer, and X1 is the feature map after the input audio signal x is convolved with W1. The weights W1 include 128 one-dimensional filters of size 64. The residual connection R is equal to X1, which corresponds to the frequency band decomposition of the input x. This is because the output of each filter in the convolution 1D can be seen as a frequency band.

[0057] The operations performed in the second layer are described by the following equation:

[0058]

number

[0059] In the formula, X2 (i) and W2 (i) are the i-th row of the feature map X2 and the kernel matrix W2, respectively. Thus, X2 is obtained after LC convolution with W2, which is a convolutional 1D-local weight matrix with 128 filters of size 128. f2() is a softplus function.

[0060] The adaptive front-end is designed to perform time-domain convolutions on raw audio signals and learn latent representations for each audio effect modeling task, and also generate residual connections that are used in the back-end to facilitate the synthesis of waveforms based on specific audio effect transformations.

[0061] This differs from traditional encoding methods (He et al., 2016), in which the full input data is encoded into a latent space, forcing each layer in the decoder to generate only the full desired output. Furthermore, full encoding approaches such as Engel et al. (2017) and Oord et al. (2016) require very deep models, large datasets, and challenging training procedures.

[0062] By using absolute value as the activation function in the first layer and having a larger filter W2, it is expected that the front end will learn a smoother representation of the incoming audio signal, such as its envelope (Venkataramani et al. (2017)).

[0063] latent space DNN

[0064] The latent space DNN contains two dense layers. Following the filter bank architecture, the first layer is based on an LC dense layer, and the second layer contains an FC layer. The DNN modifies the latent representation Z into a new latent representation Z^, which is fed to the synthesis backend. The first layer applies a different dense layer to each row of the matrix Z, and the second layer is applied to each row of the output matrix from the first layer. In both layers, every dense layer has 64 hidden units, followed by a softplus function (f h ) is followed and applied to the full latent representation rather than the channel dimensions.

[0065] The operations performed by the latent space DNN are as follows:

[0066]

number

[0067] In the formula, Zh^ (i) is the i-th row of the output feature map Zh^ of the LC layer. Similarly, V1 (i) is the i-th Dense layer corresponding to the weight matrix V1 of the LC layer. V2 corresponds to the weights of the FC layer.

[0068] The output of the max-pooling operation Z corresponds to an optimal latent representation of the input audio signal given the EQ task, such as an envelope. The DNN is trained to modify these envelopes, so that a new latent representation or set of envelopes Z^ is fed to the synthesis backend to reconstruct an audio signal that matches the target task.

[0069] Composition Backend

[0070] The synthesis backend accomplishes the nonlinear task by the following steps: First, a discrete approximation of X2, X2^, is obtained by inverse pooling the modified envelope Z^. Then, the feature map X1^ is the result of element-wise multiplication of X2^ with the residual connection R. This can be seen as an input filtering operation, since a different envelope gain is applied to each of the frequency band decompositions obtained in the frontend.

[0071] The second step is to apply various wave-shaping nonlinearities to X1^. This is achieved with a processing block that includes a Dense layer and a Smooth Adaptive Activation Function (DNN-SAAF). The DNN-SAAF includes four FC Dense layers. All Dense layers, except for the last one, are followed by a softplus function. A locally coupled SAAF is used as the nonlinearity of the last layer. Overall, each function is locally coupled and consists of 25 intervals between -1 and +1.

[0072] A variety of standard and adaptive activation functions were tested, including parametric and non-parametric ReLU, hyperbolic tangent, sigmoid, and fifth-order polynomials. Nevertheless, stability issues and suboptimal results were found when modeling nonlinear effects. Since each SAAF explicitly acts as a waveshaper, the DNN-SAAF is constrained to behave as a set of trainable waveshaping nonlinearities following a filter bank architecture and applied to the channel dimensions of the modified frequency decomposition X1^.

[0073] Finally, the last layer corresponds to the deconvolution operation and can be implemented by transposing the transform of the first layer. Similar to CEQ, this layer is untrainable since its kernel is a transposed version of W1. In this way, the backend reconstructs the audio signal waveform in the same way that the frontend decomposed it. The complete waveform is synthesized using a Hann window and a constant overlap-add gain.

[0074]

number

[0075] 1.2 Feedforward WaveNet Audio Effects Modeling Network - WaveNet

[0076] The WaveNet architecture corresponds to a feedforward variation of the original autoregressive model. For regression tasks such as nonlinear modeling, the predicted samples are not fed back to the model, but via a sliding input window, where the model predicts a sequence of samples in a single forward propagation. The feedforward wavenet implementation is based on the architecture proposed by Damskagg et al. (2019) and Rethage et al. (2018). The model is divided into two parts: a stack of dilated convolutions and a post-processing block. The model is illustrated in Figure 1.2 and its structure is given in Table 1.2.

[0077] [Table 1.2]

[0078] It uses two stacks of six dilated convolution layers with dilation factors of 1, 2, ..., 32 and 16 filters of size 3. From Figure 1.1, before the stack of dilated convolutions, the input x is projected to 16 channels via a 3x1 convolution. This is to match the number of channels in the feature map of the dilated convolution. The stack of dilated convolutions processes the input feature map Rin with a 3x1 gated convolution and an exponentially increasing dilation factor. This operation can be written as follows:

[0079]

number

[0080] where Wf and Wg are the filter and gate convolution kernels, tanh and σ are the hyperbolic tangent and sigmoid functions, and * and × are the convolution and element-wise multiplication operators. The residual output connection Rout and the skip connection S are obtained via a 1×1 convolution applied to z. Thus, S is sent to the post-processing block, and Rout is added to the current input matrix Rin, thus obtaining the residual input feature map for the next dilated convolution layer.

[0081] The post-processing block consists of summing all skip connections S followed by a ReLU. Two final 3 × 1 convolutions are applied to the resulting feature maps, which contain 2048 and 256 filters, separated by a ReLU. As a final step, a 1 × 1 convolution is introduced to obtain the single-channel output audio signal ŷ.

[0082] The receptive field rf of the wavenet architecture can be calculated as follows (Oord et al., 2016):

[0083]

number

[0084] where n is the number of stacks and f k is the size of the filter, D is the number of dilation layers, and di corresponds to the respective dilation coefficient. In this architecture, the receptive field of the model is 253 samples and the target field tf is 1024 samples. Thus, the input frame if presented to the model contains a sliding window of 1276 samples and is calculated as follows (Rethage et al., 2018):

[0085]

number

[0086] In the next chapter, we build on these architectures and provide a temporal dilation convolution of the latent space with RNNs to model transformations involving long-term memory, such as dynamic range compression or various modulation effects.

[0087] 2- Modeling time-varying audio effects Audio effects whose parameters are periodically changed over time are often referred to as time-varying or modulation-based audio effects. Additionally, a broad family of time-invariant audio effects (e.g., compressors) are based on long-term dependencies. By assuming linear behavior or omitting certain nonlinear circuit components, most of these effects can be implemented directly in the digital domain using digital filters and delay lines.

[0088] Nevertheless, modeling this type of effect remains an active field, as musicians tend to prefer their analog counterparts and current methods are often optimized for very specific circuits. Such models are therefore not easily transferable to a variety of effect units, as they always require specialized knowledge of the type of circuit being modeled and cannot be efficiently generalized to other time-varying or time-invariant audio effects with long-term memory.

[0089] Since the architectures in the previous chapter do not generalize to transformations with long time dependencies, in this chapter we provide an end-to-end DNN capability to learn long-term memories that characterize these effect units. Based on the architectures of CAFx and WaveNet, we propose two new general-purpose modeling networks, CRAFx and CWAFx. Based on the adaptive front-end and back-end structures of the previous models, bidirectional long short-term memory (Bi-LSTM) layers or latent spaces based on time dilation convolutions can learn time-varying transformations. The code is available online at: https: / / github.com / mchijmma / DL-AFx / tree / master / src, and the number of parameters and computational complexity are shown in Appendix A.

[0090] We therefore introduce a deep learning architecture for generic black-box modeling of audio processors with long-term memory. We present models corresponding to digital implementations of modulation-based audio effects such as chorus, flanger, phaser, tremolo, vibrato, LFO-based auto-wah, ring modulator, and Leslie speaker. Furthermore, we extend the application of the model by including nonlinear time-invariant audio effects with long time dependences, such as auto-wah with envelope follower, compressor, and multiband compressor. We also introduce nonlinearities such as overdrive into linear time-varying effect units to test the network's capabilities in modeling nonlinear time-varying audio transformations.

[0091] We provide linear and nonlinear time-varying emulations as content-based transformations without explicitly obtaining the solution of the time-varying system. To measure the performance of our models, we propose objective metrics based on psychoacoustics of modulation frequency perception. We also analyze what the models actually learn and how a given task is accomplished.

[0092] Referring to Figure 2.0, the overall structure is based on three parts: an adaptive front-end, a latent space DNN, and a synthesis back-end.

[0093] First, the input audio signal x is converted into a feature map X2 that is subsampled to a latent representation Z. This can be done via two successive convolutions, for example via a filter bank architecture with convolution kernels W1 and W2.

[0094] The first convolution also results in a frequency band decomposition X1 from which a residual feature map R can be derived. The residual feature map R can be further derived from further inputs.

[0095] The latent representation Z is changed to new latent representations Ẑ, Ẑ1. This can be done via a DNN.

[0096] The new latent representation is then upsampled into a feature map X3̂, such as by inverse pooling or an upsampling operation.

[0097] X3^ can be used to modify the residual feature map R (or its pre-modified version X5^), e.g., by element-wise multiplication of X3^ and R, thus obtaining feature maps X2^, X^1.1 corresponding to the audio stream with time-varying effects.

[0098] R, X5^ are further modified via a waveform shaping DNN, thus obtaining feature maps X1^, X1.2^ corresponding to the audio stream with a short-term memory transformation (i.e., waveshaper).

[0099] X2^, X^1.1 and X1^, X1.2^ are summed to the frequency band decomposition X0^, from which the target audio signal y^ is reconstructed. The reconstruction can be done by deconvolution. Optionally, the deconvolution can be implemented using the transpose kernel of W1 (W1T).

[0100] This summation allows an audio stream with time-varying effects (i.e. modulation-based or envelope-based with long-term memory) to be mixed with an audio stream without time-varying effects (i.e. an input audio signal stream with or without wave-shaping transformation).

[0101] 2.1 Convolutional Recurrent Audio Effect Modeling Network - CRAFx

[0102] The CRAFx model is based on the CAFX architecture, which is also divided into three parts: adaptive front-end, latent space, and synthesis back-end. The block diagram can be seen in Figure 2.1, and its structure is detailed in Table 2.1. The main differences are the incorporation of Bi-LSTM in the latent space and the modification of the synthesis back-end structure, which allows the model to learn nonlinear transformations with long time dependencies. Also, instead of 128 channels, due to the training time of the recurrent layer, this model uses a filter bank structure of 32 channels or filters.

[0103] To allow the model to learn long-term memory dependencies, the input contains an audio frame x at the current time step t, concatenated with k previous and k subsequent frames, of size N, sampled with a hop size τ. The concatenated input x can be written as:

[0104]

number

[0105] The adaptive front-end is exactly the same as in CAFx, but its layers are time-distributed, i.e. the same convolution or pooling operation is applied to each of the 2k+1 input frames. The max-pooling operation is a moving window of size N / 64. In this model, R is the iterative process of the current input frame x (0) The rows in X1 correspond to the frequency band decomposition of X. Thus, the backend does not receive information directly from past and subsequent context frames.

[0106] [Table 2.1]

[0107] Latent space Bi-LSTM

[0108] The latent space contains three Bi-LSTM layers of 64, 32, and 16 units, respectively. The Bi-LSTMs process a latent space representation Z, which is learned by the front-end and contains information about the 2k+1 input frames. These recurrent layers are trained to reduce the dimensionality of Z, while also learning a set of nonlinear modulators Z^. This new latent representation or modulator is fed to the synthesis back-end to reconstruct the audio signal that matches the time-varying modeling task. The dropout and recurrent dropout rates of each Bi-LSTM are 0.1, and the first two layers have tanh as the activation function. The nonlinearity of the last recurrent layer is the locally coupled SAAF.

[0109] As shown in Section 1.1, a locally coupled SAAF is used as the nonlinearity in the last layer to take advantage of the smooth property of the SAAF, which can approximate any continuous function, such as the modulator of each time-varying effect unit. Each SAAF consists of 25 intervals between -1 and +1.

[0110] Composition Backend

[0111] The synthesis backend achieves the reconstruction of the target audio signal by processing the frequency band decomposition R and the nonlinear modulator Z^. Similar to CAFx, the backend includes an inverse pooling layer, a DNN-SAAF block, and a final convolutional layer. The DNN-SAAF block includes four Dense layers of 32, 16, 16, and 32 hidden units, respectively. Each Dense layer is followed by a tanh function, except for the last one, which is followed by a SAAF layer. The new structure of the CRAFx backend incorporates a Squeeze-and-Excitation (SE) (Hu et al., 2018) layer after the DNN-SAAF block (DNN-SAAF-SE).

[0112] The SE block explicitly models the interdependence between channels by adaptively scaling the channel-wise information of the feature map (Hu et al., 2018). Therefore, we propose an SE block that applies dynamic gains to each of the feature map channels of X1^', the output of DNN-SAAF. Based on the structure of Kim et al. (2018), the SE includes a global average pooling operation followed by two FC layers. The FC layers are followed accordingly by ReLU and sigmoid activation functions.

[0113] Since the feature maps in the backend are based on the time-domain waveforms, we incorporate an absolute value layer before the global average pooling operation. Figure 2.2 shows the block diagram of DNN-SAAF-SE, whose input and output are feature maps X2^ and X1^, respectively.

[0114] Following the filter bank architecture, the back-end matches the time-varying task by the following steps: First, an upsampling operation is applied to the learned modulator Ẑ, followed by an element-wise multiplication with the residual connection R. This can be seen as a frequency-dependent amplitude modulation for each of the channels or frequency bands of R.

[0115]

number

[0116] This is followed by nonlinear waveshaping and per-channel scaled filters from the DNN-SAAF-SE block. Thus, the modulated frequency band decomposition X2^ is processed by the waveshaper learned from the DNN-SAAF layer to obtain feature maps X1^', which are further scaled by se, the frequency-dependent gain from the SE layer. The resulting feature maps X1^ can be seen as modeling a nonlinear short-term memory transformation within the audio effects modeling task.

[0117]

number

[0118] X1^ is then added back to X2^, acting as a nonlinear feedforward delay line.

[0119]

number

[0120] The structure of the backend is therefore informed by a common architecture where modulation-based effects are implemented in the digital domain, using LFOs, digital filters and delay lines.

[0121] Finally, the complete waveform is synthesized in the same way as CAFx, with the last layer corresponding to a transposed untrainable deconvolution operation. As mentioned in Section 2.1, we use a unit value stride, no dilation is incorporated, and we follow the same padding as CAFx.

[0122] 2.2 Convolutional and Wavenet Audio Effect Modeling Networks - CWAFx

[0123] We propose a new model based on the combination of convolutional and dense architectures from CRAFx with dilated convolutions from WaveNet. Since the former Bi-LSTM layers were responsible for learning long-term temporal dependencies from the input and context audio frames, we replace these recurrent layers with a feed-forward Wavenet. Dilated convolutions have been shown to outperform recurrent approaches when learning sequential problems (Bai et al., 2018), as in Matthew Davies and Bоck (2019), where Bi-LSTMs are successfully replaced by this type of temporal convolution.

[0124] Therefore, we can see that the latent space based on stacked dilated convolutions can learn frequency-dependent amplitude modulation signals. The model is shown in Figure 2.3. The adaptive front-end and the synthetic back-end are the same as those presented in CRAFx.

[0125] Latent Space Wavenet

[0126] The structure of the latent space Wavenet is detailed in Table 2.2.

[0127] For CWAFx with an input frame size of 4096 samples and ±4 context frames, the latent representation Z from the front-end corresponds to 9 rows of 64 samples and 32 channels, which can be unfolded into a feature map of 576 samples and 32 channels. We therefore approximate these input dimensions with a latent space Wavenet whose receptive and target fields are 510 and 64 samples, respectively. Therefore, based on equation (1.2), we use two stacks of seven dilated convolutional layers with dilation factors of 1, 2, ..., 64 and 32 filters of size 3. We also maintained the dimension of the skip connections S and achieved better fitting by replacing the final 1 × 1 convolution with an FC layer. The latter has 64 hidden units followed by a tanh activation function, applied along the latent dimension.

[0128] [Table 2.2]

[0129] 2.3 Experiments

[0130] 2.3.1 Training

[0131] Similarly, training of CRAFx and CWAFx involves the same initialization step as CEQ and CAFx. Once the front-end and back-end convolutional layers are pre-trained, DNN-SAAF-SE blocks and latent space Bi-LSTM and Wavenet layers are embedded into the respective models, and all weights are trained according to the end-to-end supervised learning task.

[0132] The loss function to be minimized is the mean absolute error between the target waveform and the output waveform. We provided input size frames between 1024 and 8192 samples, always using a rectangular window with a hop size of 50%. The batch size consisted of the total number of frames per audio sample.

[0133] We use Adam (Kingma and Ba, 2015) as the optimizer and perform 200 epochs of pretraining and 500 epochs of supervised training. To speed up convergence, we start with a learning rate of 5·10-5 during the second training step and reduce it by 50% every 150 epochs. We select the model with the smallest error on the validation subset.

[0134] 2.3.2 Dataset

[0135] Modulation-based audio effects such as chorus, flanger, phaser, tremolo, and vibrato were obtained from the IDMT-SMT-Audio-Effects dataset (Stein et al., 2010). The recordings correspond to individual 2-second sounds including the raw electric and bass guitar sounds and their respective post-effected versions. These effects correspond to digital implementations of effect units such as VST audio plugins. In the experiments, we used only setting #2, which obtained the raw and processed audio signals of the bass guitar for each of the above effects. We also processed the raw audio signal of the bass guitar to implement an LFO-based auto-wah with a peak filter with center frequencies ranging from 500 Hz to 3 kHz and modulated by a 5 Hz sine wave.

[0136] As the previous audio effects are linear time-varying, we add non-linearity to each of these effects to further test the model's capabilities. Thus, using a wet audio signal of a bass guitar, we apply an overdrive (gain = +10dB) after each modulation-based effect using SoX.

[0137] We also process the raw audio signal of an electric guitar using virtual analog implementations of a ring modulator and a Leslie speaker. The ring modulator implementation is based on Parker (2011b) and uses a 5 Hz modulator signal. The Leslie speaker implementation is based on Smith et al. (2002) and models each of the stereo channels.

[0138] Finally, we provide the functionality of the model with nonlinear time-invariant audio effects with long time dependences, such as a compressor based on an envelope follower and an auto-wah.The compressor and multiband compressor from SoX are used to process the raw audio signal of an electric guitar.

[0139] Similarly, we use an auto-wah implementation with an envelope follower and a peak filter whose center frequency modulates between 500Hz and 3kHz.

[0140] For each time-varying task, 624 raw and effected sounds were used, with both test and validation samples corresponding to 5% of this subset, respectively. Recordings were downsampled to 16kHz and amplitude normalization was applied, except for the time-invariant audio effects. Table 4.3 details the settings for each audio effect.

[0141] [Table 2.3]

[0142] 2.3.3 Evaluation

[0143] Three metrics are used when testing the models on various modeling tasks. As shown in Chapter 1, we use the energy-normalized mean absolute error (mae). As an objective assessment of time-varying tasks, we propose an objective metric that mimics the human perception of amplitude and frequency modulation. The modulation spectrum provides long-term knowledge of time-varying patterns using time-frequency theory integrated with psychoacoustics of modulation frequency perception (Sukittanon et al., 2004). The modulation spectrum mean squared error (ms_mse) is based on audio features from Mc-Dermott and Simoncelli (2011) and McKinney and Breebaart (2003) and is defined as:

[0144] A gammatone filter bank is applied to the target to output the entire waveform. A total of 12 filters are used, with center frequencies logarithmically spaced from 26 Hz to 6950 Hz.

[0145] The envelope of each filter output is computed via the magnitude of the Hilbert transform (Hahn, 1996) and downsampled to 400 Hz.

[0146] Each envelope has a modulation filter bank applied to it, using a total of 12 filters with center frequencies logarithmically spaced from 0.5Hz to 100Hz.

[0147] An FFT is computed for each gammatone filter's modulation filter output. The energy is summed across the gammatone and modulation filter banks, and the ms_mse metric is the mean squared error of the logarithmic values ​​of the FFT frequency bins.

[0148] For non-linear time-invariant tasks (compressors and multiband compressors), the evaluation corresponds to mfcc_cosine: the average cosine distance of the MFCCs (see section 1.3.3).

[0149] 2.4 Results and Analysis

[0150] The ability of Bi-LSTM to learn long-term temporal dependencies is described below. For CRAFx, we use an input size of 4096 samples and k=4 for the number of past and subsequent frames.

[0151] The training procedure was performed for each type of time-varying and time-invariant audio effects. Then, the model was tested using samples from the test dataset. Example audio signals for CRAFx are available online (https: / / mchijmma.github.io / modeling-time-varying / ). For reference, the average values ​​of mae and ms_mse, and between the input and target waveforms, are 0.13 and 0.83, respectively. The average mfcc_cosine value for the compressor and multiband compressor is 0.15.

[0152] Figure 2.4 shows the input, target, and output waveforms for modeling a Leslie speaker along with their respective modulation spectra. In the time domain, it is clear that the model matches the target waveform as well. It is noteworthy that the model equally introduces various modulation energies from the modulation spectra into the output that are not present in the input and that closely match the modulation energies of the respective targets.

[0153] As discovered by the inventors, other complex time-varying tasks such as a virtual analog implementation of a ring modulator were also successfully modeled. This represents an important result, as these implementations involve either the emulation of modulation introduced by nonlinear circuits, as in the case of a ring modulator, or modifying delay lines along with the simulation of artificial reverberation and the Doppler effect, as in the Leslie speaker implementation.

[0154] The model is also capable of linear and nonlinear time-invariant modeling: the long time dependencies of envelope-driven auto-wahs, compressors, and multi-band compressors are modeled well.

[0155] Overall, modeling effect units based on amplitude modulation, such as tremolo or ring modulators, and time-varying filters, such as phasers, improved the model's performance. Delay line effects based on frequency modulation were modeled well, as were the flanger or stereo channels of a Leslie speaker. Nevertheless, vibrato and vibrato override represented the modeling tasks with the most errors. This is likely because vibrato is an effect based solely on frequency modulation with a rate of around 2 Hz. This represents a higher modulation rate than the rotating horn of a Leslie speaker, so matching effects based on low-frequency modulation, such as the slow rotation setting of a Leslie speaker, shows this leads to poorer model performance (see Chapter 3). This can be improved by introducing more filters or channels (e.g., a filter bank architecture of 128 filters) to increase the frequency resolution, or by increasing the size of the latent space with smaller max pooling.

[0156] 2.5 Conclusion

[0157] In this chapter, we introduced two general-purpose deep learning architectures, CRAFx and CWAFx, for modeling audio effects with long time dependencies. Through these two architectures, we provided the functionality of an end-to-end DNN with Bi-LSTM layers and time dilation convolutions to learn long time dependencies such as low frequency modulations and process audio signals accordingly. We can conclude that both models achieved similar performance and were able to successfully match digital implementations of linear and nonlinear time-varying audio effects, time-varying and time-invariant audio effects with long-term memory.

[0158] Based on mae, CRAFx achieved a closer match of the target waveform. Nevertheless, when tested on perception-based metrics such as mfcc_cosine and ms_mse, both models performed equally well. Notably, the computation time on the GPU is significantly shorter for CWAFx (see Appendix A). This is due to GPU-accelerated libraries such as cuDNN (Chetlur et al., 2014), which is highly optimized for convolutional layers.

[0159] In both architectures, we incorporated an SE layer to learn dynamic gains and apply them to each of the feature map channels or frequency band decompositions. This allowed the model to apply each modulator signal to each channel and then further scale it via the SE layer. The introduction of this dynamic gain provided better fitting when modeling various time-varying tasks.

[0160] Other white-box or gray-box modeling techniques suitable for these time-varying tasks require expertise, including specific circuit analysis and discretization techniques. Moreover, these methods are not easily extendable to other time-varying tasks and often make assumptions regarding the nonlinear behavior of certain components. To the best of our knowledge, this work represents the first architecture for black-box modeling of linear and nonlinear time-varying and time-invariant audio effects. It reduces assumptions regarding the audio processor target and improves on the state of the art in audio effects modeling.

[0161] Using a small set of training examples, we demonstrate models that match choruses, flangers, phasers, tremolos, vibratos, LFO- and envelope follower-based auto-wahs, ring modulators, Leslie speakers, and compressors. We propose an objective perceptual metric, ms_mse, to measure model performance. This metric is based on the modulation spectrum of a gammatone filterbank, and therefore measures human perception of amplitude and frequency modulation.

[0162] We demonstrated that the model processes the input audio signal by applying various modulations that closely match those of the time-varying target. Perceptually, most of the output waveforms are indistinguishable from their target counterparts, with minor differences at the highest frequencies and noise levels. This can be improved by using more convolution filters, as in CAFx, which implies a higher resolution of the filter bank structure. Furthermore, as shown in Publication I, loss functions based on time and frequency can be used to improve this frequency-related issue, although listening tests may be required (see Chapter 3).

[0163] Generalization can also be explored more thoroughly, as the models learn to apply specific transformations to the audio signals of specific instruments such as electric guitar or bass guitar. Also, these architectures are adaptable for real-time implementations, as the models attempt to learn long-term temporal dependencies with shorter input size frames, requiring past and subsequent frames as well.

[0164] Real-time applications would benefit greatly from the implementation of RNNs or time-dilated convolutions to model transformations including long-term memory, without relying on large input frame sizes and the need for past and future context frames. The model was able to match the artificial reverberation of the Leslie speaker implementation, but a full implementation of reverberation modeling such as plate, spring, or convolutional reverberation is required (see Chapter 4). Also, since the model has learned a static representation of the audio effect, it could provide a way to devise parametric models. Finally, applications beyond virtual analog could be studied, for example in the field of automatic mixing, where the model could be trained to learn to generalize from mixing practice.

[0165] 3. Virtual Analogue Experiment

[0166] In the previous chapters, we have focused on modeling several linear and nonlinear time-varying and time-invariant digital implementations of effect units. Moreover, so far we have only evaluated models with objective metrics. Therefore, in this chapter and the next, we extend the evaluation of previous architectures by modeling various analog audio effects, including perceptual listening tests. We take into account that virtual analog modeling of audio effects involves emulating the sound of analog audio processor reference devices. We present virtual analog models of nonlinear effects such as Universal Audio's 610-B vacuum tube preamplifier, nonlinear effects with long-term memory such as Universal Audio's 1176LN transistor-based limiter amplifier, and electromechanical nonlinear time-varying processors such as the rotating horn and rotating woofer of the 145 Leslie speaker cabinet.

[0167] Through objective perception-based metrics and subjective listening tests, we demonstrate the performance of each of the architectures from Chapters 1 and 2 (CAFx, WaveNet, CRAFx, and CWAFx) in modeling these analog processors. We perform a systematic comparison between these architectures and report that CAFx and WaveNet perform similarly when modeling nonlinear audio effects with long time dependencies, without memory, but are unable to model time-varying tasks such as the Leslie speaker. Meanwhile, across all tasks, models that incorporate latent space RNNs or latent space time dilation convolutions to explicitly learn long time dependencies, such as CRAFx and CWAFx, tend to outperform the remaining models objectively and subjectively.

[0168] 3.1 Experiments

[0169] 3.1.1 Model

[0170] In the experiments in this section, we use the CAFx, WaveNet, CRAFx, and CWAFx architectures. To provide a fairer comparison, CAFx and WaveNet are adapted to process input frames of size 4096, sampled with a hop size of 2048 samples. CRAFx and CWAFx are used exactly as described in Sections 2.1 and 2.2, respectively.

[0171] The main change in CAFx is in the adaptive front-end where we increase the max pooling layer to a moving window of size 64. The rest of the model is as shown in Section 1.1. As for WaveNet, we extend the model to two stacks of eight dilated convolutional layers with dilation factors 1, 2, ..., 128. Based on equation (1.2), the receptive field of this architecture is of 1021 samples. The target field is 4096 samples, so the input frame presented to the model contains a sliding window of 5116 samples (see equation (1.3)). The rest of the architecture is as shown in Section 1.2.

[0172] The code is available online at https: / / github.com / mchijmma / DL-AFx / tree / master / src, and Appendix A lists the number of parameters and processing times for all models.

[0173] 3.1.2 Training

[0174] As mentioned in the previous chapter, training of CAFX, CRAFx, and CWAFx architectures involves an initialization step. Once the front-end and back-end are pre-trained, the remaining convolutional, recurrent, dense, and activation layers are incorporated into the respective models, and all weights are trained according to the end-to-end supervised learning task. WaveNet models are trained immediately after this second step.

[0175] The loss function to be minimized is the mean absolute error, and Adam (Kingma and Ba, 2015) is used as the optimizer. For these experiments and each model, we performed the same supervised learning training procedure.

[0176] We use early stopping patience of 25 epochs, i.e., training stops when there is no improvement in the validation loss. The model is further fine-tuned by reducing the learning rate by a factor of four and with patience of 25 epochs. The initial learning rate is 1e-4 and the batch size contains the total number of frames per audio signal sample. On average, the total number of epochs is about 750. We select the model with the smallest error on the validation subset (see Section 3.1.3). For the Leslie speaker modeling task, the early stopping and model selection procedure was based on the training loss, which is described in detail in Section 3.3.

[0177] 3.1.3 Dataset

[0178] Raw recordings of individual 2-second sounds of various 6-string electric guitars and 4-string bass guitars are obtained from the IDMT-SMT-Audio-Effects dataset (Stein et al., 2010). 1250 unprocessed recordings of electric guitars and basses are used to obtain wet samples for each audio effect modeling task. The raw recordings are amplitude normalized and, for each task, the test and validation samples each correspond to 5% of this dataset. After an analog audio processor samples the raw sounds, all recordings are downsampled to 16 kHz. The dataset is available online (https: / / zenodo.org / record / 3562442).

[0179] Universal Audio 610-B Vacuum Tube Preamp

[0180] This microphone tube preamp is sampled from a 6176 Vintage Channel Strip unit. To obtain an output signal with high harmonic distortion, the preamp is overdriven with the settings in Table 3.1.

[0181] Universal Audio's transistor-based limiter amplifier 1176LN

[0182] Similarly, the widely used field effect transistor limiter 1176LN is sampled from the same 6176 Vintage Channel Strip unit. The limiter samples are recorded with the settings in Table 3.1. To further test the long term memory of the model, the slowest attack and release settings are used. A compression ratio value of ALL corresponds to pressing all ratio buttons on the original 1176 simultaneously. This setting therefore also introduces distortion due to variations in attack and release times.

[0183] 145 Leslie speaker cabinet

[0184] Output samples from the rotating horn and woofer of the 145 Leslie speaker cabinet are recorded with an AKG-C451-B microphone. Each recording is made in mono by placing a condenser microphone perpendicular to the horn or woofer at a distance of 1 meter. Two speeds are recorded for each rotating speaker: Tremolo for fast rotation and Chorale for slow rotation. The rotation frequency of the horn is approximately 7 Hz and 0.8 Hz for the Tremolo and Chorale settings respectively, while the woofer rotation speed is slower (Herrera et al., (2009)).

[0185] Since there is a crossover filter at 800Hz in front of the horn and woofer speakers, a high-pass FIR filter with the same cutoff frequency is applied to the raw sound of the electric guitar and only these samples are used as input for the horn speaker. Similarly, for the woofer speaker, a low-pass FIR filter is used to preprocess the raw bass sound. The audio signal output of both speakers is filtered with their respective FIR filters. This is to reduce mechanical and electrical noise and also to focus the modeling task on amplitude and frequency modulation. The recordings are also amplitude normalized.

[0186] [Table 3.1]

[0187] 3.1.4 Objective Metrics

[0188] Three metrics are used when testing models on various modeling tasks: mae (mean absolute error normalized by energy), mfcc_cosine, the mean cosine distance of MFCCs (see section 1.3.3), and ms_mse (modulation spectrum mean squared error (see section 2.3.3)).

[0189] 3.1.5 Listening test

[0190] Thirty participants, aged 23-46 years, took part in the experiment, which took place in a specialist listening room at Queen Mary University of London. The Queen Mary Research Ethics Committee approved the listening test, reference number QMREC2165. The test was set up using the Web Audio Evaluation Tool (Jillings et al., 2015) and participants used Beyerdynamic DT-770 PRO studio headphones.

[0191] The participants were musicians, sound engineers, or people with experience in critical listening. The listening samples were taken from the test subset, and each page of the test included a reference sound, i.e. a recording from the original analog device. The aim of the test was to identify which sound was closest to the reference sound, and participants rated six different samples according to their similarity to the reference sound.

[0192] Thus, participants were informed about which modeling task they were listening to and were asked to rate the samples from "least similar" to "most similar". This was within a scale of 0–100, which was then mapped to a scale of 0–1. The samples consisted of a dry sample as an anchor, the outputs from the four different models, and a hidden copy of the reference. The test was based on MUSHRA (Union, 2003).

[0193] 3.2 Results

[0194] A training procedure was performed for each architecture and each modeling task: the preamplifier corresponds to a vacuum tube preamplifier, the limiter corresponds to a transistor-based limiter amplifier, the horn tremolo and horn chorale correspond to the fast and slow rotating horn of a Leslie speaker, respectively, and the woofer tremolo and woofer chorale correspond to the woofer rotating at the corresponding speed. The models were then tested on samples from the test subset and the audio signal results are available online (https: / / mchijmma.github.io / DL-AFx / ).

[0195] The results of the listening test for all modeling tasks can be seen in Figure 3.1 as notched boxplots. The ends of the notches represent the 95% confidence intervals, while the ends of the boxes represent the first and third quartiles. Also, the green lines show the median ratings, while the purple circles represent outliers. In general, the medians for both anchors and hidden references are the lowest and highest, respectively. The perceptual findings are largely consistent with the objective metrics in Figure 3.1, as architectures that explicitly learn long-term dependencies, such as CRAFx and CWAFx, outperform the remaining models. Moreover, in the woofer chorale task, the latter's failed performance is also evidenced by the perceptual ratings. This indicates that the latent space Wavenet is unable to learn low-frequency modulations, such as the woofer chorale rotation rate.

[0196] For the selected test samples for the preamplifier and limiter tasks and for all the different models, Figures 3.3 and 3.4 show the input, reference and output waveforms along with their respective spectrograms. It can be observed that the waveforms and spectrograms are consistent with the objective and subjective findings, both in the time and frequency domains. To view the performance of these non-linear tasks in more detail, a portion of each waveform is shown in Figure 3.5. It can be seen how the waveform shaping from the overdriven preamplifier and the attack waveform shaping of the limiter match for the different models when processing the start of the test sample.

[0197] Regarding the Leslie speaker modeling task, Figures 3.6-3.9 show different waveforms with their respective modulation spectra and spectrograms (Figure 3.6 Horn Tremolo, Figure 3.7 Woofer Tremolo, Figure 3.8 Horn Chorale, and Figure 3.9 Woofer Chorale). From the spectra, we can see that CRAFx and CWAFx introduce amplitude and frequency modulation to match the reference, while CAFX and WaveNet fail to achieve the time-varying task.

[0198] 3.3 Discussion

[0199] Nonlinear tasks involving short-term memory - Preamplifier

[0200] Architectures designed to model nonlinear effects using short-term memory, such as CAFx and WaveNet, underperformed models that incorporated time dependencies. CRAFx and CWAFx were the top-scoring models, both objectively and perceptually. Although this task does not require long-term memory, the context input frames and latent space Recurrent and Wavenet layers from CRAFx and CWAFx, respectively, helped model the preamplifier. This improved performance may be due to temporal behavior present in tube amplifiers, such as hysteresis or attack and release timing, but additional testing of the preamplifier may be required.

[0201] Given the successful results reported in Chapter 1 and Damskagg et al. (2019), which represent the state of the art in nonlinear audio effects modeling, it is noteworthy that the performance of these architectures (CAFx and WaveNet) is surpassed by CRAFx and CWAFx. Notably, CAFx and WaveNet in Chapter 1 were trained with an input frame size of 1024 samples, which may indicate that their modeling capabilities may degrade when dealing with larger input frame sizes such as 4096 samples. Similarly, the model from Damskagg et al. (2019) contained one stack of dilated convolutions, whereas the WaveNet architecture used two.

[0202] Nevertheless, from Fig. 3.2a it can be concluded that all models are successful in realizing the modeling of the preamplifier: most of the output audio signals are only weakly distinguishable from the target corresponding audio signals, while CRAFx and CWAFx are virtually indistinguishable from real analog devices.

[0203] Time-dependent nonlinear tasks - limiters

[0204] As expected, architectures with memory achieved higher performance both objectively and subjectively, since the limiter task contains long time dependencies such as a release gate of 1100 ms. From Figure 3.4b, we can see that CAFx and WaveNet introduce high frequency information not present in the reference spectrogram. This may indicate that the models compensate for their limitations when modeling information beyond one input frame, for example the tonal characteristics of distortion due to the long release time together with the variable ratio of the limiter. Furthermore, from Figure 3.5b, we can see how each architecture models the attack behavior of the limiter.

[0205] We can conclude that while all networks closely matched the reference target, it was CRAFx and CWAFx that achieved the precise saturated waveform shaping characteristic of the audio processor. The latter is highlighted in the perceptual results in Figure 3.2b, where again, CRAFx and CWAFx are virtually indistinguishable from the reference target. Although CAFx and WaveNet are ranked lower due to their lack of long-term memory capabilities, it is noteworthy that these models closely achieved the desired waveform.

[0206] Time-varying tasks - Leslie Speaker

[0207] With regard to the horn tremolo and woofer tremolo modelling tasks, we see that for both rotating loudspeakers, CRAFx and CWAFx are highly rated, whereas CAFx and WaveNet fail to achieve these tasks. Thus, the perceptual findings from Figures 3.2c and 3.2d confirm the results obtained for the ms_mse metric, with the woofer task being, overall, matched better than the horn task. Nevertheless, in the case of CRAFx and CWAFx, the objective and subjective ratings for the horn tremolo task do not represent a significant decrease in performance, and we can conclude that both time-varying tasks were well modelled by these architectures.

[0208] CRAFx is perceptually ranked slightly higher than CWAFx, indicating a closer match of the amplitude and frequency modulation of the references, as seen in the modulation spectra and spectrograms from Figures 3.6 and 3.7, respectively.

[0209] In the modeling tasks of horn chorale and woofer chorale, CRAFx and CWAFx were successful in modeling the former, while only CRAFx achieved the woofer chorale task. Since the woofer chorale task corresponds to modulations lower than 0.8Hz, we can conclude that Bi-LSTM is more appropriate than latent space WaveNet when modeling such low-frequency modulations. Moreover, this correlates closely with the objective metrics reported in Section 2.4, where CWAFx obtained the highest mae values ​​when modeling effects based on low-frequency modulations such as vibrato.

[0210] In general, we can see in Figures 3.6 to 3.9 that the output waveforms do not match the reference waveforms, indicating that the model is not overfitting the training data waveforms and that a successful model is learning to introduce the respective amplitude and frequency modulations.

[0211] The phase of the rotated speakers varies across the dataset, which prevents the model from reproducing the exact reference waveform. For this reason, the early stopping and model selection procedures for these tasks were based on training loss rather than validation loss. This is also the reason for the high MAE scores across Leslie speaker modeling tasks, as these models do not exactly match the phase of the target data even when they apply modulation. Further implementation of a phase-invariant cost function may improve the performance of various architectures.

[0212] CAFx and WaveNet failed to achieve these time-varying tasks. Notably, both architectures try to compensate for the limitations of long-term memory with different strategies. It is suggested that CAFx erroneously introduces some amplitude modulations, whereas WaveNet tries to average the waveform envelope of the reference. This results in an output audio signal that differs significantly from the reference, with WaveNet being rated perceptually the worst in the Horn Tremolo and Horn Chorale tasks. This also explains the ms_mse results for the Woofer Chorale task from Figure 3.1, where WaveNet achieves the best score because the averaging of the target waveforms may have introduced low-frequency amplitude modulations present in the reference audio signal.

[0213] 3.4 Conclusion

[0214] This chapter presents a different deep learning architecture than Chapters 1 and 2. We test our model in modeling nonlinear effects with short-term and long-term memories, such as vacuum tube preamplifiers and transistor-based limiters, and nonlinear time-varying processors, such as the rotating horn and woofer in a Leslie speaker cabinet.

[0215] Through objective perception-based metrics and subjective listening tests, we find that architectures incorporating Bi-LSTMs, or to a lesser extent latent space dilation convolutions, to explicitly learn long time dependencies across all modeling tasks outperform the remaining models. These architectures produce results that are nearly indistinguishable from analog reference processors. Also, state-of-the-art DNN architectures for modeling nonlinear effects using short-term memory perform similarly when matching the preamplifier task and fairly approximate the limiter task, but fail when modeling the time-varying Leslie speaker task.

[0216] The nonlinear amplifier, rotating speaker, and wooden cabinet of the Leslie speaker were successfully modeled. Nevertheless, the crossover filters were bypassed in the modeling task and the dry and wet audio signals were filtered accordingly. This was due to the limited frequency bandwidth of the bass and guitar samples, and therefore, more suitable data sets such as Hammond organ recordings could have been provided for this modeling task.

[0217] Cost functions based on both time and frequency can be used to further improve the modeling capabilities of the model. Also, since the top-ranked architectures use past and subsequent context input frames, these architectures can be adapted to overcome this latency. Real-time applications would therefore benefit greatly from end-to-end DNNs with long-term memory without relying on large input frame sizes and the need for past and future context frames. Also, for time-varying modeling tasks, we can provide an end-to-end Wavenet architecture with receptive fields as large as the context input frames from CRAFx and CWAFx.

[0218] Furthermore, as shown in Damskagg et al. (2019), the model currently learns a static representation of the audio effect, so the introduction of controls as tuning inputs to the network can be studied. Finally, applications beyond virtual analog can be implemented, for example in the field of automatic mixing, where models can be trained to learn to generalize from mixing practice.

[0219] 4. Artificial reverberation modeling In this chapter, we present a deep learning architecture for modeling artificial reverberators such as plate and spring. Plate and spring reverberators are electromechanical audio processors used primarily for aesthetic reasons and characterized by their special sound quality. Modeling these reverberators remains an active area of ​​research due to their nonlinear and time-varying spatial response.

[0220] We provide a DNN's capability to learn such highly nonlinear electromechanical responses. Therefore, we propose a Convolutional Recurrent Sparse Filtering Audio Effects Modeling Network (CSAFx) based on a digital reverberator using sparse FIR (SFIR) filters, using domain knowledge from signal processing systems.

[0221] Therefore, we extend the previous architecture by incorporating a trainable FIR filter with sparsely spaced coefficients to model noise-like distributed responses such as those present in plate and spring devices. We also modify the Squeeze-and-Excitation (SE) block from CRAFX (see Section 2.1) to act as a time-varying mixing gain between direct and reflected sounds. Thus, CSAFx represents a DSP-informed DNN for modeling artificial reverberators.

[0222] Based on the results of the virtual analogue experiments in Chapter 3, we use CRAFx as a baseline model and also test its capabilities in modeling artificial reverberation. To measure performance, we conduct perceptual listening tests and also analyze how a given task is accomplished and what the model is actually learning.

[0223] Prior to this work, an end-to-end DNN for modeling artificial reverberators had not yet been implemented, i.e., learning from input / output data and applying the reverberation effect directly to the dry input audio signal. Although deep learning for dereverberation has become a highly researched area (Feng et al., 2014; Han et al., 2015), the application of artificial reverberation or modeling plate and spring reverberation has not yet been explored using DNNs.

[0224] We report that CSAFx outperforms CRAFx. Both perceptual and objective evaluations show that the proposed model successfully simulates electromechanical devices and performs better than other DNNs for modeling audio effects.

[0225] 4.1 Convolutional Recurrent and Sparse Filtering Networks - CSAFx

[0226] The model is based on CRAFx and is also fully based on time-domain input, taking raw and processed audio signals as input and output, respectively. It is divided into three parts: an adaptive front-end, a latent space, and a synthesis back-end. The block diagram is shown in Figure 4.1, the code is available online (https: / / github.com / mchijmma / modeling-plate-spring-reverb / tree / master / src), and Table A.1 shows the number of parameters and computational processing time.

[0227] The adaptive front-end is exactly the same as the one from CRAFx (see Table 2.1). It follows simultaneous distributed convolutional and pooling layers to produce a 32-channel filter bank architecture that learns a latent representation Z. Similarly, the model learns long-term memory dependencies by having an input x that contains the current audio frame x concatenated with frames around ±4. The input is represented by equation (2.1). These frames have a size of 4096 (256 ms) and are sampled with a 50% hop size.

[0228] latent space

[0229] A block diagram of the latent space can be seen in Figure 4.2 and its structure is detailed in Table 4.1. The main purpose of the latent space is to process Z into two latent representations Z1^ and Z2^. The former corresponds to a set of envelope signals, while the latter is used to generate a set of sparse FIR filters Z3^.

[0230] The latent representation Z from the front-end corresponds to 9 rows of 64 samples and 32 channels, which can be expanded into a feature map of 64 samples and 288 channels. The latent space contains two shared Bi-LSTM layers of 64 and 32 units with tanh as activation function. The output feature maps from these Bi-LSTM layers are fed into two independent Bi-LSTM layers of 16 units. Each of these layers is followed by a locally coupled SAAF as a nonlinearity, thus obtaining Z1^ and Z2^. As shown in the previous chapter, SAAF can be used as a nonlinearity or waveshaper for audio signal processing tasks.

[0231] We propose a SFIR layer that follows the constraints of the sparse pseudorandom reverberation algorithm (Valimaki et al., 2012). The reverberation reflections are modeled by an FIR filter with sparsely spaced coefficients. These coefficients are typically obtained via a pseudorandom sequence (e.g., velvet noise) based on discrete coefficient values ​​such as -1 and +1, each one of which follows an interval of Ts samples while all other samples are zero.

[0232] Nevertheless, in SFIR, instead of using discrete coefficient values, each coefficient can take any continuous value between -1 and +1. Thus, each one of the coefficients is located at a specific index position within each interval of T samples, while the remaining samples are zero.

[0233] Therefore, the SFIR layer processes Z^2 by two independent Dense layers of 1024 units each. The Dense layers are followed by tanh and sigmoid functions whose outputs are the coefficient values ​​(coeff) and their index positions (idx), respectively. To obtain a particular idx value, the output of the sigmoid function is multiplied by Ts and truncation to the nearest integer is applied. As this operation is not differentiable, we use the identity gradient as a backpass approximation (Athalye et al., 2018). To obtain a high quality reverberation, we use 2000 coefficients per second, resulting in Ts = 8 samples for a sampling rate of 16 kHz.

[0234] [Table 4.1]

[0235] [Table 4.2]

[0236] Composition Backend

[0237] The details of the synthesis backend can be seen in Figure 4.3 and Table 4.2. The backend uses the SFIR output Z3^, the envelope Z1^, and the residual connection R to synthesize a waveform to perform the reverberation task. It includes an inverse pooling layer, convolution and multiplication operations, a DNN using SAAF (DNN-SAAF), two modified Squeeze-and-Excitation blocks incorporating LSTM layers (SE-LSTM) (Hu et al., 2018), and a final convolution layer.

[0238] According to the filter bank architecture, X3^ is obtained by upsampling Z1^, and the feature map X5^ is achieved by the locally coupled convolution between R and Z3^. Similar to CRAFx, R is obtained from X1 and the current input frame x (0) This corresponds to the frequency band decomposition of X5^. X5^ is calculated using the following formula:

[0239]

number

[0240] where i denotes the ith row of the feature map, which follows a 32-channel filter bank architecture. The result of this convolution can be seen as explicitly modeling the frequency-dependent reverberation response with the input audio signal. Furthermore, due to the time-dependence learned by Bi-LSTM, X5^ can represent the late reflections in the reverberation task from the onset response.

[0241] The feature map X2^ is then the result of an element-wise multiplication of the reverberation response X5^ and the learned envelope X3^. The envelope is applied to avoid audible artifacts between input frames (Jarvelainen and Karjalainen, 2007).

[0242]

number

[0243] Next, the waveform shaping nonlinearity from the DNN-SAAF block is applied to R, resulting in a feature map X^4. The result of this operation contains the learned nonlinear transformation or waveform shaping of the direct sound (see Section 1.1). As used in CRAFx, the DNN-SAAF block contains four Dense layers of 32, 16, 16, and 32 hidden units, respectively. Each Dense layer uses tanh as the nonlinearity, except for the last layer, which uses a SAAF layer.

[0244] We propose SE-LSTM blocks that act as time-varying gains for X4^ and X2^. Because the SE blocks explicitly and adaptively scale the channel-wise information of the feature maps (Hu et al., 2018), we incorporate LSTM layers into the SE architecture to include long-term context from the input. Each SE-LSTM is based on the SE blocks from Section 2.1, which in turn is based on the architecture from (Kim et al., 2018).

[0245] The SE-LSTM block contains absolute value and global average pooling operations followed by one LSTM and two Dense layers of 32, 512, and 32 hidden units, respectively. The LSTM and the first Dense layer are followed by ReLu, and the last Dense layer uses a sigmoid activation function. As shown in Figure 4.3, each SE-LSTM block processes its respective feature maps X4^ and X2^, thus applying frequency-dependent time-varying mixing gains se1 and se2. The resulting feature maps X1.1^ and X1.2^ are added together to obtain X0^.

[0246]

number

[0247] As in previous deep learning architectures, the last layer corresponds to a deconvolution operation, which is untrainable since its filters are the transposed weights of the first convolutional layer. The complete waveform is synthesized using a Hann window and a constant overlap-add gain. As shown in previous CEQ, CAFx, CRAFx, and CWAFx architectures, all convolutions are along the time dimension and all strides are of unit value. We use the same padding for each convolutional layer and no dilation is incorporated.

[0248] Overall, each SAAF is locally connected, each function contains 25 intervals between -1 and +1, and the Dropout rate and Recurrent Dropout rate of each Bi-LSTM and LSTM are 0.1.

[0249] 4.2 Experiments

[0250] 4.2.1 Training

[0251] We follow the same pre-training initialization step as CRAFx: as soon as the front-end and back-end convolutional layers are initialized, latent space Bi-LSTM, SFIR, DNN-SAAF, and SE-LSTM blocks are incorporated into the model, and all weights are jointly trained based on the reverberation task.

[0252] The loss function to be minimized is based on time and frequency and is given by:

[0253]

number

[0254] where MAE is the mean absolute error and MSE is the mean squared error. Y and Y^ are the logarithmic power magnitude spectra of the target and output, respectively, and y and y^ are their respective waveforms. Before calculating the MAE, the following pre-emphasis filter is applied to y and y^:

[0255]

number

[0256] As shown in Damskagg et al. (2019), H(z) is a high-pass filter that we apply to add more weight to high frequencies. We use a 4096-point FFT to obtain Y and Y^. We use 1.0 and 1e-4 as loss weights α1 and α2, respectively, to scale the time and frequency losses. Explicit minimization in the frequency and time domains became crucial when modeling such complex reverberation responses. Incorporating a pre-emphasis filter and a logarithmic power spectrum in the time and frequency domains, respectively, further emphasizes attention to high frequencies.

[0257] For both training steps, Adam (Kingma and Ba, 2015) is used as the optimizer, with the same early stopping procedure as in Section 4.2.1. If there is no improvement in the validation loss, we use patience for 25 epochs. Similarly, the learning rate is then reduced by 25% and the model is further fine-tuned with a patience value of 25 epochs. The initial learning rate is 1e-4 and the batch size includes the total number of frames per audio sample. We select the model with the smallest error on the validation subset.

[0258] 4.2.2 Dataset

[0259] The plate reverbs are taken from the IDMT-SMT-Audio-Effects dataset (Stein et al., 2010), which correspond to individual 2-second tones and cover the common pitch range of a variety of electric and bass guitars. Raw and plate reverb sounds from bass guitar recordings are used. The spring reverb samples are obtained by processing raw electric guitar audio signal samples with an Accutronics 4EB2C1B spring reverb tank. Notably, the plate reverb samples correspond to a VST audio plugin, while the spring reverb samples are recorded using an analog reverb tank based on two springs arranged in parallel.

[0260] For each reverb task, we used 624 raw and effected sounds, with both test and validation samples representing 5% of this subset, respectively. Recordings were downsampled to 16kHz and amplitude normalization was applied. Also, the plate reverb samples had a fade-out applied during the last 0.5 seconds of recording, so we process the spring reverb samples accordingly. The dataset is available online (https: / / zenodo.org / record / 3746119).

[0261] [Table 4.3]

[0262] 4.2.3 Evaluation

[0263] Two objective metrics are used when testing models on various modeling tasks: mae (mean absolute error normalized by energy) and mfcc_cosine (mean cosine distance of MFCCs) (see Section 1.3.3).

[0264] As described in section 3.1.5, a perceptual listening test was also conducted to measure the performance of the model. Thirty participants completed the test, which took place in a specialist listening room at Queen Mary University of London. Subjects were musicians, sound engineers or people with critical listening experience. The audio signal was played through Beyerdynamic DT-770 PRO studio headphones and the test was set up using the Web Audio Assessment Tool (Jillings et al., 2015).

[0265] Participants were presented with samples from the test subset. Each page contained a reference sound, i.e. a sound from the original plate or spring reverb. Participants were asked to rate the four different samples according to their similarity to the reference sound. The aim of the test was to identify which sound was closer to the reference. Thus, the test was based on the MUSHRA method (Union, 2003). The samples consisted of the outputs from CSAFx, CRAFx, a hidden copy of the reference, and a dry sample as a hidden anchor.

[0266] 4.3 Results and Analysis

[0267] To compare CSAFx's reverberation modeling capabilities, we use CRAFx as a baseline, which has been proven to be capable of modeling complex electromechanical devices with long-term memory and low-frequency modulation, such as Leslie speakers (see Chapter 3). The latter presents an architecture similar to CSAFx, but its latent space and backend are designed to explicitly learn and apply amplitude and frequency modulation to match time-varying audio effects. Both models were trained with the same procedure and tested on samples from the test dataset and audio signals. Results are available online (https: / / mchijmma.github.io / modeling-plate-spring-reverb / ).

[0268] Table 4.4 shows the corresponding loss values ​​from equation (4.6). The proposed model outperforms CRAFx in both tasks. Notably, for plate reverb, the average mae and mfcc_cosine values ​​between the input and target waveforms are 0.16 and 0.15, respectively. We find that both models perform similarly well in terms of mae, with CRAFx achieving better results. Nevertheless, in terms of mfcc_cosine, the values ​​obtained by CRAFx indicate that, perceptually, the dry sound is closer to the target than the output from this model.

[0269] For the spring reverb task, the average mae and mfcc_cosine values ​​between the input and target waveforms are 0.22 and 0.34, respectively. Similarly, a similar match is observed for the waveforms, which is based on the improved mae values. Furthermore, based on the mfcc_cosine results, it can be seen that only CSAFx can improve the values ​​of the dry recordings. The latter is further supported by the average MSE values ​​between the input and target waveforms, which are 9.64 and 41.29, respectively, for both the plate reverb task and the spring reverb task.

[0270] The results of the listening test can be seen in the notched boxplots in Figure 4.5. The box ends represent the first and third quartiles, the notch ends represent the 95% confidence interval, the green line represents the median score, and the circles represent the outliers. As expected, both the anchor and the reference have the lowest and highest median scores, respectively. We can see that in both the plate reverb and spring reverb tasks, the CSAFx is rated highly, while the CRAFx fails the reverb task.

[0271] Thus, the perceptual findings confirm the results obtained with the loss, mae, and mfcc_cosine metrics, and similarly, the plate model is a better match than the spring reverberator. These results are due to the fact that the plate reverb samples correspond to a digital emulation of a plate reverberator, whereas the spring reverb samples correspond to an analog reverb tank. Thus, as expected, the spring reverb samples represent a much more difficult task to model. Moreover, even though the perceptual ratings and objective metric values ​​for the springs do not represent a significant decrease in performance, modeling of the late reflections of springs could be further provided via more filters, different loss weights, or input frame sizes.

[0272] Overall, the initial onset response is modeled more accurately, but as mentioned before, the late reflections are more noticeably different for the springs that show higher losses in all models. The models introduce specific reflections not present in the input waveform that closely match the reflections of the respective targets. Also, CRAFx is not able to match the high frequencies of the targets, which is in line with the reported objective and perceptual scores. In the case of CSAFx, the time and frequency domain differences related to the targets also correspond to the obtained loss values.

[0273] 4.4 Conclusion

[0274] This chapter presents CSAFx, a signal processing-informed deep learning architecture for modeling artificial reverberators.

[0275] In this architecture, we proposed an SFIR layer, and therefore investigated the DNN's ability to learn the coefficients of sparse FIR filters. Similarly, we introduced an SE-LSTM block to enable the DNN to learn the time-varying mixing gains used by CSAFx to dynamically mix the direct sound and each of the reflected sounds. Thus, we introduce a more explainable network that outperforms previous RNN-based models.

[0276] The deep learning architecture has the potential to emulate plate and spring reverberators, and we measure the performance of the models through listening tests, showing that CSAFx closely matches the characteristic noise-like variance response of these nonlinear and time-varying audio processors.

[0277] The results of the listening tests and the perception-based metrics show that the model closely emulates an electromechanical reverberator and also achieves higher scores than CRAFx. The latter corresponds to an audio effects modeling network that has been proven in the previous chapter to be superior to several DNNs for black-box modeling of audio effects. It can therefore be concluded that the results obtained by CSAFx are remarkable and that the proposed architecture represents the state of the art of deep learning for black-box modeling of artificial reverberators. From Table A.1, the computational processing times on both GPU and CPU are significantly higher for CSAFx. These times were calculated using a non-optimized Python implementation in real time, so this higher computational cost could be due to the inclusion of non-optimized custom layers (e.g., SFIR) in CSAFx within a differentiable programming library such as Tensorflow.

[0278] An additional systematic comparison between the proposed DNN and current analytical approaches for modeling plate and spring reverberation (e.g., numerical simulation or modal approaches) is also provided, and modeling a real electromechanical plate reverb may improve the performance of CSAFx when modeling plate and spring reverberators.

[0279] The plate and spring reverb samples have a fade-out applied to the last half a second of the recording so that modelling of longer decay times and late reflections can also be implemented. Parametric models can be provided by including the respective controls as new input training data.

[0280] Similarly, the architecture can be further tested by modeling vintage digital reverberators or via convolution-based reverb applications, the latter of which brings applications in the fields of sound spatialization and room acoustics modeling.

[0281] Parametric models can also be achieved with each of the models and architectures disclosed herein, since the models have learned a static representation of each audio effect modeling task. Thus, the parameter behavior of an effect unit can be modeled by including each control as new input training data. This can also be extended to "presets" or sets of controls.

[0282] The proposed model can work via offline or real-time implementation. As the processing times are already close to real-time time constraints, real-time models can be obtained, for example, via C++ optimizations. Causal models, i.e. models that do not use subsequent context frames, can also be implemented. This is due to the proposed architecture that uses both past and subsequent context input frames. Implementing causal models that use shorter input frame sizes could pave the way for low-latency and real-time implementations.

[0283] The weights learned by the latent space DNN can be optimized using analysis of the filters learned by the front-end convolutional layers.

[0284] The weights learned by the latent space DNN with front-end convolutional layers can be modified during inference to change how the input audio signal is transformed, thus enabling new transformations that are not possible using typical analog or digital audio processors. This can be used as a new set of controls for deep learning based effects.

[0285] The proposed architecture can be used to model other types of audio processors. For example, echo-based audio effects with long time dependencies, such as feedback delays, slapback delays, or tape-based delays. Although the proposed architecture is designed to model time-varying audio effects driven by low-frequency modulator signals or envelopes, modeling stochastic effects, i.e. audio processors driven by noise, can also be obtained. For example, a noise generator can be included in the synthesis backend of these networks that can be scaled via SE or SE-LSTM layers. Also, dynamic equalizers that apply different EQ curves based on the input signal level can be modeled with the CRAFx or CWAFx architectures.

[0286] Entirely different kinds of effects can also be provided, including audio morphing, timbre transformation, time-frequency processors (e.g., phase vocoder effects), time-segment processors (e.g., time stretching, pitch shifting, time shuffling, and granulation), spatial audio effects (e.g., modeling 3D loudspeaker setups or room acoustics), and non-causal effects (e.g., audio processors with "look-ahead" settings).

[0287] Adaptive digital audio effects can also be implemented, where low-level perceptual features are extracted and mapped for the implementation of a cross-channel adaptation system. Given an adaptive audio effects task, this mapping of sound features to control the parameters of other processors can be provided by jointly training the various proposed architectures. These architectures can be used for style learning tasks, where based on a target sound affected with a set of audio effects, the model learns to replicate the same transformations to another input audio signal.

[0288] A possible application of these architectures is in the field of automatic mixing and mastering. Automatic linear and non-linear processing can be implemented for automatic mixing tasks such as automatic EQ, compression, reverb, etc. Furthermore, style learning of a particular sound engineer can be implemented, where the network is trained on several tracks mixed by the sound engineer and finds generalization from the engineer's mixing practices. Automatic post-production of specific instruments across one or several genres can also be learned and implemented by the model.

[0289] The embodiments include numerous modifications and variations of the techniques described above.

[0290] Applications other than audio effect modeling and intelligent music production (e.g. signal restoration methods such as distortion removal, noise reduction, dereverberation, etc.) can also be implemented.

[0291] The flow charts and their descriptions herein should not be understood as prescribing a fixed order of performing the method steps described therein. Rather, the method steps may be performed in any order in which they are practicable. Although the present invention has been described in connection with certain exemplary embodiments, it should be understood that various changes, substitutions, and alterations apparent to those skilled in the art may be made to the disclosed embodiments without departing from the spirit and scope of the invention, as set forth in the appended claims.

[0292] The methods and processes described herein can be embodied as code (e.g., software code) and / or data. Such code and data can be stored on one or more computer-readable media, which can include any device or medium capable of storing code and / or data used by a computer system. When a computer system reads and executes the code and / or data stored on a computer-readable medium, the computer system executes the methods and processes embodied as data structures and code stored in a computer-readable storage medium. In certain embodiments, one or more of the steps of the methods and processes described herein can be executed by a processor (e.g., a processor of a computer system or a data storage system). Those skilled in the art should understand that computer-readable media includes removable and non-removable structures / devices that can be used to store information, such as computer-readable instructions, data structures, program modules, and other data used by a computing system / environment. Computer readable media include, but are not limited to, volatile memory (e.g., random access memory (RAM, DRAM, SRAM)), non-volatile memory (e.g., flash memory, various read only memories (ROM, PROM, EPROM, EEPROM), magnetic and ferromagnetic / ferroelectric memories (MRAM, FeRAM), phase change memory, magnetic and optical storage devices (hard drives, magnetic tape, CDs, DVDs)), network devices, or any other medium now known or hereafter developed that can store computer readable information / data. Computer readable media should not be interpreted or described as including any propagating signals.

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[0467] acronym AI: Artificial Intelligence BBD: Bucket Brigade Delay Bi-LSTM: Bidirectional Long Short-Term Memory CNN: Convolutional Neural Network CAFx: Convolutional audio effects modeling network CEQ: Convolutional EQ modeling network CRAFx: Convolutional Recurrent audio effects modeling network CWAFx: Convolutional and WaveNet audio effects modeling network CSAFx: Convolutional Recurrent Sparse filtering audio effects modeling network CPU: Central Processing Unit dBFS: Decibels Relative to Full Scale DCT Discrete Cosine Transform DNN Deep Neural Network DRC; Dynamic Range Compression DSP: Digital Signal Processing EQ: Equalization ERB: Equivalent Rectangular Bandwidth FIR: Finite Impulse Response FC: Fully Connected FFT: Fast Fourier Transform FX: Effects GPU: Graphics Processing Unit IIR: Infinite Impulse Response JFET: Junction Field Effect Transistor KL: Kullback-Leibler divergence LC: Locally Connected TI: Linear Time Invariant LSTM: Long Short-Term Memory MAE: Mean Absolute Error MFCC: Mel-Frequency Cepstral Coefficients MSE: Mean Squared Error OTA: Operational Transconductance Amplifier ReLU: Rectifier Linear Unit RNN: Recurrent Neural Network SAAF: Smooth Adaptive Activation Function SFIR: Sparse FIR SGD: Stochastic Gradient Descent STFT: Short-Time Fourier Transform VST: Virtual Studio Technology WaveNet: Feedforward Wavenet audio effects modeling network WDF: Wave Digital Filter

[0468] Appendix A - Computational Complexity Computational times were calculated on a Titan XP GPU and an Intel Xeon E5-2620 CPU, using input frames of size 4096, sampled with a hop size of 2048 samples, which corresponds to the time it takes the model to process one batch (i.e., the total number of frames in 2 seconds of audio samples). GPU and CPU times are reported using a non-real-time optimized Python implementation. Table A.1 shows the number of trainable parameters and processing times across all models.

[0469] [Table A.1]

Claims

1. 1. A computer-implemented method for processing audio signal data, comprising the steps of: receiving input audio signal data (x) comprising a time series of amplitude values; converting the input audio signal data (x) into an input frequency band decomposition (X1) of the input audio signal data (x); converting the input frequency band decomposition (X1) into a first latent representation (Z); processing the first latent representation (Z) with a first deep neural network to obtain a second latent representation (Z, Z); transforming the second latent representation (Z, Z) to obtain a discrete approximation (X); element-wise multiplication of the discrete approximation (X^3) with a residual feature map (R,X^5) to obtain a modified feature map, the residual feature map (R,X^5) being derived from the input frequency band decomposition (X^1); processing the pre-shaped frequency band decomposition by a waveform shaping unit to obtain a waveform-shaped frequency band decomposition (X1^, X1.2^), the pre-shaped frequency band decomposition being derived from the input frequency band decomposition (X1), the waveform shaping unit including a second deep neural network; summing the shaped frequency band decomposition (X1^, X1.2^) and a modified frequency band decomposition (X2^, X1.1^) to obtain a sum output (X0^), the modified frequency band decomposition (X2^, X1.1^) being derived from the modified feature map; and transforming the sum output (X0̂) to obtain target audio signal data (ŷ). A computer-implemented method for processing audio signal data.

2. 2. The method of claim 1, wherein transforming the input audio signal data (x) into the input frequency band decomposition (X1) comprises convolving the input audio signal data (x) with a kernel matrix (W1).

3. 3. The method of claim 2, wherein transforming the sum output (X0^) to obtain the target audio signal data (y^) comprises convolving the sum output (X0^) with a transpose (W1T) of the kernel matrix.

4. 4. The method of claim 1, wherein the step of converting the input frequency band decomposition (X1) into the first latent representation (Z) comprises the steps of locally jointly convolving absolute values ​​(|X1|) of the input frequency band decomposition (X1) with a weight matrix (W2) to obtain a feature map (X2), and max pooling the feature map (X2) to obtain the first latent representation (Z).

5. The method of claim 1 , wherein the waveform shaping unit further comprises a locally connected Smooth Adaptive activation function layer following the second deep neural network.

6. The method of claim 5 , wherein the waveform shaping unit further comprises a first Squeeze-and-Excitation layer following the locally coupled Smooth Adaptive activation function layer.

7. At least one of the shaped frequency band decompositions (X1^, X1.2^) and the modified frequency band decompositions (X2^, X1.1^) is fed to the sum output (X0^). The method of any one of claims 1 to 6, wherein the signals are scaled by gain factors (se, se1, se2) before summing to generate

8. 5. The method of claim 4, wherein each of the kernel matrix (W1) and the weighting matrix (W2) comprises less than 128 filters, optionally less than 32 filters, optionally less than 8 filters.

9. 9. The method of claim 1, wherein the second deep neural network comprises first to fourth Dense layers optionally comprising 32, 16, 16, and 32 hidden units, respectively, and optionally each of the first to third Dense layers of the second deep neural network is followed by a tanh function.

10. The method of claim 6 , wherein in the waveform shaping unit, the first squeeze-and-excitation layer includes an absolute value layer preceding a global average pooling operation.

11. passing the input frequency band decomposition (X1) as the residual feature map (R); passing the modified feature map as the pre-shaped frequency band decomposition; and passing the modified feature map as the modified frequency band decomposition (X^2, X^1.1). The method according to any one of claims 1 to 10.

12. 12. The method of claim 11, wherein the first deep neural network includes multiple bidirectional long short-term memory layers, optionally followed by a Smooth Adaptive activation function layer.

13. The method of claim 12 , wherein the multiple bidirectional long short-term memory layers include first, second, and third bidirectional long short-term memory layers, optionally including 64, 32, and 16 units, respectively.

14. 14. The method of claim 12 or 13, wherein the multiple bidirectional long short-term memory layers are followed by multiple Smooth Adaptive activation function layers, each optionally configured with 25 intervals between -1 and +1.

15. 13. The method of claim 12, wherein the first deep neural network comprises a feedforward WaveNet including multiple layers, optionally a final layer of the feedforward WaveNet being a fully connected layer.

16. the first deep neural network includes a plurality of shared bidirectional long short-term memory layers followed in parallel by first and second independent bidirectional long short-term memory layers; the second latent representation (Z^) is derived from an output of the first independent bidirectional long short-term memory layer; In the waveform shaping unit, the first squeeze-and-excitation layer further includes a long short-term memory layer; The method comprises: passing said input frequency band decomposition (X1) as said pre-shaped frequency band decomposition; processing the first latent representation (Z) using the second independent bidirectional long short-term memory layer to obtain a third latent representation (Z^); processing the third latent representation (Ẑ2) using a sparse finite impulse response layer to obtain a fourth latent representation (Ẑ3); convolving the input frequency band decomposition (X1) with the fourth latent representation (Z3̂) to obtain the residual feature map (X5̂); and processing the modified feature map by a second squeeze-and-excitation layer including a long short-term memory layer to obtain the modified frequency band decomposition (X^2, X^1.1). The method according to claim 6 or 10.

17. 17. The method of claim 16, wherein the multiple shared bidirectional long short-term memory layers include first and second shared bidirectional long short-term memory layers optionally comprising 64 units and 32 units, respectively, and optionally each of the first and second shared bidirectional long short-term memory layers having a tanh activation function.

18. 18. The method of claim 16 or 17, wherein each of the first and second independent bidirectional long short-term memory layers comprises 16 units, and optionally each of the first and second independent bidirectional long short-term memory layers comprises a locally-connected Smooth Adaptive activation function.

19. The sparse finite impulse response layer first and second independent Dense layers that take the third latent representation (Z^2) as input; a sparse tensor that takes as input the outputs of each of the first and second independent Dense layers, the output of the sparse tensor being the fourth latent representation (Z^3); Optionally, the first and second independent Dense layers each include a tanh function and a sigmoid function. The method according to any one of claims 16 to 18.

20. The method of any one of claims 2 to 4 and 16, wherein all the convolutions are along the time dimension and have a stride of unit value.

21. 21. The method of any one of claims 1 to 14 and 16 to 20, wherein at least one of the deep neural networks is trained in response to data representing one or more audio effects selected from the group including: tube amplifier, distortion, speaker amplifier, ladder filter, power amplifier, equalization, equalization and distortion, compressor, ring modulator, phaser, modulation based on operational transconductance amplifier, flanger using bucket brigade delay, modulation using bucket brigade delay, Leslie speaker horn, Leslie speaker horn and woofer, flanger and chorus, modulation base, modulation base and compressor, plate and spring reverb, echo, feedback delay, slapback delay, tape based delay, noise driven stochastic effects, dynamic equalization based on input signal level, audio morphing, timbre transformation, phase vocoder, time warping, pitch shifting, time shuffle, granulation, 3D loudspeaker setup modeling, and room acoustics.

22. A computer program comprising instructions which, when said program is executed by a computer, cause said computer to carry out the method according to claims 1 to 21.

23. 23. A computer readable storage medium containing a computer program according to claim 22.

24. Audio signal data processing apparatus including a processor configured to carry out the method according to any one of claims 1 to 21.

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