Multiple pitch identification using cochlear-like frequency capture and harmonic grouping

Abstract

This work addresses the problem of identifying multiple fundamental frequencies in an acoustic signal. An auditoryinspired peripheral signal processing model is proposed that functions in a manner more like a bank of FM receivers rather than a traditional filterbank. Such receivers lock on to a strong signal (synchrony capture, frequency capture) even in the presence of nearby only slightly weaker signal components. Once the individual signal components are resolved, the model subjects them to an instantaneous nonlinearity and then performs harmonic grouping by cross correlating the isolated components. After the harmonically-related components are grouped, their pitches are computed using a standard summary autocorrelation approach.

Improved Auditory-Inspired Signal Processing Algorithm Design for Tracking Multiple Frequency Components

“…Thus, the FDL weight ( ) decreases with increasing frequency, and on the other hand, the PLL weight ( 1 − ) increases. To compute the total feedback error, these weights are multiplied by 8,16,18,20,36 for the different frequency ranges listed in Table 1. The ratios of these scale factors are 1, 2, 2.25, 2.5, 4.5; this increasing trend of the ratios loosely follows the increase in the ratio of the average bandwidths in the respective frequency ranges.…”

“…Methods for estimating the instantaneous frequency (IF) of signal components have been extensively studied for many years. Some examples include tracking carrier frequencies in digital and analog communication systems [6], tracking frequency components and fundamental frequencies in underwater acoustics, heart rate measurements, speech, and music [1,12,[18][19][20]. Some of these IF estimation methods are: (1) Computing the rate of zero crossings of the signal component.…”

Double pitch marks in diplophonic voice

“…Pitch measurement has been discussed recently [5][6][7]. PMs in voice and speech denote time instances of peak phonatory excitation.…”