Perceptual audio modeling with exponentially damped sinusoids

Hermus, Kris; Verhelst, Werner; Lemmerling, Philippe; Wambacq, Patrick; Huffel, Sabine Van

doi:10.1016/j.sigpro.2004.09.010

Cited by 37 publications

(22 citation statements)

References 9 publications

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“…The estimation of parameters for EDS uses ESPRIT with a rectangular window for analysis and OLA resynthesis [36]. Parameter estimation in eaQHM used a Hann window for analysis and additive resynthesis following Equation (11). In all experiments, ε in Equation (12) is set to 0.01 and f s = 16 kHz for all sounds.…”

Section: Analysis Parametersmentioning

confidence: 99%

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Full-Band Quasi-Harmonic Analysis and Synthesis of Musical Instrument Sounds with Adaptive Sinusoids

et al. 2016

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Abstract:Sinusoids are widely used to represent the oscillatory modes of musical instrument sounds in both analysis and synthesis. However, musical instrument sounds feature transients and instrumental noise that are poorly modeled with quasi-stationary sinusoids, requiring spectral decomposition and further dedicated modeling. In this work, we propose a full-band representation that fits sinusoids across the entire spectrum. We use the extended adaptive Quasi-Harmonic Model (eaQHM) to iteratively estimate amplitude-and frequency-modulated (AM-FM) sinusoids able to capture challenging features such as sharp attacks, transients, and instrumental noise. We use the signal-to-reconstruction-error ratio (SRER) as the objective measure for the analysis and synthesis of 89 musical instrument sounds from different instrumental families. We compare against quasi-stationary sinusoids and exponentially damped sinusoids. First, we show that the SRER increases with adaptation in eaQHM. Then, we show that full-band modeling with eaQHM captures partials at the higher frequency end of the spectrum that are neglected by spectral decomposition. Finally, we demonstrate that a frame size equal to three periods of the fundamental frequency results in the highest SRER with AM-FM sinusoids from eaQHM. A listening test confirmed that the musical instrument sounds resynthesized from full-band analysis with eaQHM are virtually perceptually indistinguishable from the original recordings.

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Section: Analysis Parametersmentioning

confidence: 99%

“…EDS are widely used to represent musical instrument sounds [11,36,37]. EDS are sinusoids with stationary (i.e., constant) frequencies modulated in amplitude by an exponential function.…”

Section: Introductionmentioning

confidence: 99%

Full-Band Quasi-Harmonic Analysis and Synthesis of Musical Instrument Sounds with Adaptive Sinusoids

et al. 2016

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“…1) Classical EDS model: Actually, the most efficient schemes for EDS parameter estimation are subspace methods [12], [14], [15], [18]. These methods are well known for their good spectral properties, and as explained in section IV-A, fast implementations have a lower complexity than fast Matching Pursuit.…”

Section: Estimation Of the Parametersmentioning

confidence: 99%

“…In other words, for a given number of components, only the most perceptually significant ones should be selected. Two different approaches have been proposed [14], [15], but they are not fully compatible with parametric audio coding requirements. Third, as explained in [16], the time-envelopes resulting for the synthesis with an EDS model are not smooth, and smoothness is desirable in the context of audio coding in order to avoid discontinuities at time-segment boundaries.…”

Section: Introductionmentioning

confidence: 99%

Parametric Audio Coding With Exponentially Damped Sinusoids

Derrien

Badeau

Richard

2013

IEEE Trans. Audio Speech Lang. Process.

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Abstract-Sinusoidal modeling is one of the most popular techniques for low bitrate audio coding. Usually, the sinusoidal parameters (amplitude, pulsation and phase of each sinusoidal component) are kept constant within a time segment. An alternative model, the so-called Exponentially-Damped Sinusoidal (EDS) model, includes an additional damping parameter for each sinusoidal component to better represent the signal characteristics. It was however never shown that the EDS model could be efficient for perceptual audio coding. To that aim, we propose in this paper an efficient analysis/synthesis framework with dynamic timesegmentation on transients and psychoacoustic modeling, and an asymptotically optimal entropy-constrained quantization method for the four sinusoid parameters (e.g including damping). We then apply this coding technique to real audio excerpts for a given entropy target corresponding to a low bitrate (20 kbits/s), and compare this method with a classical sinusoidal coding scheme using a constant-amplitude sinusoidal model and the perceptually weighted Matching Pursuit algorithm. Subjective listening tests show that the EDS model is more efficient on audio samples with fast transient content, and similar to the classical model for more stationary audio samples.

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“…This is based on the observation that transient components of a signal show the same behavior in the frequency domain as sinusoidal components in the time domain. Methods using exponentially damped sinusoids to model transient events more accurately have been proposed by (Nieuwenhuijse et al, 1998;Boyer and Essid, 2002;Hermus et al, 2005). Meillier and Chaigne (Meillier and Chaigne, 1991) applied an autoregressive model which improved the spectral analysis of percussive sounds compared to the standard FFT approach.…”

Section: Introductionmentioning

confidence: 99%

TIME DOMAIN ATTACK AND RELEASE MODELING - Applied to Spectral Domain Sound Synthesis

Kreutzer

Walker

O’Neill

2008

Proceedings of the International Conference on Signal Processing and Multimedia Applications

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Abstract:We introduce a time-domain model for the synthesis of attack and release parts of musical sounds. This approach is an extension of a spectral synthesis model we developed: the Reduced Parameter Synthesis Model (RPSM). The attack and release model is independent from a preceding spectral analysis as it is based on the time domain sustain part of the sound. The model has been tested with linear and polynomial shaping functions and produces good results for three different instruments. The time-domain approach overcomes the problem of synthesis artifacts that often occur when using spectral analysis/synthesis methods for sounds with transient events. Moreover, the model can be combined with any synthesis model of the sustain part and offers the possibility to determine the duration of the attack and release parts of the sound.

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Perceptual audio modeling with exponentially damped sinusoids

Cited by 37 publications

References 9 publications

Full-Band Quasi-Harmonic Analysis and Synthesis of Musical Instrument Sounds with Adaptive Sinusoids

Full-Band Quasi-Harmonic Analysis and Synthesis of Musical Instrument Sounds with Adaptive Sinusoids

Parametric Audio Coding With Exponentially Damped Sinusoids

TIME DOMAIN ATTACK AND RELEASE MODELING - Applied to Spectral Domain Sound Synthesis

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