Modern speech enhancement (SE) networks typically implement noise suppression through time-frequency masking, latent representation masking, or discriminative signal prediction. In contrast, some recent works explore SE via generative speech synthesis, where the system's output is synthesized by a neural vocoder after an inherently lossy feature-denoising step. In this paper, we propose a denoising vocoder (DeVo) approach, where a vocoder accepts noisy representations and learns to directly synthesize clean speech. We leverage rich representations from self-supervised learning (SSL) speech models to discover relevant features. We conduct a candidate search across 15 potential SSL front-ends and subsequently train our vocoder adversarially with the best SSL configuration. Additionally, we demonstrate a causal version capable of running on streaming audio with 10ms latency and minimal performance degradation. Finally, we conduct both objective evaluations and subjective listening studies to show our system improves objective metrics and outperforms an existing state-of-the-art SE model subjectively.

Modern speech enhancement algorithms achieve remarkable noise suppression by means of large recurrent neural networks (RNNs). However, large RNNs limit practical deployment in hearing aid hardware (HW) form-factors, which are battery powered and run on resource-constrained microcontroller units (MCUs) with limited memory capacity and compute capability. In this work, we use model compression techniques to bridge this gap. We define the constraints imposed on the RNN by the HW and describe a method to satisfy them. Although model compression techniques are an active area of research, we are the first to demonstrate their efficacy for RNN speech enhancement, using pruning and integer quantization of weights/activations. We also demonstrate state update skipping, which reduces the computational load. Finally, we conduct a perceptual evaluation of the compressed models to verify audio quality on human raters. Results show a reduction in model size and operations of 11.9$\times$ and 2.9$\times$, respectively, over the baseline for compressed models, without a statistical difference in listening preference and only exhibiting a loss of 0.55dB SDR. Our model achieves a computational latency of 2.39ms, well within the 10ms target and 351$\times$ better than previous work.

Generating music has a few notable differences from generating images and videos. First, music is an art of time, necessitating a temporal model. Second, music is usually composed of multiple instruments/tracks with their own temporal dynamics, but collectively they unfold over time interdependently. Lastly, musical notes are often grouped into chords, arpeggios or melodies in polyphonic music, and thereby introducing a chronological ordering of notes is not naturally suitable. In this paper, we propose three models for symbolic multi-track music generation under the framework of generative adversarial networks (GANs). The three models, which differ in the underlying assumptions and accordingly the network architectures, are referred to as the jamming model, the composer model and the hybrid model. We trained the proposed models on a dataset of over one hundred thousand bars of rock music and applied them to generate piano-rolls of five tracks: bass, drums, guitar, piano and strings. A few intra-track and inter-track objective metrics are also proposed to evaluate the generative results, in addition to a subjective user study. We show that our models can generate coherent music of four bars right from scratch (i.e. without human inputs). We also extend our models to human-AI cooperative music generation: given a specific track composed by human, we can generate four additional tracks to accompany it. All code, the dataset and the rendered audio samples are available at https://salu133445.github.io/musegan/.

Generating music has a few notable differences from generating images and videos. First, music is an art of time, necessitating a temporal model. Second, music is usually composed of multiple instruments/tracks with their own temporal dynamics, but collectively they unfold over time interdependently. Lastly, musical notes are often grouped into chords, arpeggios or melodies in polyphonic music, and thereby introducing a chronological ordering of notes is not naturally suitable. In this paper, we propose three models for symbolic multi-track music generation under the framework of generative adversarial networks (GANs). The three models, which differ in the underlying assumptions and accordingly the network architectures, are referred to as the jamming model, the composer model and the hybrid model. We trained the proposed models on a dataset of over one hundred thousand bars of rock music and applied them to generate piano-rolls of five tracks: bass, drums, guitar, piano and strings. A few intra-track and inter-track objective metrics are also proposed to evaluate the generative results, in addition to a subjective user study. We show that our models can generate coherent music of four bars right from scratch (i.e. without human inputs). We also extend our models to human-AI cooperative music generation: given a specific track composed by human, we can generate four additional tracks to accompany it. All code, the dataset and the rendered audio samples are available at https://salu133445.github.io/musegan/ .

Being able to predict whether a song can be a hit has impor- tant applications in the music industry. Although it is true that the popularity of a song can be greatly affected by exter- nal factors such as social and commercial influences, to which degree audio features computed from musical signals (whom we regard as internal factors) can predict song popularity is an interesting research question on its own. Motivated by the recent success of deep learning techniques, we attempt to ex- tend previous work on hit song prediction by jointly learning the audio features and prediction models using deep learning. Specifically, we experiment with a convolutional neural net- work model that takes the primitive mel-spectrogram as the input for feature learning, a more advanced JYnet model that uses an external song dataset for supervised pre-training and auto-tagging, and the combination of these two models. We also consider the inception model to characterize audio infor- mation in different scales. Our experiments suggest that deep structures are indeed more accurate than shallow structures in predicting the popularity of either Chinese or Western Pop songs in Taiwan. We also use the tags predicted by JYnet to gain insights into the result of different models.