Score-informed source separation for multichannel orchestral recordings
This paper proposes a system for score-informed audio source separation for multichannel orchestral recordings. The orchestral music repertoire relies on the existence of scores. Thus, a reliable separation requires a good alignment of the score with the audio of the performance. To that extent, aut...
| Autores: | , , , , |
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| Tipo de documento: | artigo |
| Estado: | Versão publicada |
| Data de publicação: | 2016 |
| País: | España |
| Recursos: | Universitat Pompeu Fabra |
| Repositório: | Repositorio Digital de la UPF |
| OAI Identifier: | oai:repositori.upf.edu:10230/32186 |
| Acesso em linha: | http://hdl.handle.net/10230/32186 http://dx.doi.org/10.1155/2016/8363507 |
| Access Level: | Acceso aberto |
| Palavra-chave: | So -- Enregistrament i reproducció Enginyeria acústica |
| Resumo: | This paper proposes a system for score-informed audio source separation for multichannel orchestral recordings. The orchestral music repertoire relies on the existence of scores. Thus, a reliable separation requires a good alignment of the score with the audio of the performance. To that extent, automatic score alignment methods are reliable when allowing a tolerance window around the actual onset and offset. Moreover, several factors increase the difficulty of our task: a high reverberant image, large ensembles having rich polyphony, and a large variety of instruments recorded within a distant-microphone setup. To solve these problems, we design context-specific methods such as the refinement of score-following output in order to obtain a more precise alignment. Moreover, we extend a close-microphone separation framework to deal with the distant-microphone orchestral recordings. Then, we propose the first open evaluation dataset in this musical context, including annotations of the notes played by multiple instruments from an orchestral ensemble. The evaluation aims at analyzing the interactions of important parts of the separation framework on the quality of separation. Results show that we are able to align the original score with the audio of the performance and separate the sources corresponding to the instrument sections. |
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