The article deals with the Goertzel algorithm, used to establish the modulus and phase of harmonic components of a signal. The advantages of the Goertzel approach over the DFT and the FFT in cases of a few harmonics of interest are highlighted, with the article providing deeper and more accurate analysis than can be found in the literature, including the memory complexity. But the main emphasis is placed on the generalization of the Goertzel algorithm, which allows us to use it also for frequencies which are not integer multiples of the fundamental frequency. Such an algorithm is derived at the cost of negligibly increasing the computational and memory complexity.

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A novel sparsity-based algorithm for audio inpainting is proposed. It is an adaptation of the SPADE algorithm by Kitić et al., originally developed for audio declipping, to the task of audio inpainting. The new SPAIN (SParse Audio INpainter) comes in synthesis and analysis variants. Experiments show that both A-SPAIN and S-SPAIN outperform other sparsity-based inpainting algorithms. Moreover, A-SPAIN performs on a par with the state-of-the-art method based on linear prediction in terms of the SNR, and, for larger gaps, SPAIN is even slightly better in terms of the PEMO-Q psychoacoustic criterion.

Methods based on sparse representation have found great use in the recovery of audio signals degraded by clipping. The state of the art in declipping within the sparsity-based approaches has been achieved by the SPADE algorithm by Kitić et. al. (LVA/ICA'15). Our recent study (LVA/ICA'18) has shown that although the original S-SPADE can be improved such that it converges faster than the A-SPADE, the restoration quality is significantly worse. In the present paper, we propose a new version of S-SPADE. Experiments show that the novel version of S-SPADE outperforms its old version in terms of restoration quality, and that it is comparable with the A-SPADE while being even slightly faster than A-SPADE.

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The state of the art in audio declipping has currently been achieved by SPADE (SParse Audio DEclipper) algorithm by Kitić et al. Until now, the synthesis/sparse variant, S-SPADE, has been considered significantly slower than its analysis/cosparse counterpart, A-SPADE. It turns out that the opposite is true: by exploiting a recent projection lemma, individual iterations of both algorithms can be made equally computationally expensive, while S-SPADE tends to require considerably fewer iterations to converge. In this paper, the two algorithms are compared across a range of parameters such as the window length, window overlap and redundancy of the transform. The experiments show that although S-SPADE typically converges faster, the average performance in terms of restoration quality is not superior to A-SPADE.

In convex optimization, it is often inevitable to work with projectors onto convex sets composed with a linear operator. Such a need arises from both the theory and applications, with signal processing being a prominent and broad field where convex optimization has been used recently. In this article, a novel projector is presented, which generalizes previous results in that it admits to work with a broader family of linear transforms when compared with the state of the art but, on the other hand, it is limited to box-type convex sets in the transformed domain. The new projector is described by an explicit formula, which makes it simple to implement and requires a low computational cost. The projector is interpreted within the framework of the so-called proximal splitting theory. The convenience of the new projector is demonstrated on an example from signal processing, where it was possible to speed up the convergence of a signal declipping algorithm by a factor of more than two.

A novel method for audio declipping based on sparsity is presented. The method incorporates psychoacoustic information by weighting the transform coefficients in the ℓ1 minimization. Weighting leads to an improved quality of restoration while retaining a low complexity of the algorithm. Three possible constructions of the weights are proposed, based on the absolute threshold of hearing, the global masking threshold and on a quadratic curve. Experiments compare the restoration quality according to the signal-to-distortion ratio (SDR) and PEMO-Q objective difference grade (ODG) and indicate that with correctly chosen weights, the presented method is able to compete, or even outperform, the current state of the art.