Object-based audio is an emerging representation for audio content, where content is represented in a reproductionformat-agnostic way and thus produced once for consumption on many different kinds of devices. This affords new opportunities for immersive, personalized, and interactive listening experiences. This article introduces an end-to-end object-based spatial audio pipeline, from sound recording to listening. A high-level system architecture is proposed, which includes novel audiovisual interfaces to support object-based capture and listenertracked rendering, and incorporates a proposed component for objectification, i.e., recording content directly into an object-based form. Text-based and extensible metadata enable communication between the system components. An open architecture for object rendering is also proposed. The system's capabilities are evaluated in two parts. First, listener-tracked reproduction of metadata automatically estimated from two moving talkers is evaluated using an objective binaural localization model. Second, object-based scene capture with audio extracted using blind source separation (to remix between two talkers) and beamforming (to remix a recording of a jazz group), is evaluated with perceptually-motivated objective and subjective experiments. These experiments demonstrate that the novel components of the system add capabilities beyond the state of the art. Finally, we discuss challenges and future perspectives for object-based audio workflows.
In object-based spatial audio system, positions of the audio objects (e.g. speakers/talkers or voices) presented in the sound scene are required as important metadata attributes for object acquisition and reproduction. Binaural microphones are often used as a physical device to mimic human hearing and to monitor and analyse the scene, including localisation and tracking of multiple speakers. The binaural audio tracker, however, is usually prone to the errors caused by room reverberation and background noise. To address this limitation, we present a multimodal tracking method by fusing the binaural audio with depth information (from a depth sensor, e.g., Kinect). More specifically, the PHD filtering framework is first applied to the depth stream, and a novel clutter intensity model is proposed to improve the robustness of the PHD filter when an object is occluded either by other objects or due to the limited field of view of the depth sensor. To compensate mis-detections in the depth stream, a novel gap filling technique is presented to map audio azimuths obtained from the binaural audio tracker to 3D positions, using speaker-dependent spatial constraints learned from the depth stream. With our proposed method, both the errors in the binaural tracker and the mis-detections in the depth tracker can be significantly reduced. Real-room recordings are used to show the improved performance of the proposed method in removing outliers and reducing mis-detections.
We propose a new method for source separation by synthesizing the source from a speech mixture corrupted by various environmental noise. Unlike traditional source separation methods which estimate the source from the mixture as a replica of the original source (e.g. by solving an inverse problem), our proposed method is a synthesis-based approach which aims to generate a new signal (i.e. "fake" source) that sounds similar to the original source. The proposed system has an encoder-decoder topology, where the encoder predicts intermediate-level features from the mixture, i.e. Mel-spectrum of the target source, using a hybrid recurrent and hourglass network, while the decoder is a state-of-the-art WaveNet speech synthesis network conditioned on the Mel-spectrum, which directly generates time-domain samples of the sources. Both objective and subjective evaluations were performed on the synthesized sources, and show great advantages of our proposed method for high-quality speech source separation and generation.
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