2014 3
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- りさこ てらわ
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1 1 3
2 113 : 1 Copyright c 1 by Kobayashi Keisuke
3 Desktop Music (DTM) DAW (Digital Audio Workstation) YAMAHA Vocaloid DTM MIDI (Musical Instruments Digital Interface) Lee (Non-negative Matrix Factorization; NMF) NMF K NMF NMF K K 1 NMF (SDR) 3 11 db 3 3
4 , MIDI 6 8 NMF MIDI NMF MIDI
5 K i
6 ii
7 B n NMF SDR K = 1 (RWC1) K = (RWC1) K = 3 (RWC1) K = (RWC1) K = (RWC1) NMF (GP) (RWC3) NMF (UP1) NMF (UP) NMF (MAPS) iii
8 (UP3) YAMAHA GRAND C GP GP K = 1 (MIDI) K = (MIDI) K = 3 (MIDI) K = (MIDI) K = (MIDI) K = 1 (UP1) K = (UP1) K = 3 (UP1) K = (UP1) K = (UP1) K = 1 (UP) K = (UP) K = 3 (UP) K = (UP) K = (UP) K = 1 (UP3) K = (UP3) K = 3 (UP3) K = (UP3) K = (UP3) K = 1 (UP) K = (UP) K = 3 (UP) K = (UP) K = (UP) K = 1 (MAPS) K = (MAPS) K = 3 (MAPS) iv
9 33 K = (MAPS) K = (MAPS) K = 1 (GP1) K = (GP1) K = 3 (GP1) K = (GP1) K = (GP1) K = 1 (GP) K = (GP) K = 3 (GP) K = (GP) K = (GP) K = 1 (RWC1) K = (RWC1) K = 3 (RWC1) K = (RWC1) K = (RWC1) K = 1 (RWC3) K = (RWC3) K = 3 (RWC3) K = (RWC3) K = (RWC3) NMF (UP1) NMF (UP) NMF (UP3) NMF (UP) NMF (MAPS) NMF (GP1) NMF (GP) NMF (RWC1) NMF (RWC3) v
10 .1 K = 3 K = K = 3 K = GP GP vi
11 1 1.1 Desktop Music (DTM) DAW (Didital Audio Workstation) Vocaloid [1]. DTM MIDI (Musical Instruments Digital Interface)
12 1.. [ 7]. [8] [9] [1] Lee et al. [11] 1.3 (Non-negative Matrix Factorization; NMF) [1] NMF [9, 13 16] NMF K K R(R < K) R K R K R [17] [18]
13 1. 6 ( ) 3 NMF 3 6 3
14 cm 1 cm. 1.3,. [19]... (1). () (3). () []
15 .1:.:
16 .3:.: 6
17 .: (1) () ( ) []. [] Fletcher [7].6 7
18 8.6:
19 ( ) F n (n ) f n (.1) [7,1] f n = nf 1 + Bn (.1) F (.) (.1) f 1 F = 1 T L µ (.) L T µ ( ) B (.3) B = π3 Ed 6T L (.3) E d, T, L B [1, 1 ] []. B.7 1. (1), () (3) () 9
20 6 Frequency of n th harmonic component B=1.*1 3 B=.*1 B=1.*1 frequency [Hz] n.7: B n 1
21 NMF NMF 3. NMF Y ( R Ω T ) U( R Ω K ) V ( R K T ) (3.1) Y ω,t Ŷω,t = K U ω,k V k,t (3.1) k Ω T K NMF ω, t NMF ( ) Y U U V U NMF pre-emphasis FFT Log Scaling 3.1: 11
22 3..1 NMF Y U, V U, V ( (3.)) KL ( (3.3)) ( (3.)) [3, ] D euc (x y) = (x y) (3.) D KL (x y) = (x y) + y log y x (3.3) D IS (x y) = y x log y x 1 (3.) U, V (3.6) U U. Y V t UV V t (3.) V V. U t Y U t UV (3.6) t. [, 6] D Euc (Y UV ) = Y UV F = ω,t Y ω,t k U ω,k V k,t = ω,t ( Y ω,t Y ω,t k U ω,k V k,t + k U ω,k V k,t ) (3.7) 3 Jensen Jensen f(x i ) f( i λ i x i ) i λ i f(x i ) (3.8) 1
23 D(y x) : Degree of proximity between x and y 1 9 Euc KL IS 8 7 D( x) x 3.: (3.9) ( i x i ) = ( λ i x i λ i ) i λ i ( x i λ i ) = i x i λ i (3.9) 3 Jensen k U ω,k V k,t k U ω,k V k,t λ k,ω,t (3.1) (3.7) (3.11) D Euc (Y UV ) = ω,t ( Y ω,t Y ω,t k U ω,k V k,t + k U ω,k V k,t λ k,ω,t ) (3.11) 13
24 (3.11) U ω,k V k,t U ω,k = V ω,k = t Y ω,tv k,t t (3.1) Vk,t λ k,ω,t t Y ω,tu k,t t (3.13) Uk,t λ k,ω,t λ λ i 1 (3.1) λ k,ω,t = U ω,k V k,t k U ω,k V k,t (3.1) (3.13) (3.1) (3.16) t U ω,k = Y ω,tv k,t t V (3.1) k,t k U ω,k V k,t t V ω,k = Y ω,tu k,t t U (3.16) k,t k U ω,k V k,t U, V NMF db/oct (3.17) H(z) = 1.97z 1 (3.17) 3. NMF Y 1
25 1 1. x x x : NMF NMF X A, B, C,... (3.18) X = A + B + C N (3.18) (3.19) X = log A + log B + log C log N = log(a B C D) (3.19) 3. NMF 1
26 3.6 NMF 16
27 .1 K.1.1 NMF NMF K K NMF [7, 8] 1 NMF K 1.1. RWC : ( RWC-DB ) [9], MIDI Aligned Piano Sound ( MAPS-DB ) [3] 1 RWC-DB 3 MAPS-DB RWC-DB RWC1 RWC3 MAPS-DB MAPS GP1 GP, UP1, UP, UP3, UP A3 ( Hz) 16,.1 khz (Short Time Fourie Transform; STFT) 8 ( ms) 18 ( 3 ms) 17
28 8.1.3 NMF STFT 18
29 6 8 1 x x 1 3 Activation Matrix x : 1 19
30 x x 1 3 x 1 Activation Matrix 6 x 1 6 x x : 8
31 x x 1 x 1 1 Activation Matrix 1 x x x : 96 1
32 .1: K = 3 K = 1st (K=) nd (K=) 3rd (K=) th (K=) 1st (K=3) nd (K=3) rd (K=3) ( ) K = 1 (.) K = (.6), 1 khz 1 K = 3 (.7) K = 1, (1) () (3), () 1 () (Hz) K = (.8) K = 3 K = 1.1 K = 1 K = 3 1 K = (.9) K = K = 3 K = 3 3 (. )
33 .: K = 3 K = 1st(K=) nd (K=) 3rd (K=) th (K=) th (K=) 1st (K=3) nd (K=3) rd (K=3) K U V Ŷ Y (Signal to distortionratio;sdr) (.) S SDR = 1 log 1 db (.1) S Ŝ (S, Ŝ ) SDR. SDR K = 3 SDR K = SDR 11 db K 3 K SDR SDR K 3 3
34 Relationship between number of bases and SDR 1 1 Mean of SDR [db] K : Number of bases.: SDR
35 x 1 Activation Matrix x : K = 1 (RWC1)
36 x Activation Matrix x 1 6 x x : K = (RWC1) 6
37 1 3 x 1 3 Activation Matrix x 1 6 x 1 6 x x x : K = 3 (RWC1) 7
38 1 x x 1 3 Activation Matrix x 1 x 1 x 1 x x 1 3 x : K = (RWC1) 8
39 x 1 3 Activation Matrix x 1 x 1 x 1 x 1 x x x 3 x 1 x : K = (RWC1) 9
40 .1: NMF...1, K = 3 NMF NMF (.1 U fix ) (.1 V fix ) (.1 U free ) NMF (U fix ) (V free ) NMF 3
41 NMF K khz khz khz, khz.1 khz Hz,.13,.1.1,.16,.17,.13, ,.16, ( 6 ) 3 ( 1 3 ) ( 3 khz) (1 khz ) 31
42
43 x x x : x 1 x 1 x 1.1: 33
44 1 x x x 1 3 x 1 Activation Matrix x 1 x 1 x 1 x 1 x 1 1 x x 1 3 x : (GP) 3
45 1 x x x 1 3 x 1 Activation Matrix x 1 x 1 x 1 x 1 x 1 1 x x 1 3 x : (RWC3) 3
46 1 x 1 3 x 1 Activation Matrix x 1 x 1 x 1 x 1 x x 1 3 x x 1 3 x 1 3 x : NMF (UP1) 36
47 1 x 1 3 x 1 Activation Matrix x 1 x 1 x 1 x 1 x x 1 1x 3 1x 3 1 x 1 x : NMF (UP) 37
48 1 x 1 3 x 1 Activation Matrix x 1 x 1 x 1 x 1 x x 1 1x 3 1x 3 1 x 1 x : NMF (MAPS) 38
49 6.3 NMF NMF 39
50 .1.11 khz GP1 (.1) RWC3 (.1(d)) GP (.1) 1,,,, 6, 7 khz khz RWC1 (.1(c)) 1, 3 khz K = RWC3 (.1) GP (.13)
51 1. x 1 3 th activation vector 1 Amplitude [deg] Frequency [Hz] 1.8 x 1 3 th activation vector Amplitude [deg] Frequency [Hz] 3. x 1 3 th activation vector 3 Amplitude [deg] Frequency [Hz] (c) 1. x 1 3 th activation vector 1 Amplitude [deg] Frequency [Hz] (d).1: 1
52 7 x 1 3rd activation vector 6 Amplitude [deg] Time [sec] 8 x 1 6th activation vector 7 Amplitude [deg] Time [sec].:
53 .1: GP1 GP RWC1 RWC3 (deg/sec) : UP1 UP UP3 UP MAPS (deg/sec) UP1.3 UP,.3(c) MAPS UP1 UP. khz MAPS khz 1. khz.. sec ( ).,(c),(e) UP1, UP,MAPS.(d)(f) UP1, UP,MAPS MAPS 6 UP1 (.) UP(.(c)) MAPS(.(e)) Hz 3
54 1.8 x 1 3 th activation vector Amplitude [deg] Frequency [Hz] 1. x 1 3 th activation vector Amplitude [deg] 1. Frequency [Hz] 1.8 x 1 3 th activation vector Amplitude [deg] Frequency [Hz] (c).3:
55 th basis vector. x 1 th activation vector Frequency [Hz] Amplitude [deg] Amplitude [deg] x Time[sec] th basis vector 3. x 1 th activation vector 3 Frequency [Hz] Amplitude [deg] Amplitude [deg] (c) x Time[sec] (d) th basis vector x 1 th activation vector. Frequency [Hz] Amplitude [deg] Amplitude [deg] (e) x Time[sec] (f).:
56 .3 MIDI.3.1. (c) MIDI.(c) MIDI. sec MIDI.8 sec MIDI.6 (b ). sec.6 sec.3..7 (c) MIDI MIDI 1.3 6
57 8 x 1 3rd activation vector 7 Amplitude [deg] Time [sec] 9 x 1 3rd activation vector 8 7 Amplitude [deg] Time[sec] 7 x 1 3rd activation vector 6 Amplitude [deg] Time [sec] (c).: 7
58 7 x 1 3rd activation vector 6 Amplitude [deg] Time[sec] x 1 3rd activation vector 3. Amplitude [deg] Time[sec].6: 8
59 3 x 1 3 1st basis vectors. Amplitude [deg] Frequency [Hz] 3 x 1 3 1st basis vectors. Amplitude [deg] Frequency [Hz]. x 1 3 1st basis vectors. Amplitude [deg] Frequency [Hz] (c).7: 9
60 .3: GRAND UPRIGHT MIDI GRAND UPRIGHT MIDI [] 7, MIDI,, 7 MIDI MIDI MIDI MIDI MIDI.3.3 khz khz.8
61 1 1.. x x x 1 3.8: (UP3) khz. khz MIDI 1
62 MIDI khz
63 6 6.1 NMF NMF 3 + NMF MIDI MIDI khz 6. ( ) NMF MIDI NMF 3
64 MIDI
65 Mr. Elbarougy, Mr.Chau, Mr.Ngo
66 [1]. : ( )., Vol. 67, No. 1, pp. 6, 1. [],.., Vol. 9, No. 3, pp , [3].., Vol., No. 1-, pp. 1 1, 7. [],. :.. SP,, Vol. 99, No. 66, pp. 1 6,. [],... [ ], Vol., No. 1, pp. 7 1,. [6],,.., 13. [7] N.H. Fletcher and T.D.Rossing. The Physics of Musical Instruments second edition, chapter 1, pp springer, [8],. :.. D-II,, II-, Vol. 81, No. 7, pp , [9],,,,,. gmm midi (,,, )., Vol. 7, No., pp , 1. [1],,,.., Vol. 3, No. 1, pp. 83 8, mar 3. [11] C.T.Lee, Y.H.Yang, and H.H.Chen. Multipitch estimation of piano music by exemplar-based sparse representation. Multimedia,IEEE transactions on, Vol. 1, No. 3, pp , 1. 6
67 [1] D. D. Lee and H. S. Seung. Learning the parts of objects by non-negative matrix factorization. Nature, Vol. 1, pp , [13] P.Smaragdis and J.C.Brown. Non-negative matrix factorization for polyphonic music. IEEE Workshop on Applications of Signal Processing to Audio and Acoustics, pp. 19, 3. [1],,,,. nmf., No., pp , 7. [1] F.Rigaud, A.Falaize, B.David, and L.Daudet. Does inharmonicity improve an nmfbased piano transcription model? Proc. IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP), pp. 11 1, 13. [16],,,,,,. gmm nmf., Vol., No. 1, pp , 11. [17],,. :., Vol. 3, No.,. [18],. ( ( ), 13)., Vol. 37, No. 17, pp. 6 68, 13. [19].. products/musical-instruments/keyboards/about/gp/#upgp. [] W.Goebl, R.Bresin, and A.Galembo. Once again: The perception of piano touch and tone: Can touch audibly change piano sound independently of intensity? Proceedings of the International Symposium on Musical Acoustics,, pp ,. [1] F.Rigaud, B.David, and L.Daudet. A parametric model of piano tuning. Proc. of the 1th International Conference on Difital Audio Effects, pp , 11. [] F.Rigaud, A.Falaize, B.David, and L.Daudet. Does inharmonicity improve an nmfbased piano transcription model? ICASSP, 13. [3] A.Lefévre, F. Bach, and C.Févotte. Online algorithms for nonnegative matrix factorization with the itakura-saito divergence. In Proc. IEEE Workshop on Applications of Signal Processing to Audio and Acoustics (WASPAA), Mohonk, NY, Oct
68 [] C.Févotte. Majorization-minimization algorithm for smooth itakura-saito nonnegative matrix factorization. In Proc. IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP), Prague, Czech Republic, May 11. []. nmf /., Vol. 9, No. 9, pp , 1. [6]. :.. [ ], Vol. 11, No., p. 1, 11. [7],,,,,... [ ], Vol. 11, No. 6, pp. 1 8, jul 11. [8],.. MUS, Vol. 1-MUS-96, No. 8, pp. 1 8, 1. [9],,,. Rwc :., Vol. 3, No. 1, pp. 83 8, mar 3. [3] V.Emiya, R.Badeau, and B.David. Multipitch estimation of piano sounds using a new probabilistic spectral smoothness principle. IEEE Transactions on Audio, Speech and Language Processing, No. 18, pp , 1. 8
69 1, m 1 PC ( I/F) 6 RWC-DB GP1 GP1 YAMAHA GRAND C3( 1) 1cm, 18cm 3 9
70 図 1: YAMAHA GRAND C3 (c) (d) 図 : GP1 のマイク設置 6
71 1: PC OS CPU DELL precision M6 windows 7 (3-bit) intel core i7 MATLAB13a Roland OCTA-CAPTURE Audio-Technica AT8Ra (1,,, ch) RAMSA WM-C7 (3 ch) SENNHEISER HDA GP GP YAMAHA GRAND S6A 11cm, 1cm 3 MAPS-DB UP1,UP,UP UP1,, YAMAHA YU3SZ 1 cm, 19cm, 6 cm UP3 UP3 KAWAI K8 YAMAHA 61
72 (c) (d) 図 3: GP のマイク設置 6
73 (c) (d) 図 : アップライトピアノのマイク設置 63
74 : [sec] 1 A3( Hz) m 3 P1 A3 f 3 P1 3 A3 p 3 P1 A3 m 3 P1 A( Hz) m 3 P1 6 A3 m 3 P 7 A f 3 P1 8 A p 3 P1 9 A3 m 3 P 1 A3 m 3 P 11 A3 m 3 P3 1 A3 m 3 P3 1 A3 p 3 P 1 A3 p 3 P3 3: GP1 Ch [cm] 1 7 cm 9 cm 8 18 cm 9 cm 3 7 cm 1 cm 8 1 cm MIDI 9 UP1 1 1 UP 1 19 UP3 UP 9 MAPS 3 3 GP GP1 RWC1 9 RWC3 K = 1 6
75 : GP Ch 1 7. cm 1 cm 8 cm 113 cm 1 cm cm 3 7. cm 11 cm 8 cm 1 cm : Ch 1 7 cm 1 cm 19 cm 7 cm 1 cm 179 cm 3 8 cm 1 cm 19 cm 1cm 1 cm 6
76 x 1 Activation Matrix x : K = 1 (MIDI) 66
77 1 1. x Activation Matrix x x x : K = (MIDI) 67
78 x 1 3 Activation Matrix x 1 6 x 1 6 x x 1 3 x : K = 3 (MIDI) 68
79 1 1.. x x 1 3 Activation Matrix x 1 x 1 x 1 x x 1 3 x : K = (MIDI) 69
80 1 x x x 1 3 Activation Matrix x 1 x 1 x 1 x 1 x 1 1 x x : K = (MIDI) 7
81 x 1 Activation Matrix x : K = 1 (UP1) 71
82 1 1. x x 1 Activation Matrix 6 8 x x : K = (UP1) 7
83 x Activation Matrix x 1 x 1 6 x x x : K = 3 (UP1) 73
84 1 x x 1 3 Activation Matrix x 1 x 1 x 1 x x 1 3 x : K = (UP1) 7
85 1 x x 1 3 x 1 3 Activation Matrix x 1 x 1 x 1 x 1 x x 1 3 x : K = (UP1) 7
86 x 1 Activation Matrix x : K = 1 (UP) 76
87 1 1. x 1 3 Activation Matrix x x x : K = (UP) 77
88 1 1. x 1 3 Activation Matrix x 1 x 1 x x 1 3 x : K = 3 (UP) 78
89 x x 1 3 Activation Matrix x 1 x 1 x 1 x x 1 3 x : K = (UP) 79
90 x x x 1 3 Activation Matrix x 1 x 1 x 1 x 1 x x x : K = (UP) 8
91 x 1 Activation Matrix x : K = 1 (UP3) 81
92 x 1 3 Activation Matrix x x x : K = (UP3) 8
93 1 1.. x x 1 Activation Matrix 6 8 x x x x : K = 3 (UP3) 83
94 1 x x 1 3 Activation Matrix x 1 x 1 x 1 x x 1 3 x : K = (UP3) 8
95 x 1 3 x 1 3 x 1 3 Activation Matrix x 1 x 1 x 1 x 1 x 1 x 1 3 x : K = (UP3) 8
96 x 1 Activation Matrix x : K = 1 (UP) 86
97 x Activation Matrix x 1 6 x x : K = (UP) 87
98 1 x Activation Matrix x 1 x 1 6 x x 1 3 x : K = 3 (UP) 88
99 1 x x 1 3 Activation Matrix x 1 x 1 x 1 x x 1 x : K = (UP) 89
100 x x 1 3 x 1 3 Activation Matrix x 1 x 1 x 1 x 1 x x 1 3 x : K = (UP) 9
101 x 1 Activation Matrix x : K = 1 (MAPS) 91
102 1 1. x Activation Matrix x x x : K = (MAPS) 9
103 1 1. x 1 3 Activation Matrix x 1 x 1 x x 1 3 x : K = 3 (MAPS) 93
104 1 x x 1 3 Activation Matrix x 1 x 1 x 1 x x 1 3 x : K = (MAPS) 9
105 1 3 x 1 3 Activation Matrix x 1 x 1 x 1 x 1 x x 1 3 x 1 3 x x : K = (MAPS) 9
106 x 1 Activation Matrix x : K = 1 (GP1) 96
107 1 1. x Activation Matrix x x x : K = (GP1) 97
108 1 1. x Activation Matrix x 1 x 1 6 x x 1 3 x : K = 3 (GP1) 98
109 1 1. x x 1 3 Activation Matrix x 1 x 1 x 1 x x 1 3 x : K = (GP1) 99
110 1 x x x 1 3 Activation Matrix x 1 x 1 x 1 x 1 x x 1 3 x : K = (GP1) 1
111 x 1 1. Activation Matrix x : K = 1 (GP) 11
112 x 1 3 Activation Matrix x x x : K = (GP) 1
113 x Activation Matrix x 1 6 x x x 1 3 x : K = 3 (GP) 13
114 1 x x 1 3 Activation Matrix x 1 x 1 x 1 x x 1 3 x : K = (GP) 1
115 x x 1 3 x 1 3 Activation Matrix x 1 x 1 x 1 x 1 x x 1 3 x : K = (GP) 1
116 x 1 Activation Matrix x : K = 1 (RWC1) 16
117 x Activation Matrix x 1 6 x x : K = (RWC1) 17
118 1 3 x 1 3 Activation Matrix x 1 6 x 1 6 x x x : K = 3 (RWC1) 18
119 1 x x 1 3 Activation Matrix x 1 x 1 x 1 x x 1 3 x : K = (RWC1) 19
120 x 1 3 Activation Matrix x 1 x 1 x 1 x 1 x x x 3 x 1 x : K = (RWC1) 11
121 8.6 x 1 Activation Matrix x : K = 1 (RWC3) 111
122 x Activation Matrix x 1 6 x x : K = (RWC3) 11
123 1 1.. x 1 3 Activation Matrix x 1 6 x 1 6 x x 1 3 x : K = 3 (RWC3) 113
124 x x 1 3 Activation Matrix x 1 x 1 x 1 x x 1 3 x : K = (RWC3) 11
125 1 x 1 3 Activation Matrix x 1 x 1 x 1 x 1 x x 1 3 x 1 3 x 1 3 x : K = (RWC3) 11
126 UP1 UP 6 UP3 7 UP 8 MAPS 9 GP1 6 GP 61 RWC1 6 RWC
127 1 x 1 3 x 1 Activation Matrix x 1 x 1 x 1 x 1 x x 1 3 x x 1 3 x 1 3 x : NMF (UP1) 117
128 1 x 1 3 x 1 Activation Matrix x 1 x 1 x 1 x 1 x x 1 1x 3 1x 3 1 x 1 x : NMF (UP) 118
129 1 x 1 3 x 1 Activation Matrix x 1 x 1 x 1 x 1 x x 1 3 x x x x : NMF (UP3) 119
130 1 x 1 3 x 1 Activation Matrix x 1 x 1 x 1 x 1 x x 1 3 x x 1 3 x 1 3 x : NMF (UP) 1
131 1 x 1 3 x 1 Activation Matrix x 1 x 1 x 1 x 1 x x 1 1x 3 1x 3 1 x 1 x : NMF (MAPS) 11
132 1 x 1 3 x 1 Activation Matrix x 1 x 1 x 1 x 1 x 1 1 x x x x 1 3 x : NMF (GP1) 1
133 1 x 1 3 x 1 Activation Matrix x 1 x 1 x 1 x 1 x 1 1 x x x x 1 3 x : NMF (GP) 13
134 x 1 3 x 1 Activation Matrix x 1 x 1 x 1 x 1 x 1 x 1 3 x 1 3 x 1 3 x 1 3 x : NMF (RWC1) 1
135 1 x 1 3 x 1 Activation Matrix x 1 x 1 x 1 x 1 x 1 1 x x x x 1 3 x : NMF (RWC3) 1
136 Kobayashi,K.,Morikawa,D.,Akagi,M., Study on Analyzing Individuality of Piano Sounds Using Non-negative Matrix Factorization, The 6th seminar of A3 foresight program, February 1. Kobayashi,K.,Morikawa,D.,Akagi,M., Study on Analyzing Individuality of Instrurment Sounds Using Non-negative Matrix Factorization, Proc. 1 RISP International Workshop on Nonliner Circuits, Communications and Signal Processing, 33 36, March 1., in, December13., 1,March 1. 16
H(ω) = ( G H (ω)g(ω) ) 1 G H (ω) (6) 2 H 11 (ω) H 1N (ω) H(ω)= (2) H M1 (ω) H MN (ω) [ X(ω)= X 1 (ω) X 2 (ω) X N (ω) ] T (3)
![H(ω) = ( G H (ω)g(ω) ) 1 G H (ω) (6) 2 H 11 (ω) H 1N (ω) H(ω)= (2) H M1 (ω) H MN (ω) [ X(ω)= X 1 (ω) X 2 (ω) X N (ω) ] T (3)](/thumbs/92/108069141.jpg "H(ω) = ( G H (ω)g(ω) ) 1 G H (ω) (6) 2 H 11 (ω) H 1N (ω) H(ω)= (2) H M1 (ω) H MN (ω) [ X(ω)= X 1 (ω) X 2 (ω) X N (ω) ] T (3)")
72 12 2016 pp. 777 782 777 * 43.60.Pt; 43.38.Md; 43.60.Sx 1. 1 2 [1 8] Flexible acoustic interface based on 3D sound reproduction. Yosuke Tatekura (Shizuoka University, Hamamatsu, 432 8561) 2. 2.1 3 M
2 DS SS (SS+DS) Fig. 2 Separation algorithm for motorcycle sound by combining DS and SS (SS+DS). 3. [3] DS SS 2 SS+DS 1 1 B SS SS 4. NMF 4. 1 (NMF) Y
![2 DS SS (SS+DS) Fig. 2 Separation algorithm for motorcycle sound by combining DS and SS (SS+DS). 3. [3] DS SS 2 SS+DS 1 1 B SS SS 4. NMF 4. 1 (NMF) Y](/thumbs/49/25425602.jpg "2 DS SS (SS+DS) Fig. 2 Separation algorithm for motorcycle sound by combining DS and SS (SS+DS). 3. [3] DS SS 2 SS+DS 1 1 B SS SS 4. NMF 4. 1 (NMF) Y")
a) Separation of Motorcycle Sound by Near Field Microphone Array and Nonnegative Matrix Factorization Chisaki YOSHINAGA, Nonmember, Yosuke TATEKURA a), Member, Kazuaki HAMADA, and Tetsuya KIMURA, Nonmembers
IPSJ SIG Technical Report 1, Instrument Separation in Reverberant Environments Using Crystal Microphone Arrays Nobutaka ITO, 1, 2 Yu KITANO, 1
1, 2 1 1 1 Instrument Separation in Reverberant Environments Using Crystal Microphone Arrays Nobutaka ITO, 1, 2 Yu KITANO, 1 Nobutaka ONO 1 and Shigeki SAGAYAMA 1 This paper deals with instrument separation
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Analysis of Groove Feelings of Drums Plays 47 56340 19 1 31 Support Vector Machine (SVM) 4 SVM SVM 2 80% 100% SVM SVM SVM 4 SVM 2 2 SVM 4 1 1 1.1........................................ 1 1.1.1.............................
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72 12 2016 pp. 739 748 739 43.60.+d 2 * 1 2 2 3 2 125 Hz 0.3 0.8 2 125 Hz 3 10 db Wind-induced noise, Noise reduction, Microphone array, Beamforming 1. 1.1 PSS [1] [2 4] 2 Wind-induced noise reduction
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1 2 2 1 Web An Automatic Music Video Creation System by Reusing Dance Video Content Sora Murofushi, 1 Tomoyasu Nakano, 2 Masataka Goto 2 and Shigeo Morishima 1 This paper presents a system that automatically
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The Impact of Digitization on Music Production: From a Perspective of Modularity 51 2 pp. 87-108 2003 12 I 21 3 Information and Communication Technology, ICT 0 1 1 20 1 199820012000 1 MP3 CD 2 3 II CD
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26 27 2 2 : : : : A-D Abstract In this study, the author measured breath sounds at multiple points simultaneously with two or more stethoscopes, and analyzed frequency of the measured breath sounds. First,
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