Nathan Pruyne

We present MulTTiPop, a dataset of pop music segments and their associated multitrack MIDI recordings for the evaluation of automatic music transcription models. MulTTiPop contains 572 segments of popular music totaling 3.5 hours of audio, and contains songs from diverse genres and decades from the 1930s to 2000s. To collect this dataset, we perform metadata-based matching on song segments from the Lakh MIDI and TheoryTab datasets, manually identify an anchor beat between the audio and MIDI, then use beat tracking on the audio and warp the MIDI to match its tempo and timing. We evaluate state-of-the-art automatic music transcription models on MulTTiPop and find substantial room for improvement, with the best model achieving 29% Onset F1. More details and sound examples of MulTTiPop are available at https://gclef-cmu.org/multtipop

Generative music models are growing in popularity, but users remain in the dark about the influences on their supposedly novel creations. Existing systems provide no mechanisms to identify highly similar songs or to help users learn how model outputs are influenced by training data. We present AI-tribution: a tool designed to inform users of generative music models about the training songs most similar to their generated outputs. We detail the interface, methodology, and a user study (n=26) where musicians, media makers, and music consumers interact with the tool in 30-minute sessions. We analyze how the tool changes user knowledge of generated outputs, examine differences across user groups, and qualitatively analyze users’ attitudes towards the tool. We find an overwhelmingly positive reception, show how the tool encourages deeper engagement with influences, and shed light on how different groups would use it in practice.

HARP 2.0 brings deep learning models to digital audio workstation (DAW) software through hosted, asynchronous, remote processing, allowing users to route audio from a plug-in interface through any compatible Gradio endpoint to perform arbitrary transformations. HARP renders endpoint-defined controls and processed audio in-plugin, meaning users can explore a variety of cutting-edge deep learning models without ever leaving the DAW. In the 2.0 release we introduce support for MIDI-based models and audio/MIDI labeling models, provide a streamlined \textttpyharp Python API for model developers, and implement numerous interface and stability improvements. Through this work, we hope to bridge the gap between model developers and creatives, improving access to deep learning models by seamlessly intrgrating them into DAW workflows.

Fine-grained editing of speech attributes—such as prosody (i.e., the pitch, loudness, and phoneme durations), pronunciation, speaker identity, and formants—is useful for fine-tuning and fixing imperfections in human and AI-generated speech recordings for creation of podcasts, film dialogue, and video game dialogue. Existing speech synthesis systems use representations that entangle two or more of these attributes, prohibiting their use in fine-grained, disentangled editing. In this paper, we demonstrate the first disentangled and interpretable representation of speech with comparable subjective and objective vocoding reconstruction accuracy to Mel spectrograms. Our interpretable representation, combined with our proposed data augmentation method, enables training an existing neural vocoder to perform fast, accurate, and high-quality editing of pitch, duration, volume, timbral correlates of volume, pronunciation, speaker identity, and spectral balance.

The prominence of a spoken word is the degree to which an average native listener perceives the word as salient or emphasized relative to its context. Speech prominence estimation is the process of assigning a numeric value to the prominence of each word in an utterance. These prominence labels are useful for linguistic analysis, as well as training automated systems to perform emphasis-controlled text-to-speech or emotion recognition. Manually annotating prominence is time-consuming and expensive, which motivates the development of automated methods for speech prominence estimation. However, developing such an automated system using machine-learning methods requires human-annotated training data. Using our system for acquiring such human annotations, we collect and open-source crowdsourced annotations of a portion of the LibriTTS dataset. We use these annotations as ground truth to train a neural speech prominence estimator that generalizes to unseen speakers, datasets, and speaking styles. We investigate design decisions for neural prominence estimation as well as how neural prominence estimation improves as a function of two key factors of annotation cost: dataset size and the number of annotations per utterance.

Pitch is a foundational aspect of our perception of audio signals. Pitch contours are commonly used to analyze speech and music signals and as input features for many audio tasks, including music transcription, singing voice synthesis, and prosody editing. In this paper, we describe a set of techniques for improving the accuracy of widely-used neural pitch and periodicity estimators to achieve state-of-the-art performance on both speech and music. We also introduce a novel entropy-based method for extracting periodicity and per-frame voiced-unvoiced classifications from statistical inference-based pitch estimators (e.g., neural networks), and show how to train a neural pitch estimator to simultaneously handle both speech and music data (i.e., cross-domain estimation) without performance degradation. Our estimator implementations run 11.2x faster than real-time on a Intel i9-9820X 10-core 3.30 GHz CPU—approaching the speed of state-of-the-art DSP-based pitch estimators—or 408x faster than real-time on a NVIDIA GeForce RTX 3090 GPU. We release all of our code and models as Pitch-Estimating Neural Networks (penn), an open-source, pip-installable Python module for training, evaluating, and performing inference with pitch- and periodicity-estimating neural networks. The code for penn is available at github.com/interactiveaudiolab/penn.