Mitch Parry (2007), Separation and Analysis of Multichannel Signals PhD Thesis [PDF], Georgia Institute of Techniology, College of Computing, Atlanta, GA. (Advisor: Irfan Essa)
Abstract
This thesis examines a large and growing class of digital signals that capture the combined effect of multiple underlying factors. In order to better understand these signals, we would like to separate and analyze the underlying factors independently. Although source separation applies to a wide variety of signals, this thesis focuses on separating individual instruments from a musical recording. In particular, we propose novel algorithms for separating instrument recordings given only their mixture. When the number of source signals does not exceed the number of mixture signals, we focus on a subclass of source separation algorithms based on joint diagonalization. Each approach leverages a different form of source structure. We introduce repetitive structure as an alternative that leverages unique repetition patterns in music and compare its performance against the other techniques.
When the number of source signals exceeds the number of mixtures (i.e., the underdetermined problem), we focus on spectrogram factorization techniques for source separation. We extend single-channel techniques to utilize the additional spatial information in multichannel recordings, and use phase information to improve the estimation of the underlying components.
This thesis explores synthesis by example as a paradigm for rendering real-world phenomena. In particular, phenomena that can be visually described as texture are considered. We exploit, for synthesis, the self-repeating nature of the visual elements constituting these texture exemplars. Techniques for unconstrained as well as constrained/controllable synthesis of both image and video textures are presented. For unconstrained synthesis, we present two robust techniques that can perform spatio-temporal extension, editing, and merging of image as well as video textures. In one of these techniques, large patches of input texture are automatically aligned and seamless stitched with each other to generate realistic looking images and videos. The second technique is based on iterative optimization of a global energy function that measures the quality of the synthesized texture with respect to the given input exemplar. We also present a technique for controllable texture synthesis. In particular, it allows for generation of motion-controlled texture animations that follow a specified flow field. Animations synthesized in this fashion maintain the structural properties like local shape, size, and orientation of the input texture even as they move according to the specified flow. We cast this problem into an optimization framework that tries to simultaneously satisfy the two (potentially competing) objectives of similarity to the input texture and consistency with the flow field. This optimization is a simple extension of the approach used for unconstrained texture synthesis. A general framework for example-based synthesis and rendering is also presented. This framework provides a design space for constructing example-based rendering algorithms. The goal of such algorithms would be to use texture exemplars to render animations for which certain behavioral characteristics need to be controlled. Our motion-controlled texture synthesis technique is an instantiation of this framework where the characteristic being controlled is motion represented as a flow field.
The example based processing problem can be expressed as: “Given an example of an image or video before and after processing, apply a similar processing to a new image or video”. Our thesis is that there are some problems where a single general algorithm can be used to create varieties of outputs, solely by presenting examples of what is desired to the algorithm. This is valuable if the algorithm to produce the output is non-obvious, e.g. an algorithm to emulate an example painting’s style. We limit our investigations to example based processing of images, video, and 3D models as these data types are easy to acquire and experiment with.
where the idea is to form feature vectors representative of the data and then sample them coherently to synthesize a plausible output for the new image or video. Grounding the problem in this manner is useful as both problems involve learning the structure of training data under some assumptions to sample it properly. We then reduce the problem to a labeling problem to perform example based processing in a more generalized and principled manner than earlier techniques. This allows us to perform a different estimation of what the output should be by approximating the optimal (and possibly not known) solution through a different approach.
