Fanny Roche

Yann Bourdin, Pierrick Legrand, Fanny Roche

This paper investigates the optimization of Truncated Backpropagation Through Time (TBPTT) for training neural networks in digital audio effect modeling, with a focus on dynamic range compression. The study evaluates key TBPTT hyperparameters -- sequence number, batch size, and sequence length -- and their influence on model performance. Using a convolutional-recurrent architecture, we conduct extensive experiments across datasets with and without conditionning by user controls. Results demonstrate that carefully tuning these parameters enhances model accuracy and training stability, while also reducing computational demands. Objective evaluations confirm improved performance with optimized settings, while subjective listening tests indicate that the revised TBPTT configuration maintains high perceptual quality.

Yann Bourdin, Pierrick Legrand, Fanny Roche

Deep learning has become a standard approach for the modeling of audio effects, yet strictly black-box modeling remains problematic for time-varying systems. Unlike time-invariant effects, training models on devices with internal modulation typically requires the recording or extraction of control signals to ensure the time-alignment required by standard loss functions. This paper introduces a Generative Adversarial Network (GAN) framework to model such effects using only input-output audio recordings, removing the need for modulation signal extraction. We propose a convolutional-recurrent architecture trained via a two-stage strategy: an initial adversarial phase allows the model to learn the distribution of the modulation behavior without strict phase constraints, followed by a supervised fine-tuning phase where a State Prediction Network (SPN) estimates the initial internal states required to synchronize the model with the target. Additionally, a new objective metric based on chirp-train signals is developed to quantify modulation accuracy. Experiments modeling a vintage hardware phaser demonstrate the method's ability to capture time-varying dynamics in a fully black-box context.

Fanny Roche, Thomas Hueber, Samuel Limier et al.

This study investigates the use of non-linear unsupervised dimensionality reduction techniques to compress a music dataset into a low-dimensional representation which can be used in turn for the synthesis of new sounds. We systematically compare (shallow) autoencoders (AEs), deep autoencoders (DAEs), recurrent autoencoders (with Long Short-Term Memory cells -- LSTM-AEs) and variational autoencoders (VAEs) with principal component analysis (PCA) for representing the high-resolution short-term magnitude spectrum of a large and dense dataset of music notes into a lower-dimensional vector (and then convert it back to a magnitude spectrum used for sound resynthesis). Our experiments were conducted on the publicly available multi-instrument and multi-pitch database NSynth. Interestingly and contrary to the recent literature on image processing, we can show that PCA systematically outperforms shallow AE. Only deep and recurrent architectures (DAEs and LSTM-AEs) lead to a lower reconstruction error. The optimization criterion in VAEs being the sum of the reconstruction error and a regularization term, it naturally leads to a lower reconstruction accuracy than DAEs but we show that VAEs are still able to outperform PCA while providing a low-dimensional latent space with nice "usability" properties. We also provide corresponding objective measures of perceptual audio quality (PEMO-Q scores), which generally correlate well with the reconstruction error.