Francesc Lluís

Francesc Lluís, Nils Meyer-Kahlen

For audio in augmented reality (AR), knowledge of the users' real acoustic environment is crucial for rendering virtual sounds that seamlessly blend into the environment. As acoustic measurements are usually not feasible in practical AR applications, information about the room needs to be inferred from available sound sources. Then, additional sound sources can be rendered with the same room acoustic qualities. Crucially, these are placed at different positions than the sources available for estimation. Here, we propose to use an encoder network trained using a contrastive loss that maps input sounds to a low-dimensional feature space representing only room-specific information. Then, a diffusion-based spatial room impulse response generator is trained to take the latent space and generate a new response, given a new source-receiver position. We show how both room- and position-specific parameters are considered in the final output.

Francesc Lluís, Vasileios Chatziioannou, Alex Hofmann

For immersive applications, the generation of binaural sound that matches its visual counterpart is crucial to bring meaningful experiences to people in a virtual environment. Recent studies have shown the possibility of using neural networks for synthesizing binaural audio from mono audio by using 2D visual information as guidance. Extending this approach by guiding the audio with 3D visual information and operating in the waveform domain may allow for a more accurate auralization of a virtual audio scene. We propose Points2Sound, a multi-modal deep learning model which generates a binaural version from mono audio using 3D point cloud scenes. Specifically, Points2Sound consists of a vision network and an audio network. The vision network uses 3D sparse convolutions to extract a visual feature from the point cloud scene. Then, the visual feature conditions the audio network, which operates in the waveform domain, to synthesize the binaural version. Results show that 3D visual information can successfully guide multi-modal deep learning models for the task of binaural synthesis. We also investigate how 3D point cloud attributes, learning objectives, different reverberant conditions, and several types of mono mixture signals affect the binaural audio synthesis performance of Points2Sound for the different numbers of sound sources present in the scene.

Francesc Lluís, Vasileios Chatziioannou, Alex Hofmann

Recently, significant progress has been made in audio source separation by the application of deep learning techniques. Current methods that combine both audio and visual information use 2D representations such as images to guide the separation process. However, in order to (re)-create acoustically correct scenes for 3D virtual/augmented reality applications from recordings of real music ensembles, detailed information about each sound source in the 3D environment is required. This demand, together with the proliferation of 3D visual acquisition systems like LiDAR or rgb-depth cameras, stimulates the creation of models that can guide the audio separation using 3D visual information. This paper proposes a multi-modal deep learning model to perform music source separation conditioned on 3D point clouds of music performance recordings. This model extracts visual features using 3D sparse convolutions, while audio features are extracted using dense convolutions. A fusion module combines the extracted features to finally perform the audio source separation. It is shown, that the presented model can distinguish the musical instruments from a single 3D point cloud frame, and perform source separation qualitatively similar to a reference case, where manually assigned instrument labels are provided.

Francesc Lluís, Pablo Martínez-Nuevo, Martin Bo Møller et al.

In this paper, a deep-learning-based method for sound field reconstruction is proposed. It is shown the possibility to reconstruct the magnitude of the sound pressure in the frequency band 30-300 Hz for an entire room by using a very low number of irregularly distributed microphones arbitrarily arranged. Moreover, the approach is agnostic to the location of the measurements in the Euclidean space. In particular, the presented approach uses a limited number of arbitrary discrete measurements of the magnitude of the sound field pressure in order to extrapolate this field to a higher-resolution grid of discrete points in space with a low computational complexity. The method is based on a U-net-like neural network with partial convolutions trained solely on simulated data, which itself is constructed from numerical simulations of Green's function across thousands of common rectangular rooms. Although extensible to three dimensions and different room shapes, the method focuses on reconstructing a two-dimensional plane of a rectangular room from measurements of the three-dimensional sound field. Experiments using simulated data together with an experimental validation in a real listening room are shown. The results suggest a performance which may exceed conventional reconstruction techniques for a low number of microphones and computational requirements.

Francesc Lluís, Jordi Pons, Xavier Serra

Most of the currently successful source separation techniques use the magnitude spectrogram as input, and are therefore by default omitting part of the signal: the phase. To avoid omitting potentially useful information, we study the viability of using end-to-end models for music source separation --- which take into account all the information available in the raw audio signal, including the phase. Although during the last decades end-to-end music source separation has been considered almost unattainable, our results confirm that waveform-based models can perform similarly (if not better) than a spectrogram-based deep learning model. Namely: a Wavenet-based model we propose and Wave-U-Net can outperform DeepConvSep, a recent spectrogram-based deep learning model.