Mercurial > hg > silvet
comparison README @ 157:8964b4920689
COPYING, README, subrepos
author | Chris Cannam |
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date | Fri, 16 May 2014 14:37:20 +0100 |
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children | 8f48b65a6ef2 |
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3 Silvet: Shift-Invariant Latent Variable Transcription | |
4 ===================================================== | |
5 | |
6 A polyphonic music transcription plugin. | |
7 | |
8 http://code.soundsoftware.ac.uk/projects/silvet | |
9 | |
10 Silvet is a Vamp plugin (http://vamp-plugins.org) for automatic music | |
11 transcription, using the method of "A Shift-Invariant Latent Variable | |
12 Model for Automatic Music Transcription" by Emmanouil Benetos and | |
13 Simon Dixon (see CITATION file). | |
14 | |
15 | |
16 What does it do? | |
17 ---------------- | |
18 | |
19 Silvet listens to audio recordings of music and tries to work out what | |
20 notes are being played. | |
21 | |
22 To use Silvet, you need a Vamp plugin host such as Sonic Visualiser | |
23 (http://sonicvisualiser.org). How to use the plugin will depend on the | |
24 host, but in the case of Sonic Visualiser, you should load an audio | |
25 file and then run Silvet Note Transcription from the Transform | |
26 menu. This will add a note layer to your session with the | |
27 transcription in it, which you can play back or export as a MIDI file. | |
28 | |
29 | |
30 How good is it? | |
31 --------------- | |
32 | |
33 Reasonable for recordings that suit it: chamber music, solo piano, | |
34 acoustic jazz, etc. But the range of music that works well is quite | |
35 limited at this stage. | |
36 | |
37 Silvet uses a probablistic latent-variable estimation method to | |
38 decompose a Constant-Q time-frequency matrix into note activations | |
39 using a set of spectral templates learned from recordings of solo | |
40 instruments. This means its performance is dominated by the | |
41 correspondence between its instrument templates and the sounds present | |
42 in the recording. | |
43 | |
44 The method performs quite well (70-85% of notes identified correctly) | |
45 for clear recordings that contain only instruments with a good | |
46 correspondence to the known templates. In these cases its performance | |
47 becomes limited by the note decomposition step, clustering pitch | |
48 probabilities into note events, which is still fairly simplistic. | |
49 | |
50 Silvet does not yet contain any vocal templates, or templates for | |
51 typical rock or electronic instruments. So it will usually perform | |
52 very poorly with pop and rock music, although the results can be | |
53 interesting anyway. Silvet also makes no attempt to transcribe | |
54 percussion. | |
55 | |
56 For a formal evaluation, please refer to the 2012 edition of MIREX, | |
57 the Music Information Retrieval Evaluation Exchange, where the basic | |
58 method implemented in Silvet formed the BD1, BD2 and BD3 submissions | |
59 in the Multiple F0 Tracking task: | |
60 | |
61 http://www.music-ir.org/mirex/wiki/2012:Multiple_Fundamental_Frequency_Estimation_%26_Tracking_Results | |
62 | |
63 | |
64 Authors and copyright | |
65 --------------------- | |
66 | |
67 The method implemented in Silvet is by Emmanouil Benetos, see | |
68 "A Shift-Invariant Latent Variable Model for Automatic Music | |
69 Transcription" by Emmanouil Benetos and Simon Dixon (CMJ 2012). If | |
70 you make use of this software for academic purposes, please cite this | |
71 publication (see the the CITATION file for BibTeX). | |
72 | |
73 The plugin code is by Chris Cannam and Emmanouil Benetos and is | |
74 Copyright 2014 Queen Mary, University of London. It is distributed | |
75 under the GNU General Public License: see the file COPYING for | |
76 details. | |
77 | |
78 If you make use of this software for any public or commercial purpose, | |
79 we ask you to kindly mention the authors and Queen Mary, University of | |
80 London in your user-visible documentation. We're very happy to see | |
81 this sort of use but would much appreciate being credited, independent | |
82 of the requirements of the software license itself. | |
83 |