Simon Godsill and Peter Rayner's Digital Audio Restoration PDF

By Simon Godsill and Peter Rayner

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Extra resources for Digital Audio Restoration

Example text

This is shown in 26 to be a consequence of the predominance of the time-smoothed signal level the so called `a priori signal to noise ratio' over the usual `instantanenous' relative signal level. A nice feature of the Ephraim and Malah suppression rule is the `intelligent' time-smoothing of the relative signal level resulting from the use of an explicit statistical model of the sub-band noise: a strong smoothing when the level is su ciently low to be compatible with the hypothesis that only the noise is present, and no smoothing otherwise 26 .

4 . . . . . . 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 0 . 0 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 20 30 40 50 60 70 Time (units of 2048 samples) Figure 20: Frequency tracks generated for example `Viola'. of all the musical notes which are playing. Since this is certainly not the case for most non-musical signals, we might expect the method to fail for, say, speech extracts or acoustical noises.

1 0 . 0 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 20 30 40 50 60 70 Time (units of 2048 samples) Figure 20: Frequency tracks generated for example `Viola'. of all the musical notes which are playing. Since this is certainly not the case for most non-musical signals, we might expect the method to fail for, say, speech extracts or acoustical noises. Fortunately, it is for musical extracts that pitch variation defects are most critical.

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Digital Audio Restoration by Simon Godsill and Peter Rayner


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