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<!DOCTYPE html>
<html lang="en">
<head>
<meta charset="utf-8">
<link rel="icon" href="//www.xiph.org/images/logos/xiph.ico" type="image/x-icon"/>
<link rel="stylesheet" title="default demosheet" href="demo.css" type="text/css"/>
<!-- <link rel="stylesheet" title="default demosheet" media="print" href="demo_print.css" type="text/css"/> -->
<title>RNNoise: Learning Noise Suppression</title>
<script src="ffmap.js"></script>
<script src="demo.js"></script>
<script src="noise.js"></script>
<script src="record.js"></script>
<!-- <script src="noise.js"></script>
<script src="noise_interface.js"></script> -->
</head>
<body onload="init_demo();">
<div id="xiphlogo">
<img style="width: 476px;" src="xiph_mozilla.png" alt="Xiph.org and Mozilla"/>
<h1>RNNoise: Learning Noise Suppression</h1>
<div class="or"><a href="/~xiphmont/demo/index.html">(Monty's main demo page)</a></div>
</div>
<div> </div>
<img class="caption" style="width: 100%; padding-top: 1em; margin-left: auto; margin-right: auto;" src="before.jpg" alt="Banner" onmouseover="this.src='after.jpg';" onmouseout="this.src='before.jpg';"/>
<div class="caption">
The image above shows the spectrogram of the audio before and after (when moving the mouse over) noise suppression.
</div>
<h2>Here's RNNoise</h2>
<p>This demo presents the RNNoise project, showing how deep learning can be applied to noise suppression.
The main idea is to combine <i>classic</i> signal processing with
deep learning to create a real-time noise suppression algorithm that's small and <b>fast</b>. No expensive GPUs required
— it runs easily on a Raspberry Pi. The result is much simpler (easier to tune) and sounds better than traditional noise
suppression systems (been there!). <p>
<h2>Noise Suppression</h2>
<p>Noise suppression is a pretty old topic in speech processing,
<a href="http://ieeexplore.ieee.org/document/1163209/">dating back to at least the 70s</a>.
As the name implies, the idea is to take a noisy signal and remove as much noise as possible
while causing minimum distortion to the speech of interest.
</p>
<img class="caption" style="width: 500px" src="noise_suppression.png" alt="traditional noise suppression">
<div class="caption">
This is a conceptual view of a conventional noise suppression algorithm.
A voice activity detection (VAD) module detects when the signal contains voice and
when it's just noise. This is used by a noise spectral estimation module to figure out
the spectral characteristics of the noise (how much power at each frequency). Then, knowing
how the noise looks like, it can be "subtracted" (not as simple as it sounds) from the input
audio.</div>
<p>From looking at the figure above, noise suppression looks simple enough: just three conceptually
simple tasks and we're done, right? Right — and wrong! Any undergrad EE student can write
a noise suppression algorithm that works... kinda... sometimes. The hard part is to make it work
well, all the time, for all kinds of noise. That requires very careful tuning of every knob in the
algorithm, many special cases for strange signals and lots of testing. There's always some weird
signal that will cause problems and require more tuning and it's very easy to break more things
than you fix. It's 50% science, 50% art. I've been there before with the noise suppressor
in the <a href="https://speex.org/">speexdsp library</a>. It kinda works, but it's not great.
</p>
<h2>Deep Learning and Recurrent Neural Networks</h2>
<p>Deep learning is the new version of an old idea: artificial neural networks. Although those have
been around since the 60s, what's new in recent years is that:</p>
<ol>
<li>We now know how to make them deeper than two hidden layers</li>
<li>We know how to make recurrent networks remember patterns long in the past</li>
<li>We have the computational resources to actually train them</li>
</ol>
<p>Recurrent neural networks (RNN) are very important here because they make it possible to model time
sequences instead of just considering input and output frames independently. This is
especially important for noise suppression because we need time to get a good estimate
of the noise. For a long time, RNNs were heavily limited in their ability because
they could not hold information for a long period of time and because the gradient descent
process involved when back-propagating through time was very inefficient (the vanishing gradient
problem). Both problems were solved by the invention of <i>gated units</i>, such as the
Long Short-Term Memory (LSTM), the Gated Recurrent Unit (GRU), and their many variants.</p>
<p>RNNoise uses the Gated Recurrent Unit (GRU) because it performs slightly better than LSTM on
this task and requires fewer resources (both CPU and memory for weights). Compared to <i>simple</i>
recurrent units, GRUs have two extra <i>gates</i>. The <i>reset</i> gate controls whether the
state (memory) is used in computing the new state, whereas the <i>update</i> gate controls
how much the state will change based on the new input. This update gate (when off) makes it
possible (and easy) for the GRU to remember information for a long period of time and is the
reason GRUs (and LSTMs) perform much better than simple recurrent units.
</p>
<img class="caption" style="width: 602px;" src="simple_vs_gru.png" alt="recurrent units">
<div class="caption">
Comparing a simple recurrent unit with a GRU. The difference lies in the GRU's <i>r</i> and <i>z</i>
gates, which make it possible to learn longer-term patterns. Both are soft switches (value
between 0 and 1) computed based on the previous state of the whole layer and the inputs, with a sigmoid
activation function. When the update gate <i>z</i> is on the left, then the state can remain
constant over a long period of time — until a condition causes <i>z</i> to switch to the right.
</div>
<h2>A Hybrid Approach</h2>
<p>Thanks to the successes of deep learning, it is now popular to throw deep neural networks
at an entire problem. These approaches are called <i>end-to-end</i> — it's neurons all
the way down. End-to-end approaches have been applied to
<a href="https://arxiv.org/pdf/1412.5567.pdf">speech recognition</a> and to
<a href="https://deepmind.com/blog/wavenet-generative-model-raw-audio/">speech synthesis</a>
On the one hand, these end-to-end systems have proven just how powerful deep
neural networks can be. On the other hand, these systems can sometimes be both suboptimal,
and wasteful in terms of resources. For example, some approaches to noise suppression use
layers with thousands of
neurons — and tens of millions of weights — to perform noise suppression. The drawback
is not only the computational cost of running the network, but also the <i>size</i> of the model
itself because your library is now a thousand lines of code along with tens of megabytes (if not more)
worth of neuron weights.<p>
<p>That's why we went with a different approach here: keep all the basic signal processing
that's needed anyway (not have a neural network attempt to emulate it), but let the neural
network learn all the tricky parts that require endless tweaking next to the signal processing.
Another thing that's different from <i>some</i> existing work on noise suppression with deep learning
is that we're targeting real-time communication rather than speech recognition, so we can't afford
to <i>look ahead</i> more than a few milliseconds (in this case 10 ms).
</p>
<h3>Defining the problem</h3>
<p>To avoid having a very large number of outputs — and thus a large number of neurons —
we decided against working directly with samples or with a spectrum. Instead, we consider frequency
<i>bands</i> that follow the Bark scale, a frequency scale that matches how we perceive sounds. We use
a total of 22 bands, instead of the 480 (complex) spectral values we would otherwise have to consider.
</p>
<img class="caption" style="width: 876px;" src="bands.png" alt="frequency bands">
<div class="caption">
Layout of the Opus bands vs the actual Bark scale. For RNNoise, we use the same base layout
as Opus. Since we overlap the bands, the boundaries between the Opus bands become the center
of the overlapped RNNoise bands. The bands are wider at higher frequency because the ear has
poorer frequency resolution there. At low frequencies, the bands are narrower, but not as narrow
as the Bark scale would give because then we would not have enough data to make good estimates.
</div>
<p>Of course, we cannot reconstruct audio from just the energy in 22 bands. What we can do though, is
compute a gain to apply to the signal for each of these bands. You can think about it as using a 22-band
equalizer and rapidly changing the level of each band so as to attenuate the noise, but let the
signal through.</p>
<p>There are several advantages to operating with per-band gains. First, it makes for a much
simpler model since there are fewer bands to compute. Second, it makes it impossible to create
so-called <i>musical noise</i> artifacts, where only a single tone gets though while its neighbours
are attenuated. These artifacts are common in noise suppression and quite annoying. With bands that
are wide enough, we either let a whole band through, or we cut it all. The third advantage comes from
how we optimize the model. Since the gains are always bounded between 0 and 1, simply using a
sigmoid activation function (whose output is also between 0 and 1) to compute them ensures that
we can never do something <b>really</b> stupid, like adding noise that wasn't there in the first place.</p>
<div id="gains_details" class="tooltip_off">
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<p class="details">
For the output, we could also have chosen a rectified linear activation function to represent
an attenuation in dB between 0 and infinity. To better optimize the gain during
training, the loss function is the mean squared error (MSE) applied to the gain raised to
the power α. So far, we have found that α=0.5 produces the best results perceptually.
Using α→0 would be equivalent to minimizing the log spectral distance, and
is problematic because the optimal gain can be very close to zero.
</p>
</div>
<p>The main drawback of the lower resolution we get from using bands is that we do not
have a fine enough resolution to suppress the noise between pitch harmonics. Fortunately,
it's not so important and there is even an easy trick to do it (see the pitch filtering part below).</p>
<p>Since the output we're computing is based on 22 bands, it makes little sense to have
more frequency resolution on the input, so we use the same 22 bands to feed spectral information
to the neural network. Because audio has a <b>huge</b> dynamic range, it's much better to compute
the log of the energy rather than to feed the energy directly. And while we're at it, it never
hurts to decorrelate the features using a DCT. The resulting data is a <i>cepstrum</i>
based on the Bark scale, which is closely related to the Mel-Frequency Cepstral Coefficients (MFCC)
that are very commonly used in speech recognition.</p>
<p>In addition to our cepstral coefficients, we also include:</p>
<ul>
<li>The first and second derivatives of the first 6 coefficients across frames</li>
<li>The pitch period (1/frequency of the fundamental)</li>
<li>The pitch gain (voicing strength) in 6 bands</li>
<li>A special non-stationarity value that's useful for detecting speech (but beyond the scope of this demo)</li>
</ul>
<p>That makes a total of 42 input features to the neural network.</p>
<h3>Deep architecture</h3>
<p>The deep architecture we use is inspired from the traditional approach to noise suppression.
Most of the work is done by 3 GRU layers. The figure below shows the layers we use to compute the
band gains and how the architecture maps to the traditional steps in noise suppression. Of course,
as is often the case with neural networks we have no actual proof that the network is using its
layers as we intend, but the fact that the topology works better than others we tried makes it
reasonable to think it is behaving as we designed it.
</p>
<img class="caption" style="width: 500px" src="topology.png" alt="network topology">
<div class="caption">
Topology of the neural network used in this project. Each box represents a layer of
neurons, with the number of units indicated in parentheses. <i>Dense</i> layers are
fully-connected, non-recurrent layers.
One of the outputs of the network is a set of gains to apply at different frequencies. The
other output is a voice activity probability, which is not used for noise suppression
but is a useful by-product of the network.
</div>
<h3>It's all about the data</h3>
<p>Even deep neural networks can be pretty dumb sometimes. They're very good at what they know
about, but they can make pretty spectacular mistakes on inputs that are too far from what they
know about. Even worse, they're really lazy students. If they can use any sort of loophole in the training
process to avoid learning something hard, then they will. That is why the quality of the training
data is critical.</p>
<div id="tank_details" class="tooltip_off">
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<p class="details">
A widely-circulated story is that a long time ago, some army researchers were trying
to train a neural network to recognize tanks camouflaged in trees. They took pictures of
trees with and without tanks, then trained a neural network to identify the ones that had
a tank. The network succeeded beyond expectations! There was just one problem. Since the
photos with tanks had been taken on cloudy days while the photos without tanks had been
taken on sunny days, what the network really learned was how to tell a cloudy day from a
sunny day. While researchers are now aware of the issue and avoid such obvious mistakes,
more subtle versions of it can still occur (and have occurred to yours truly in the past).
</p>
</div>
<p>In the case of noise suppression, we can't just collect input/output data that can
be used for supervised learning since we can rarely get both the clean speech <b>and</b> the noisy
speech at the same time. Instead, we have to artificially create that data from separate
recordings of clean speech and noise. The tricky part is getting a wide variety of noise data
to add to the speech. We also have to make sure to cover all kinds of recording conditions. For
example, an early version trained only on full-band audio (0-20 kHz) would fail when the
audio was low-pass filtered at 8 kHz. </p>
<div id="cms_details" class="tooltip_off">
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<p class="details">
Unlike what is common for speech recognition, we choose not to apply cepstral mean
normalization to our features and we retain the first cepstral coefficient that represents
the energy. Because of that, we have to ensure that the data includes audio at all
realistic levels. We also apply random filters to the audio to make the system
robust to a variety of microphone frequency responses (which is normally handled by cepstral
mean normalization).
</p>
</div>
<h3>Pitch filtering</h3>
<p>Since the frequency resolution of our bands is too coarse to filter noise between
pitch harmonics, we do it using basic signal processing. This is another part of the
hybrid approach. When one has multiple measurements of the same variable, the easiest
way to improve the accuracy (reduce noise) is simply to compute the average.
Obviously, just computing the average of adjacent audio samples isn't what we want since
it would result in low-pass filtering. However, when the signal is periodic (such as voiced
speech), then we can compute the average of samples offset by the pitch period. This results
in a <i>comb filter</i> that lets pitch harmonics through, while attenuating the frequencies
between them — where the noise lies. To avoid distorting the signal, the
comb filter is applied independently for each band and its filter strength depends both on the pitch correlation
and on the band gain computed by the neural network.</p>
<div id="pitch_details" class="tooltip_off">
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<p class="details">
We currently use an FIR filter for the pitch filtering, but it is also possible (and on the TODO list)
to use an IIR filter, which would result in greater noise attenuation at the risk of higher
distortion if the strength is too aggressive.
</p>
</div>
<h3>From Python to C</h3>
<p>All the design and training of the neural network is done in Python using the awesome
<a href="https://keras.io/">Keras</a> deep learning library. Since Python is usually
not the language of choice for real-time systems, we have to implement the run-time code
in C. Fortunately, running a neural network is by far easier than training one, so
all we had to do was implement feed-forward and GRU layers. To make it easier to fit the
weights in a reasonable footprint, we constrain the magnitude of the weights to +/- 0.5 during
training, which makes it easy to store them using 8-bit values. The resulting model fits
in just 85 kB (instead of the 340 kB required to store the weights as 32-bit floats).</p>
<p>The C code is <a href="https://git.xiph.org/?p=rnnoise.git;a=summary">available</a> under a BSD license. Although as of writing this demo, the code
is not yet optimized, it already runs about 60x faster than real-time on an x86 CPU. It even runs about 7x faster than
real-time on a Raspberry Pi 3.
With good vectorization (SSE/AVX), it should be possible to make it about 4x faster than it currently is. </p>
<h2>Show Me the Samples!</h2>
<p>OK, that's nice and all, but how does it actually <b>sound</b>? Here's some examples of RNNoise
in action, removing three different types of noise. Neither the noise nor the clean speech were
used during the training. </p>
<div class="comparison">
<audio controls="" id="music_player">
Your browser does not support the audio tag.
</audio>
<div>
<p class="compare_label" style="display: inline-block">Suppression algorithm</p>
<ul class="algorithm">
<li onclick="setProcessing(0, this);" id="default_processing">No suppression</li>
<li onclick="setProcessing(1, this);">RNNoise</li>
<li onclick="setProcessing(2, this);">Speexdsp</li>
</ul>
</div>
<div>
<p class="compare_label" style="display: inline-block">Noise level (SNR)</p>
<ul class="codec">
<li onclick="setLevel(0, this);">0 dB</li>
<li onclick="setLevel(1, this);">5 dB</li>
<li onclick="setLevel(2, this);">10 dB</li>
<li onclick="setLevel(3, this);" id="default_level">15 dB</li>
<li onclick="setLevel(4, this);">20 dB</li>
<li onclick="setLevel(5, this);">Clean</li>
</ul>
</div>
<div>
<p class="compare_label" style="display: inline-block">Noise type</p>
<ul class="bitrate" id="noise_type_selector">
<li onclick="setType(0, this);" id="default_type">Babble noise</li>
<li onclick="setType(1, this);">Car noise</li>
<li onclick="setType(2, this);">Street noise</li>
</ul>
</div>
<p>Select where to start playing when selecting a new sample</p>
<button type="button" onclick="music_norestart();">Keep playing</button>
<button type="button" onclick="music_setrestart();">Set current position as restart point</button>
<p style="display: inline-block" id="music_restart_string">Player will <b>continue</b> when changing sample.</p>
</div>
<div class="caption">
<p>Evaluating the effect of RNNoise compared to no suppression and to the Speexdsp noise suppressor. Although the
SNRs provided go as low as 0 dB, most applications we are targeting (e.g. WebRTC calls) tend to have SNRs
closer to 20 dB than to 0 dB. </p>
</div>
<p>So what should you listen for anyway? As strange as it may sound, you should <b>not</b> be expecting
an increase in intelligibility. Humans are so good at understanding speech in noise that an enhancement
algorithm — especially one that isn't allowed to look ahead of the speech it's denoising —
can only destroy information. So why are we doing this in the first place? For quality. The enhanced speech is
much less annoying to listen to and likely causes less listener fatigue.</p>
<p>Actually, there are still a few cases where it can actually help
intelligibility. The first is videoconferencing, when multiple speakers are being mixed together. For that
application, noise suppression prevents the noise from all the inactive speakers from being mixed in with the active
speaker, improving both quality and intelligibility. A second case is when the speech goes through a
low bitrate codec. Those tend to degrade noisy speech more than clean speech, so removing the noise
allows the codec to do a better job.</p>
<h3>Try it on your voice!</h3>
<p>Not happy with the samples above? You can actually record from your microphone and have your audio denoised in (near)
real-time. If you click on the button below, RNNoise will perform noise suppression in Javascript from your browser.
The algorithm runs in real-time but we've purposely <b>delayed it by a few seconds</b> to make it easier to hear the denoised output.
<b>Make sure to wear headphones otherwise you'll hear a feedback loop.</b> To start the demo, select either "No suppression"
or "RNNoise". You can toggle between the two to see the effect of the suppression. If your input doesn't have enough noise,
you can artificially add some by clicking the "white noise" button. </p>
<div class="comparison">
<div>
<p class="compare_label" style="display: inline-block">Suppression algorithm</p>
<ul class="algorithm">
<li onclick="liveNoiseSuppression(0, this);" id="default_live_noise_suppression">Off</li>
<li onclick="liveNoiseSuppression(1, this);">No suppression</li>
<li onclick="liveNoiseSuppression(2, this);">RNNoise</li>
</ul>
</div>
<p class="compare_label" style="display: inline-block">Noise type</p>
<ul class="bitrate">
<li onclick="liveNoise(0, this);" id="default_live_noise">None</li>
<li onclick="liveNoise(1, this);">White noise</li>
</ul>
</div>
<canvas id="source_spectrogram" width="16" height="16"></canvas>
<canvas id="destination_spectrogram" width="16" height="16"></canvas>
<h3>Donate Your Noise to Science</h3>
<p>If you think this work is useful, there's an easy way to help make it even better! All it takes is a minute
of your time. Click on the link below, to let us record one minute of noise from where you are. This noise can
be used to improve the training of the neural network. As a side benefit,
it means that the network will know what kind of noise you have and might do a better job when you get to use it
for videoconferencing (e.g. in WebRTC). We're interested in noise from any environment where you might communicate using voice.
That can be your office, your car, on the street, or anywhere you might use your phone or computer.</p>
<p>
<a href="donate.html"><b>Donate a minute of noise!</b></a>
</p>
<h2>Where from here?</h2>
<p>
If you'd like to know more about the technical details of RNNoise, see this <a href="https://arxiv.org/pdf/1709.08243.pdf">paper</a> (not yet submitted).
The code is still under active development (with no frozen API), but is already usable in applications. It is currently
targeted at VoIP/videoconferencing applications, but with a few tweaks, it can probably be applied to many other tasks.
An obvious target is automatic speech recognition (ASR), and while we can just denoise the noisy speech and send the
output to the ASR, this is sub-optimal because it discards useful information about the inherent uncertainty of the process.
It's a lot more useful when the ASR knows not only the most likely clean speech, but also how much it can rely on that estimate.
Another possible "retargeting" for RNNoise is making a much smarter <i>noise gate</i> for electric musical instruments.
All it should take is good training data and a few changes to the code to turn a Raspberry Pi into a really good guitar noise gate.
Any takers? There are probably many other potential applications we haven't considered yet.</p>
<p>If you would like to comment on this demo, you can do so on <a href="https://jmvalin.dreamwidth.org/15210.html">here</a>.</p>
<address style="clear: both;">—Jean-Marc Valin
(<a href="mailto:[email protected]">[email protected]</a>) September 27, 2017
</address>
<h2>Additional Resources</h2>
<ol style="padding-bottom: 1em;">
<li>The code: <a href="https://git.xiph.org/?p=rnnoise.git;a=summary">RNNoise Git repository</a>
(<a href="https://github.com/xiph/rnnoise/">Github mirror</a>)</li>
<li>J.-M. Valin, <a href="https://arxiv.org/pdf/1709.08243.pdf">A Hybrid DSP/Deep Learning Approach to Real-Time Full-Band Speech Enhancement</a>, <span style="font-family: monospace;">arXiv:<a href="https://arxiv.org/abs/1709.08243">1709.08243</a> [cs.SD]</span>, 2017. </li>
<li>Jean-Marc's <a href="https://jmvalin.dreamwidth.org/15210.html">blog post</a> for comments</li>
</ol>
<h2>Acknowledgements</h2>
<p>Special thanks to Michael Bebenita, Thomas Daede and Yury Delendik for their help putting together this demo. Thanks to Reuben Morais for
his help with Keras.</p>
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