Daily Papers

Reverb plays a critical role in music production, where it provides listeners with spatial realization, timbre, and texture of the music. Yet, it is challenging to reproduce the musical reverb of a reference music track even by skilled engineers. In response, we propose an end-to-end system capable of switching the musical reverb factor of two different mixed vocal tracks. This method enables us to apply the reverb of the reference track to the source track to which the effect is desired. Further, our model can perform de-reverberation when the reference track is used as a dry vocal source. The proposed model is trained in combination with an adversarial objective, which makes it possible to handle high-resolution audio samples. The perceptual evaluation confirmed that the proposed model can convert the reverb factor with the preferred rate of 64.8%. To the best of our knowledge, this is the first attempt to apply deep neural networks to converting music reverb of vocal tracks.

Audio super-resolution is challenging owing to its ill-posed nature. Recently, the application of diffusion models in audio super-resolution has shown promising results in alleviating this challenge. However, diffusion-based models have limitations, primarily the necessity for numerous sampling steps, which causes significantly increased latency when synthesizing high-quality audio samples. In this paper, we propose FLowHigh, a novel approach that integrates flow matching, a highly efficient generative model, into audio super-resolution. We also explore probability paths specially tailored for audio super-resolution, which effectively capture high-resolution audio distributions, thereby enhancing reconstruction quality. The proposed method generates high-fidelity, high-resolution audio through a single-step sampling process across various input sampling rates. The experimental results on the VCTK benchmark dataset demonstrate that FLowHigh achieves state-of-the-art performance in audio super-resolution, as evaluated by log-spectral distance and ViSQOL while maintaining computational efficiency with only a single-step sampling process.

We present AERO, a audio super-resolution model that processes speech and music signals in the spectral domain. AERO is based on an encoder-decoder architecture with U-Net like skip connections. We optimize the model using both time and frequency domain loss functions. Specifically, we consider a set of reconstruction losses together with perceptual ones in the form of adversarial and feature discriminator loss functions. To better handle phase information the proposed method operates over the complex-valued spectrogram using two separate channels. Unlike prior work which mainly considers low and high frequency concatenation for audio super-resolution, the proposed method directly predicts the full frequency range. We demonstrate high performance across a wide range of sample rates considering both speech and music. AERO outperforms the evaluated baselines considering Log-Spectral Distance, ViSQOL, and the subjective MUSHRA test. Audio samples and code are available at https://pages.cs.huji.ac.il/adiyoss-lab/aero

We introduce InspireMusic, a framework integrated super resolution and large language model for high-fidelity long-form music generation. A unified framework generates high-fidelity music, songs, and audio, which incorporates an autoregressive transformer with a super-resolution flow-matching model. This framework enables the controllable generation of high-fidelity long-form music at a higher sampling rate from both text and audio prompts. Our model differs from previous approaches, as we utilize an audio tokenizer with one codebook that contains richer semantic information, thereby reducing training costs and enhancing efficiency. This combination enables us to achieve high-quality audio generation with long-form coherence of up to 8 minutes. Then, an autoregressive transformer model based on Qwen 2.5 predicts audio tokens. Next, we employ a super-resolution flow-matching model to generate high-sampling rate audio with fine-grained details learned from an acoustic codec model. Comprehensive experiments show that the InspireMusic-1.5B-Long model has a comparable performance to recent top-tier open-source systems, including MusicGen and Stable Audio 2.0, on subjective and objective evaluations. The code and pre-trained models are released at https://github.com/FunAudioLLM/InspireMusic.

Several video understanding tasks, such as natural language temporal video grounding, temporal activity localization, and audio description generation, require "temporally dense" reasoning over frames sampled at high temporal resolution. However, computing frame-level features for these tasks is computationally expensive given the temporal resolution requirements. In this paper, we make three contributions to reduce the cost of computing features for temporally dense tasks. First, we introduce a vision transformer (ViT) architecture, dubbed ResidualViT, that leverages the large temporal redundancy in videos to efficiently compute temporally dense frame-level features. Our architecture incorporates (i) learnable residual connections that ensure temporal consistency across consecutive frames and (ii) a token reduction module that enhances processing speed by selectively discarding temporally redundant information while reusing weights of a pretrained foundation model. Second, we propose a lightweight distillation strategy to approximate the frame-level features of the original foundation model. Finally, we evaluate our approach across four tasks and five datasets, in both zero-shot and fully supervised settings, demonstrating significant reductions in computational cost (up to 60%) and improvements in inference speed (up to 2.5x faster), all while closely approximating the accuracy of the original foundation model.

Audio super-resolution is a fundamental task that predicts high-frequency components for low-resolution audio, enhancing audio quality in digital applications. Previous methods have limitations such as the limited scope of audio types (e.g., music, speech) and specific bandwidth settings they can handle (e.g., 4kHz to 8kHz). In this paper, we introduce a diffusion-based generative model, AudioSR, that is capable of performing robust audio super-resolution on versatile audio types, including sound effects, music, and speech. Specifically, AudioSR can upsample any input audio signal within the bandwidth range of 2kHz to 16kHz to a high-resolution audio signal at 24kHz bandwidth with a sampling rate of 48kHz. Extensive objective evaluation on various audio super-resolution benchmarks demonstrates the strong result achieved by the proposed model. In addition, our subjective evaluation shows that AudioSR can acts as a plug-and-play module to enhance the generation quality of a wide range of audio generative models, including AudioLDM, Fastspeech2, and MusicGen. Our code and demo are available at https://audioldm.github.io/audiosr.

Recent advances in visually-induced audio generation are based on sampling short, low-fidelity, and one-class sounds. Moreover, sampling 1 second of audio from the state-of-the-art model takes minutes on a high-end GPU. In this work, we propose a single model capable of generating visually relevant, high-fidelity sounds prompted with a set of frames from open-domain videos in less time than it takes to play it on a single GPU. We train a transformer to sample a new spectrogram from the pre-trained spectrogram codebook given the set of video features. The codebook is obtained using a variant of VQGAN trained to produce a compact sampling space with a novel spectrogram-based perceptual loss. The generated spectrogram is transformed into a waveform using a window-based GAN that significantly speeds up generation. Considering the lack of metrics for automatic evaluation of generated spectrograms, we also build a family of metrics called FID and MKL. These metrics are based on a novel sound classifier, called Melception, and designed to evaluate the fidelity and relevance of open-domain samples. Both qualitative and quantitative studies are conducted on small- and large-scale datasets to evaluate the fidelity and relevance of generated samples. We also compare our model to the state-of-the-art and observe a substantial improvement in quality, size, and computation time. Code, demo, and samples: v-iashin.github.io/SpecVQGAN

Diffusion-based audio and music generation models commonly generate music by constructing an image representation of audio (e.g., a mel-spectrogram) and then converting it to audio using a phase reconstruction model or vocoder. Typical vocoders, however, produce monophonic audio at lower resolutions (e.g., 16-24 kHz), which limits their effectiveness. We propose MusicHiFi -- an efficient high-fidelity stereophonic vocoder. Our method employs a cascade of three generative adversarial networks (GANs) that convert low-resolution mel-spectrograms to audio, upsamples to high-resolution audio via bandwidth expansion, and upmixes to stereophonic audio. Compared to previous work, we propose 1) a unified GAN-based generator and discriminator architecture and training procedure for each stage of our cascade, 2) a new fast, near downsampling-compatible bandwidth extension module, and 3) a new fast downmix-compatible mono-to-stereo upmixer that ensures the preservation of monophonic content in the output. We evaluate our approach using both objective and subjective listening tests and find our approach yields comparable or better audio quality, better spatialization control, and significantly faster inference speed compared to past work. Sound examples are at https://MusicHiFi.github.io/web/.

In this paper, we propose NU-GAN, a new method for resampling audio from lower to higher sampling rates (upsampling). Audio upsampling is an important problem since productionizing generative speech technology requires operating at high sampling rates. Such applications use audio at a resolution of 44.1 kHz or 48 kHz, whereas current speech synthesis methods are equipped to handle a maximum of 24 kHz resolution. NU-GAN takes a leap towards solving audio upsampling as a separate component in the text-to-speech (TTS) pipeline by leveraging techniques for audio generation using GANs. ABX preference tests indicate that our NU-GAN resampler is capable of resampling 22 kHz to 44.1 kHz audio that is distinguishable from original audio only 7.4% higher than random chance for single speaker dataset, and 10.8% higher than chance for multi-speaker dataset.

Conventionally, audio super-resolution models fixed the initial and the target sampling rates, which necessitate the model to be trained for each pair of sampling rates. We introduce NU-Wave 2, a diffusion model for neural audio upsampling that enables the generation of 48 kHz audio signals from inputs of various sampling rates with a single model. Based on the architecture of NU-Wave, NU-Wave 2 uses short-time Fourier convolution (STFC) to generate harmonics to resolve the main failure modes of NU-Wave, and incorporates bandwidth spectral feature transform (BSFT) to condition the bandwidths of inputs in the frequency domain. We experimentally demonstrate that NU-Wave 2 produces high-resolution audio regardless of the sampling rate of input while requiring fewer parameters than other models. The official code and the audio samples are available at https://mindslab-ai.github.io/nuwave2.

This paper introduces a new multi-speaker English dataset for training text-to-speech models. The dataset is based on LibriVox audiobooks and Project Gutenberg texts, both in the public domain. The new dataset contains about 292 hours of speech from 10 speakers with at least 17 hours per speaker sampled at 44.1 kHz. To select speech samples with high quality, we considered audio recordings with a signal bandwidth of at least 13 kHz and a signal-to-noise ratio (SNR) of at least 32 dB. The dataset is publicly released at http://www.openslr.org/109/ .

We tackle the problem of generating audio samples conditioned on descriptive text captions. In this work, we propose AaudioGen, an auto-regressive generative model that generates audio samples conditioned on text inputs. AudioGen operates on a learnt discrete audio representation. The task of text-to-audio generation poses multiple challenges. Due to the way audio travels through a medium, differentiating ``objects'' can be a difficult task (e.g., separating multiple people simultaneously speaking). This is further complicated by real-world recording conditions (e.g., background noise, reverberation, etc.). Scarce text annotations impose another constraint, limiting the ability to scale models. Finally, modeling high-fidelity audio requires encoding audio at high sampling rate, leading to extremely long sequences. To alleviate the aforementioned challenges we propose an augmentation technique that mixes different audio samples, driving the model to internally learn to separate multiple sources. We curated 10 datasets containing different types of audio and text annotations to handle the scarcity of text-audio data points. For faster inference, we explore the use of multi-stream modeling, allowing the use of shorter sequences while maintaining a similar bitrate and perceptual quality. We apply classifier-free guidance to improve adherence to text. Comparing to the evaluated baselines, AudioGen outperforms over both objective and subjective metrics. Finally, we explore the ability of the proposed method to generate audio continuation conditionally and unconditionally. Samples: https://felixkreuk.github.io/audiogen

Audio codec models are widely used in audio communication as a crucial technique for compressing audio into discrete representations. Nowadays, audio codec models are increasingly utilized in generation fields as intermediate representations. For instance, AudioLM is an audio generation model that uses the discrete representation of SoundStream as a training target, while VALL-E employs the Encodec model as an intermediate feature to aid TTS tasks. Despite their usefulness, two challenges persist: (1) training these audio codec models can be difficult due to the lack of publicly available training processes and the need for large-scale data and GPUs; (2) achieving good reconstruction performance requires many codebooks, which increases the burden on generation models. In this study, we propose a group-residual vector quantization (GRVQ) technique and use it to develop a novel High Fidelity Audio Codec model, HiFi-Codec, which only requires 4 codebooks. We train all the models using publicly available TTS data such as LibriTTS, VCTK, AISHELL, and more, with a total duration of over 1000 hours, using 8 GPUs. Our experimental results show that HiFi-Codec outperforms Encodec in terms of reconstruction performance despite requiring only 4 codebooks. To facilitate research in audio codec and generation, we introduce AcademiCodec, the first open-source audio codec toolkit that offers training codes and pre-trained models for Encodec, SoundStream, and HiFi-Codec. Code and pre-trained model can be found on: https://github.com/yangdongchao/AcademiCodec{https://github.com/yangdongchao/AcademiCodec}

We propose a novel approach for time-scale modification of audio signals. Unlike traditional methods that rely on the framing technique or the short-time Fourier transform to preserve the frequency during temporal stretching, our neural network model encodes the raw audio into a high-level latent representation, dubbed Neuralgram, where each vector represents 1024 audio sample points. Due to a sufficient compression ratio, we are able to apply arbitrary spatial interpolation of the Neuralgram to perform temporal stretching. Finally, a learned neural decoder synthesizes the time-scaled audio samples based on the stretched Neuralgram representation. Both the encoder and decoder are trained with latent regression losses and adversarial losses in order to obtain high-fidelity audio samples. Despite its simplicity, our method has comparable performance compared to the existing baselines and opens a new possibility in research into modern time-scale modification. Audio samples can be found at https://tsmnet-mmasia23.github.io

Research into the prediction and analysis of perceived audio quality is hampered by the scarcity of openly available datasets of audio signals accompanied by corresponding subjective quality scores. To address this problem, we present the Open Dataset of Audio Quality (ODAQ), a new dataset containing the results of a MUSHRA listening test conducted with expert listeners from 2 international laboratories. ODAQ contains 240 audio samples and corresponding quality scores. Each audio sample is rated by 26 listeners. The audio samples are stereo audio signals sampled at 44.1 or 48 kHz and are processed by a total of 6 method classes, each operating at different quality levels. The processing method classes are designed to generate quality degradations possibly encountered during audio coding and source separation, and the quality levels for each method class span the entire quality range. The diversity of the processing methods, the large span of quality levels, the high sampling frequency, and the pool of international listeners make ODAQ particularly suited for further research into subjective and objective audio quality. The dataset is released with permissive licenses, and the software used to conduct the listening test is also made publicly available.

Language models have been successfully used to model natural signals, such as images, speech, and music. A key component of these models is a high quality neural compression model that can compress high-dimensional natural signals into lower dimensional discrete tokens. To that end, we introduce a high-fidelity universal neural audio compression algorithm that achieves ~90x compression of 44.1 KHz audio into tokens at just 8kbps bandwidth. We achieve this by combining advances in high-fidelity audio generation with better vector quantization techniques from the image domain, along with improved adversarial and reconstruction losses. We compress all domains (speech, environment, music, etc.) with a single universal model, making it widely applicable to generative modeling of all audio. We compare with competing audio compression algorithms, and find our method outperforms them significantly. We provide thorough ablations for every design choice, as well as open-source code and trained model weights. We hope our work can lay the foundation for the next generation of high-fidelity audio modeling.

The application of generative adversarial networks (GANs) has recently advanced speech super-resolution (SR) based on intermediate representations like mel-spectrograms. However, existing SR methods that typically rely on independently trained and concatenated networks may lead to inconsistent representations and poor speech quality, especially in out-of-domain scenarios. In this work, we propose HiFi-SR, a unified network that leverages end-to-end adversarial training to achieve high-fidelity speech super-resolution. Our model features a unified transformer-convolutional generator designed to seamlessly handle both the prediction of latent representations and their conversion into time-domain waveforms. The transformer network serves as a powerful encoder, converting low-resolution mel-spectrograms into latent space representations, while the convolutional network upscales these representations into high-resolution waveforms. To enhance high-frequency fidelity, we incorporate a multi-band, multi-scale time-frequency discriminator, along with a multi-scale mel-reconstruction loss in the adversarial training process. HiFi-SR is versatile, capable of upscaling any input speech signal between 4 kHz and 32 kHz to a 48 kHz sampling rate. Experimental results demonstrate that HiFi-SR significantly outperforms existing speech SR methods across both objective metrics and ABX preference tests, for both in-domain and out-of-domain scenarios (https://github.com/modelscope/ClearerVoice-Studio).

This paper introduces WaveGrad, a conditional model for waveform generation which estimates gradients of the data density. The model is built on prior work on score matching and diffusion probabilistic models. It starts from a Gaussian white noise signal and iteratively refines the signal via a gradient-based sampler conditioned on the mel-spectrogram. WaveGrad offers a natural way to trade inference speed for sample quality by adjusting the number of refinement steps, and bridges the gap between non-autoregressive and autoregressive models in terms of audio quality. We find that it can generate high fidelity audio samples using as few as six iterations. Experiments reveal WaveGrad to generate high fidelity audio, outperforming adversarial non-autoregressive baselines and matching a strong likelihood-based autoregressive baseline using fewer sequential operations. Audio samples are available at https://wavegrad.github.io/.

Several recent work on speech synthesis have employed generative adversarial networks (GANs) to produce raw waveforms. Although such methods improve the sampling efficiency and memory usage, their sample quality has not yet reached that of autoregressive and flow-based generative models. In this work, we propose HiFi-GAN, which achieves both efficient and high-fidelity speech synthesis. As speech audio consists of sinusoidal signals with various periods, we demonstrate that modeling periodic patterns of an audio is crucial for enhancing sample quality. A subjective human evaluation (mean opinion score, MOS) of a single speaker dataset indicates that our proposed method demonstrates similarity to human quality while generating 22.05 kHz high-fidelity audio 167.9 times faster than real-time on a single V100 GPU. We further show the generality of HiFi-GAN to the mel-spectrogram inversion of unseen speakers and end-to-end speech synthesis. Finally, a small footprint version of HiFi-GAN generates samples 13.4 times faster than real-time on CPU with comparable quality to an autoregressive counterpart.

In this work we present a data-driven approach for predicting the behavior of (i.e., profiling) a given non-linear audio signal processing effect (henceforth "audio effect"). Our objective is to learn a mapping function that maps the unprocessed audio to the processed by the audio effect to be profiled, using time-domain samples. To that aim, we employ a deep auto-encoder model that is conditioned on both time-domain samples and the control parameters of the target audio effect. As a test-case study, we focus on the offline profiling of two dynamic range compression audio effects, one software-based and the other analog. Compressors were chosen because they are a widely used and important set of effects and because their parameterized nonlinear time-dependent nature makes them a challenging problem for a system aiming to profile "general" audio effects. Results from our experimental procedure show that the primary functional and auditory characteristics of the compressors can be captured, however there is still sufficient audible noise to merit further investigation before such methods are applied to real-world audio processing workflows.

Audio restoration has become increasingly significant in modern society, not only due to the demand for high-quality auditory experiences enabled by advanced playback devices, but also because the growing capabilities of generative audio models necessitate high-fidelity audio. Typically, audio restoration is defined as a task of predicting undistorted audio from damaged input, often trained using a GAN framework to balance perception and distortion. Since audio degradation is primarily concentrated in mid- and high-frequency ranges, especially due to codecs, a key challenge lies in designing a generator capable of preserving low-frequency information while accurately reconstructing high-quality mid- and high-frequency content. Inspired by recent advancements in high-sample-rate music separation, speech enhancement, and audio codec models, we propose Apollo, a generative model designed for high-sample-rate audio restoration. Apollo employs an explicit frequency band split module to model the relationships between different frequency bands, allowing for more coherent and higher-quality restored audio. Evaluated on the MUSDB18-HQ and MoisesDB datasets, Apollo consistently outperforms existing SR-GAN models across various bit rates and music genres, particularly excelling in complex scenarios involving mixtures of multiple instruments and vocals. Apollo significantly improves music restoration quality while maintaining computational efficiency. The source code for Apollo is publicly available at https://github.com/JusperLee/Apollo.

The advent of Large Models marks a new era in machine learning, significantly outperforming smaller models by leveraging vast datasets to capture and synthesize complex patterns. Despite these advancements, the exploration into scaling, especially in the audio generation domain, remains limited, with previous efforts didn't extend into the high-fidelity (HiFi) 44.1kHz domain and suffering from both spectral discontinuities and blurriness in the high-frequency domain, alongside a lack of robustness against out-of-domain data. These limitations restrict the applicability of models to diverse use cases, including music and singing generation. Our work introduces Enhanced Various Audio Generation via Scalable Generative Adversarial Networks (EVA-GAN), yields significant improvements over previous state-of-the-art in spectral and high-frequency reconstruction and robustness in out-of-domain data performance, enabling the generation of HiFi audios by employing an extensive dataset of 36,000 hours of 44.1kHz audio, a context-aware module, a Human-In-The-Loop artifact measurement toolkit, and expands the model to approximately 200 million parameters. Demonstrations of our work are available at https://double-blind-eva-gan.cc.

Deep neural networks have shown promise for music audio signal processing applications, often surpassing prior approaches, particularly as end-to-end models in the waveform domain. Yet results to date have tended to be constrained by low sample rates, noise, narrow domains of signal types, and/or lack of parameterized controls (i.e. "knobs"), making their suitability for professional audio engineering workflows still lacking. This work expands on prior research published on modeling nonlinear time-dependent signal processing effects associated with music production by means of a deep neural network, one which includes the ability to emulate the parameterized settings you would see on an analog piece of equipment, with the goal of eventually producing commercially viable, high quality audio, i.e. 44.1 kHz sampling rate at 16-bit resolution. The results in this paper highlight progress in modeling these effects through architecture and optimization changes, towards increasing computational efficiency, lowering signal-to-noise ratio, and extending to a larger variety of nonlinear audio effects. Toward these ends, the strategies employed involved a three-pronged approach: model speed, model accuracy, and model generalizability. Most of the presented methods provide marginal or no increase in output accuracy over the original model, with the exception of dataset manipulation. We found that limiting the audio content of the dataset, for example using datasets of just a single instrument, provided a significant improvement in model accuracy over models trained on more general datasets.

Sequential models achieve state-of-the-art results in audio, visual and textual domains with respect to both estimating the data distribution and generating high-quality samples. Efficient sampling for this class of models has however remained an elusive problem. With a focus on text-to-speech synthesis, we describe a set of general techniques for reducing sampling time while maintaining high output quality. We first describe a single-layer recurrent neural network, the WaveRNN, with a dual softmax layer that matches the quality of the state-of-the-art WaveNet model. The compact form of the network makes it possible to generate 24kHz 16-bit audio 4x faster than real time on a GPU. Second, we apply a weight pruning technique to reduce the number of weights in the WaveRNN. We find that, for a constant number of parameters, large sparse networks perform better than small dense networks and this relationship holds for sparsity levels beyond 96%. The small number of weights in a Sparse WaveRNN makes it possible to sample high-fidelity audio on a mobile CPU in real time. Finally, we propose a new generation scheme based on subscaling that folds a long sequence into a batch of shorter sequences and allows one to generate multiple samples at once. The Subscale WaveRNN produces 16 samples per step without loss of quality and offers an orthogonal method for increasing sampling efficiency.

We introduce a state-of-the-art real-time, high-fidelity, audio codec leveraging neural networks. It consists in a streaming encoder-decoder architecture with quantized latent space trained in an end-to-end fashion. We simplify and speed-up the training by using a single multiscale spectrogram adversary that efficiently reduces artifacts and produce high-quality samples. We introduce a novel loss balancer mechanism to stabilize training: the weight of a loss now defines the fraction of the overall gradient it should represent, thus decoupling the choice of this hyper-parameter from the typical scale of the loss. Finally, we study how lightweight Transformer models can be used to further compress the obtained representation by up to 40%, while staying faster than real time. We provide a detailed description of the key design choices of the proposed model including: training objective, architectural changes and a study of various perceptual loss functions. We present an extensive subjective evaluation (MUSHRA tests) together with an ablation study for a range of bandwidths and audio domains, including speech, noisy-reverberant speech, and music. Our approach is superior to the baselines methods across all evaluated settings, considering both 24 kHz monophonic and 48 kHz stereophonic audio. Code and models are available at github.com/facebookresearch/encodec.

Current leading Text-To-Audio (TTA) generation models suffer from degraded performance on zero-shot and few-shot settings. It is often challenging to generate high-quality audio for audio events that are unseen or uncommon in the training set. Inspired by the success of Retrieval-Augmented Generation (RAG) in Large Language Model (LLM)-based knowledge-intensive tasks, we extend the TTA process with additional conditioning contexts. We propose Audiobox TTA-RAG, a novel retrieval-augmented TTA approach based on Audiobox, a conditional flow-matching audio generation model. Unlike the vanilla Audiobox TTA solution which generates audio conditioned on text, we augmented the conditioning input with retrieved audio samples that provide additional acoustic information to generate the target audio. Our retrieval method does not require the external database to have labeled audio, offering more practical use cases. To evaluate our proposed method, we curated test sets in zero-shot and few-shot settings. Our empirical results show that the proposed model can effectively leverage the retrieved audio samples and significantly improve zero-shot and few-shot TTA performance, with large margins on multiple evaluation metrics, while maintaining the ability to generate semantically aligned audio for the in-domain setting. In addition, we investigate the effect of different retrieval methods and data sources.

Generating combined visual and auditory sensory experiences is critical for the consumption of immersive content. Recent advances in neural generative models have enabled the creation of high-resolution content across multiple modalities such as images, text, speech, and videos. Despite these successes, there remains a significant gap in the generation of high-quality spatial audio that complements generated visual content. Furthermore, current audio generation models excel in either generating natural audio or speech or music but fall short in integrating spatial audio cues necessary for immersive experiences. In this work, we introduce SEE-2-SOUND, a zero-shot approach that decomposes the task into (1) identifying visual regions of interest; (2) locating these elements in 3D space; (3) generating mono-audio for each; and (4) integrating them into spatial audio. Using our framework, we demonstrate compelling results for generating spatial audio for high-quality videos, images, and dynamic images from the internet, as well as media generated by learned approaches.

We present a fast and high-quality codec language model for parallel audio generation. While SoundStorm, a state-of-the-art parallel audio generation model, accelerates inference speed compared to autoregressive models, it still suffers from slow inference due to iterative sampling. To resolve this problem, we propose Group-Masked Language Modeling~(G-MLM) and Group Iterative Parallel Decoding~(G-IPD) for efficient parallel audio generation. Both the training and sampling schemes enable the model to synthesize high-quality audio with a small number of iterations by effectively modeling the group-wise conditional dependencies. In addition, our model employs a cross-attention-based architecture to capture the speaker style of the prompt voice and improves computational efficiency. Experimental results demonstrate that our proposed model outperforms the baselines in prompt-based audio generation.

Neural audio autoencoders create compact latent representations that preserve perceptually important information, serving as the foundation for both modern audio compression systems and generation approaches like next-token prediction and latent diffusion. Despite their prevalence, most audio processing operations, such as spatial and spectral up-sampling, still inefficiently operate on raw waveforms or spectral representations rather than directly on these compressed representations. We propose a framework that performs audio processing operations entirely within an autoencoder's latent space, eliminating the need to decode to raw audio formats. Our approach dramatically simplifies training by operating solely in the latent domain, with a latent L1 reconstruction term, augmented by a single latent adversarial discriminator. This contrasts sharply with raw-audio methods that typically require complex combinations of multi-scale losses and discriminators. Through experiments in bandwidth extension and mono-to-stereo up-mixing, we demonstrate computational efficiency gains of up to 100x while maintaining quality comparable to post-processing on raw audio. This work establishes a more efficient paradigm for audio processing pipelines that already incorporate autoencoders, enabling significantly faster and more resource-efficient workflows across various audio tasks.

We introduce a novel, general-purpose audio generation framework specifically designed for anomaly detection and localization. Unlike existing datasets that predominantly focus on industrial and machine-related sounds, our framework focuses a broader range of environments, particularly useful in real-world scenarios where only audio data are available, such as in video-derived or telephonic audio. To generate such data, we propose a new method inspired by the LLM-Modulo framework, which leverages large language models(LLMs) as world models to simulate such real-world scenarios. This tool is modular allowing a plug-and-play approach. It operates by first using LLMs to predict plausible real-world scenarios. An LLM further extracts the constituent sounds, the order and the way in which these should be merged to create coherent wholes. Much like the LLM-Modulo framework, we include rigorous verification of each output stage, ensuring the reliability of the generated data. The data produced using the framework serves as a benchmark for anomaly detection applications, potentially enhancing the performance of models trained on audio data, particularly in handling out-of-distribution cases. Our contributions thus fill a critical void in audio anomaly detection resources and provide a scalable tool for generating diverse, realistic audio data.

Deep generative models can generate high-fidelity audio conditioned on various types of representations (e.g., mel-spectrograms, Mel-frequency Cepstral Coefficients (MFCC)). Recently, such models have been used to synthesize audio waveforms conditioned on highly compressed representations. Although such methods produce impressive results, they are prone to generate audible artifacts when the conditioning is flawed or imperfect. An alternative modeling approach is to use diffusion models. However, these have mainly been used as speech vocoders (i.e., conditioned on mel-spectrograms) or generating relatively low sampling rate signals. In this work, we propose a high-fidelity multi-band diffusion-based framework that generates any type of audio modality (e.g., speech, music, environmental sounds) from low-bitrate discrete representations. At equal bit rate, the proposed approach outperforms state-of-the-art generative techniques in terms of perceptual quality. Training and, evaluation code, along with audio samples, are available on the facebookresearch/audiocraft Github page.

Most of existing audio fingerprinting systems have limitations to be used for high-specific audio retrieval at scale. In this work, we generate a low-dimensional representation from a short unit segment of audio, and couple this fingerprint with a fast maximum inner-product search. To this end, we present a contrastive learning framework that derives from the segment-level search objective. Each update in training uses a batch consisting of a set of pseudo labels, randomly selected original samples, and their augmented replicas. These replicas can simulate the degrading effects on original audio signals by applying small time offsets and various types of distortions, such as background noise and room/microphone impulse responses. In the segment-level search task, where the conventional audio fingerprinting systems used to fail, our system using 10x smaller storage has shown promising results. Our code and dataset are available at https://mimbres.github.io/neural-audio-fp/.

Generating high quality music that complements the visual content of a video is a challenging task. Most existing visual conditioned music generation systems generate symbolic music data, such as MIDI files, instead of raw audio waveform. Given the limited availability of symbolic music data, such methods can only generate music for a few instruments or for specific types of visual input. In this paper, we propose a novel approach called V2Meow that can generate high-quality music audio that aligns well with the visual semantics of a diverse range of video input types. Specifically, the proposed music generation system is a multi-stage autoregressive model which is trained with a number of O(100K) music audio clips paired with video frames, which are mined from in-the-wild music videos, and no parallel symbolic music data is involved. V2Meow is able to synthesize high-fidelity music audio waveform solely conditioned on pre-trained visual features extracted from an arbitrary silent video clip, and it also allows high-level control over the music style of generation examples via supporting text prompts in addition to the video frames conditioning. Through both qualitative and quantitative evaluations, we demonstrate that our model outperforms several existing music generation systems in terms of both visual-audio correspondence and audio quality.

Speech super-resolution (SR) is a task to increase speech sampling rate by generating high-frequency components. Existing speech SR methods are trained in constrained experimental settings, such as a fixed upsampling ratio. These strong constraints can potentially lead to poor generalization ability in mismatched real-world cases. In this paper, we propose a neural vocoder based speech super-resolution method (NVSR) that can handle a variety of input resolution and upsampling ratios. NVSR consists of a mel-bandwidth extension module, a neural vocoder module, and a post-processing module. Our proposed system achieves state-of-the-art results on the VCTK multi-speaker benchmark. On 44.1 kHz target resolution, NVSR outperforms WSRGlow and Nu-wave by 8% and 37% respectively on log spectral distance and achieves a significantly better perceptual quality. We also demonstrate that prior knowledge in the pre-trained vocoder is crucial for speech SR by performing mel-bandwidth extension with a simple replication-padding method. Samples can be found in https://haoheliu.github.io/nvsr.

We introduce Noise2Music, where a series of diffusion models is trained to generate high-quality 30-second music clips from text prompts. Two types of diffusion models, a generator model, which generates an intermediate representation conditioned on text, and a cascader model, which generates high-fidelity audio conditioned on the intermediate representation and possibly the text, are trained and utilized in succession to generate high-fidelity music. We explore two options for the intermediate representation, one using a spectrogram and the other using audio with lower fidelity. We find that the generated audio is not only able to faithfully reflect key elements of the text prompt such as genre, tempo, instruments, mood, and era, but goes beyond to ground fine-grained semantics of the prompt. Pretrained large language models play a key role in this story -- they are used to generate paired text for the audio of the training set and to extract embeddings of the text prompts ingested by the diffusion models. Generated examples: https://google-research.github.io/noise2music

Representing wild sounds as images is an important but challenging task due to the lack of paired datasets between sound and images and the significant differences in the characteristics of these two modalities. Previous studies have focused on generating images from sound in limited categories or music. In this paper, we propose a novel approach to generate images from in-the-wild sounds. First, we convert sound into text using audio captioning. Second, we propose audio attention and sentence attention to represent the rich characteristics of sound and visualize the sound. Lastly, we propose a direct sound optimization with CLIPscore and AudioCLIP and generate images with a diffusion-based model. In experiments, it shows that our model is able to generate high quality images from wild sounds and outperforms baselines in both quantitative and qualitative evaluations on wild audio datasets.

We present SoundStorm, a model for efficient, non-autoregressive audio generation. SoundStorm receives as input the semantic tokens of AudioLM, and relies on bidirectional attention and confidence-based parallel decoding to generate the tokens of a neural audio codec. Compared to the autoregressive generation approach of AudioLM, our model produces audio of the same quality and with higher consistency in voice and acoustic conditions, while being two orders of magnitude faster. SoundStorm generates 30 seconds of audio in 0.5 seconds on a TPU-v4. We demonstrate the ability of our model to scale audio generation to longer sequences by synthesizing high-quality, natural dialogue segments, given a transcript annotated with speaker turns and a short prompt with the speakers' voices.

This paper introduces HiFiTTS-2, a large-scale speech dataset designed for high-bandwidth speech synthesis. The dataset is derived from LibriVox audiobooks, and contains approximately 36.7k hours of English speech for 22.05 kHz training, and 31.7k hours for 44.1 kHz training. We present our data processing pipeline, including bandwidth estimation, segmentation, text preprocessing, and multi-speaker detection. The dataset is accompanied by detailed utterance and audiobook metadata generated by our pipeline, enabling researchers to apply data quality filters to adapt the dataset to various use cases. Experimental results demonstrate that our data pipeline and resulting dataset can facilitate the training of high-quality, zero-shot text-to-speech (TTS) models at high bandwidths.

This survey paper provides a comprehensive overview of the recent advancements and challenges in applying large language models to the field of audio signal processing. Audio processing, with its diverse signal representations and a wide range of sources--from human voices to musical instruments and environmental sounds--poses challenges distinct from those found in traditional Natural Language Processing scenarios. Nevertheless, Large Audio Models, epitomized by transformer-based architectures, have shown marked efficacy in this sphere. By leveraging massive amount of data, these models have demonstrated prowess in a variety of audio tasks, spanning from Automatic Speech Recognition and Text-To-Speech to Music Generation, among others. Notably, recently these Foundational Audio Models, like SeamlessM4T, have started showing abilities to act as universal translators, supporting multiple speech tasks for up to 100 languages without any reliance on separate task-specific systems. This paper presents an in-depth analysis of state-of-the-art methodologies regarding Foundational Large Audio Models, their performance benchmarks, and their applicability to real-world scenarios. We also highlight current limitations and provide insights into potential future research directions in the realm of Large Audio Models with the intent to spark further discussion, thereby fostering innovation in the next generation of audio-processing systems. Furthermore, to cope with the rapid development in this area, we will consistently update the relevant repository with relevant recent articles and their open-source implementations at https://github.com/EmulationAI/awesome-large-audio-models.

Large-scale multimodal generative modeling has created milestones in text-to-image and text-to-video generation. Its application to audio still lags behind for two main reasons: the lack of large-scale datasets with high-quality text-audio pairs, and the complexity of modeling long continuous audio data. In this work, we propose Make-An-Audio with a prompt-enhanced diffusion model that addresses these gaps by 1) introducing pseudo prompt enhancement with a distill-then-reprogram approach, it alleviates data scarcity with orders of magnitude concept compositions by using language-free audios; 2) leveraging spectrogram autoencoder to predict the self-supervised audio representation instead of waveforms. Together with robust contrastive language-audio pretraining (CLAP) representations, Make-An-Audio achieves state-of-the-art results in both objective and subjective benchmark evaluation. Moreover, we present its controllability and generalization for X-to-Audio with "No Modality Left Behind", for the first time unlocking the ability to generate high-definition, high-fidelity audios given a user-defined modality input. Audio samples are available at https://Text-to-Audio.github.io

We introduce Jukebox, a model that generates music with singing in the raw audio domain. We tackle the long context of raw audio using a multi-scale VQ-VAE to compress it to discrete codes, and modeling those using autoregressive Transformers. We show that the combined model at scale can generate high-fidelity and diverse songs with coherence up to multiple minutes. We can condition on artist and genre to steer the musical and vocal style, and on unaligned lyrics to make the singing more controllable. We are releasing thousands of non cherry-picked samples at https://jukebox.openai.com, along with model weights and code at https://github.com/openai/jukebox

Video-to-audio generation (V2A) is of increasing importance in domains such as film post-production, AR/VR, and sound design, particularly for the creation of Foley sound effects synchronized with on-screen actions. Foley requires generating audio that is both semantically aligned with visible events and temporally aligned with their timing. Yet, there is a mismatch between evaluation and downstream applications due to the absence of a benchmark tailored to Foley-style scenarios. We find that 74% of videos from past evaluation datasets have poor audio-visual correspondence. Moreover, they are dominated by speech and music, domains that lie outside the use case for Foley. To address this gap, we introduce FoleyBench, the first large-scale benchmark explicitly designed for Foley-style V2A evaluation. FoleyBench contains 5,000 (video, ground-truth audio, text caption) triplets, each featuring visible sound sources with audio causally tied to on-screen events. The dataset is built using an automated, scalable pipeline applied to in-the-wild internet videos from YouTube-based and Vimeo-based sources. Compared to past datasets, we show that videos from FoleyBench have stronger coverage of sound categories from a taxonomy specifically designed for Foley sound. Each clip is further labeled with metadata capturing source complexity, UCS/AudioSet category, and video length, enabling fine-grained analysis of model performance and failure modes. We benchmark several state-of-the-art V2A models, evaluating them on audio quality, audio-video alignment, temporal synchronization, and audio-text consistency. Samples are available at: https://gclef-cmu.org/foleybench

Audio Language Models (ALM) have emerged as the dominant paradigm for speech and music generation by representing audio as sequences of discrete tokens. Yet, unlike text tokens, which are invertible, audio tokens are extracted from lossy codecs with a limited bitrate. As a consequence, increasing audio quality requires generating more tokens, which imposes a trade-off between fidelity and computational cost. We address this issue by studying Continuous Audio Language Models (CALM). These models instantiate a large Transformer backbone that produces a contextual embedding at every timestep. This sequential information then conditions an MLP that generates the next continuous frame of an audio VAE through consistency modeling. By avoiding lossy compression, CALM achieves higher quality at lower computational cost than their discrete counterpart. Experiments on speech and music demonstrate improved efficiency and fidelity over state-of-the-art discrete audio language models, facilitating lightweight, high-quality audio generation. Samples are available at https://continuous-audio-language-models.github.io

We propose FlowDec, a neural full-band audio codec for general audio sampled at 48 kHz that combines non-adversarial codec training with a stochastic postfilter based on a novel conditional flow matching method. Compared to the prior work ScoreDec which is based on score matching, we generalize from speech to general audio and move from 24 kbit/s to as low as 4 kbit/s, while improving output quality and reducing the required postfilter DNN evaluations from 60 to 6 without any fine-tuning or distillation techniques. We provide theoretical insights and geometric intuitions for our approach in comparison to ScoreDec as well as another recent work that uses flow matching, and conduct ablation studies on our proposed components. We show that FlowDec is a competitive alternative to the recent GAN-dominated stream of neural codecs, achieving FAD scores better than those of the established GAN-based codec DAC and listening test scores that are on par, and producing qualitatively more natural reconstructions for speech and harmonic structures in music.

Despite recent progress in text-to-audio (TTA) generation, we show that the state-of-the-art models, such as AudioLDM, trained on datasets with an imbalanced class distribution, such as AudioCaps, are biased in their generation performance. Specifically, they excel in generating common audio classes while underperforming in the rare ones, thus degrading the overall generation performance. We refer to this problem as long-tailed text-to-audio generation. To address this issue, we propose a simple retrieval-augmented approach for TTA models. Specifically, given an input text prompt, we first leverage a Contrastive Language Audio Pretraining (CLAP) model to retrieve relevant text-audio pairs. The features of the retrieved audio-text data are then used as additional conditions to guide the learning of TTA models. We enhance AudioLDM with our proposed approach and denote the resulting augmented system as Re-AudioLDM. On the AudioCaps dataset, Re-AudioLDM achieves a state-of-the-art Frechet Audio Distance (FAD) of 1.37, outperforming the existing approaches by a large margin. Furthermore, we show that Re-AudioLDM can generate realistic audio for complex scenes, rare audio classes, and even unseen audio types, indicating its potential in TTA tasks.

We demonstrate how conditional generation from diffusion models can be used to tackle a variety of realistic tasks in the production of music in 44.1kHz stereo audio with sampling-time guidance. The scenarios we consider include continuation, inpainting and regeneration of musical audio, the creation of smooth transitions between two different music tracks, and the transfer of desired stylistic characteristics to existing audio clips. We achieve this by applying guidance at sampling time in a simple framework that supports both reconstruction and classification losses, or any combination of the two. This approach ensures that generated audio can match its surrounding context, or conform to a class distribution or latent representation specified relative to any suitable pre-trained classifier or embedding model.

Music recordings often suffer from audio quality issues such as excessive reverberation, distortion, clipping, tonal imbalances, and a narrowed stereo image, especially when created in non-professional settings without specialized equipment or expertise. These problems are typically corrected using separate specialized tools and manual adjustments. In this paper, we introduce SonicMaster, the first unified generative model for music restoration and mastering that addresses a broad spectrum of audio artifacts with text-based control. SonicMaster is conditioned on natural language instructions to apply targeted enhancements, or can operate in an automatic mode for general restoration. To train this model, we construct the SonicMaster dataset, a large dataset of paired degraded and high-quality tracks by simulating common degradation types with nineteen degradation functions belonging to five enhancements groups: equalization, dynamics, reverb, amplitude, and stereo. Our approach leverages a flow-matching generative training paradigm to learn an audio transformation that maps degraded inputs to their cleaned, mastered versions guided by text prompts. Objective audio quality metrics demonstrate that SonicMaster significantly improves sound quality across all artifact categories. Furthermore, subjective listening tests confirm that listeners prefer SonicMaster's enhanced outputs over the original degraded audio, highlighting the effectiveness of our unified approach.

Personalized Head-Related Transfer Functions (HRTFs) are starting to be introduced in many commercial immersive audio applications and are crucial for realistic spatial audio rendering. However, one of the main hesitations regarding their introduction is that creating personalized HRTFs is impractical at scale due to the complexities of the HRTF measurement process. To mitigate this drawback, HRTF spatial upsampling has been proposed with the aim of reducing measurements required. While prior work has seen success with different machine learning (ML) approaches, these models often struggle with long-range spatial consistency and generalization at high upsampling factors. In this paper, we propose a novel transformer-based architecture for HRTF upsampling, leveraging the attention mechanism to better capture spatial correlations across the HRTF sphere. Working in the spherical harmonic (SH) domain, our model learns to reconstruct high-resolution HRTFs from sparse input measurements with significantly improved accuracy. To enhance spatial coherence, we introduce a neighbor dissimilarity loss that promotes magnitude smoothness, yielding more realistic upsampling. We evaluate our method using both perceptual localization models and objective spectral distortion metrics. Experiments show that our model surpasses leading methods by a substantial margin in generating realistic, high-fidelity HRTFs.

Text-to-speech models trained on large-scale datasets have demonstrated impressive in-context learning capabilities and naturalness. However, control of speaker identity and style in these models typically requires conditioning on reference speech recordings, limiting creative applications. Alternatively, natural language prompting of speaker identity and style has demonstrated promising results and provides an intuitive method of control. However, reliance on human-labeled descriptions prevents scaling to large datasets. Our work bridges the gap between these two approaches. We propose a scalable method for labeling various aspects of speaker identity, style, and recording conditions. We then apply this method to a 45k hour dataset, which we use to train a speech language model. Furthermore, we propose simple methods for increasing audio fidelity, significantly outperforming recent work despite relying entirely on found data. Our results demonstrate high-fidelity speech generation in a diverse range of accents, prosodic styles, channel conditions, and acoustic conditions, all accomplished with a single model and intuitive natural language conditioning. Audio samples can be heard at https://text-description-to-speech.com/.

We introduce HiFi-HARP, a large-scale dataset of 7th-order Higher-Order Ambisonic Room Impulse Responses (HOA-RIRs) consisting of more than 100,000 RIRs generated via a hybrid acoustic simulation in realistic indoor scenes. HiFi-HARP combines geometrically complex, furnished room models from the 3D-FRONT repository with a hybrid simulation pipeline: low-frequency wave-based simulation (finite-difference time-domain) up to 900 Hz is used, while high frequencies above 900 Hz are simulated using a ray-tracing approach. The combined raw RIRs are encoded into the spherical-harmonic domain (AmbiX ACN) for direct auralization. Our dataset extends prior work by providing 7th-order Ambisonic RIRs that combine wave-theoretic accuracy with realistic room content. We detail the generation pipeline (scene and material selection, array design, hybrid simulation, ambisonic encoding) and provide dataset statistics (room volumes, RT60 distributions, absorption properties). A comparison table highlights the novelty of HiFi-HARP relative to existing RIR collections. Finally, we outline potential benchmarks such as FOA-to-HOA upsampling, source localization, and dereverberation. We discuss machine learning use cases (spatial audio rendering, acoustic parameter estimation) and limitations (e.g., simulation approximations, static scenes). Overall, HiFi-HARP offers a rich resource for developing spatial audio and acoustics algorithms in complex environments.

Effectively steering hearable devices requires understanding the acoustic environment around the user. In the computational analysis of sound scenes, foundation models have emerged as the state of the art to produce high-performance, robust, multi-purpose audio representations. We introduce and release Deep Evaluation of Audio Representations (DEAR), the first dataset and benchmark to evaluate the efficacy of foundation models in capturing essential acoustic properties for hearables. The dataset includes 1,158 audio tracks, each 30 seconds long, created by spatially mixing proprietary monologues with commercial, high-quality recordings of everyday acoustic scenes. Our benchmark encompasses eight tasks that assess the general context, speech sources, and technical acoustic properties of the audio scenes. Through our evaluation of four general-purpose audio representation models, we demonstrate that the BEATs model significantly surpasses its counterparts. This superiority underscores the advantage of models trained on diverse audio collections, confirming their applicability to a wide array of auditory tasks, including encoding the environment properties necessary for hearable steering. The DEAR dataset and associated code are available at https://dear-dataset.github.io.

In the past, the rapidly evolving field of sound classification greatly benefited from the application of methods from other domains. Today, we observe the trend to fuse domain-specific tasks and approaches together, which provides the community with new outstanding models. In this work, we present an extension of the CLIP model that handles audio in addition to text and images. Our proposed model incorporates the ESResNeXt audio-model into the CLIP framework using the AudioSet dataset. Such a combination enables the proposed model to perform bimodal and unimodal classification and querying, while keeping CLIP's ability to generalize to unseen datasets in a zero-shot inference fashion. AudioCLIP achieves new state-of-the-art results in the Environmental Sound Classification (ESC) task, out-performing other approaches by reaching accuracies of 90.07% on the UrbanSound8K and 97.15% on the ESC-50 datasets. Further it sets new baselines in the zero-shot ESC-task on the same datasets (68.78% and 69.40%, respectively). Finally, we also assess the cross-modal querying performance of the proposed model as well as the influence of full and partial training on the results. For the sake of reproducibility, our code is published.

In recent years, with the realistic generation results and a wide range of personalized applications, diffusion-based generative models gain huge attention in both visual and audio generation areas. Compared to the considerable advancements of text2image or text2audio generation, research in audio2visual or visual2audio generation has been relatively slow. The recent audio-visual generation methods usually resort to huge large language model or composable diffusion models. Instead of designing another giant model for audio-visual generation, in this paper we take a step back showing a simple and lightweight generative transformer, which is not fully investigated in multi-modal generation, can achieve excellent results on image2audio generation. The transformer operates in the discrete audio and visual Vector-Quantized GAN space, and is trained in the mask denoising manner. After training, the classifier-free guidance could be deployed off-the-shelf achieving better performance, without any extra training or modification. Since the transformer model is modality symmetrical, it could also be directly deployed for audio2image generation and co-generation. In the experiments, we show that our simple method surpasses recent image2audio generation methods. Generated audio samples can be found at https://docs.google.com/presentation/d/1ZtC0SeblKkut4XJcRaDsSTuCRIXB3ypxmSi7HTY3IyQ

The objectives of this work are cross-modal text-audio and audio-text retrieval, in which the goal is to retrieve the audio content from a pool of candidates that best matches a given written description and vice versa. Text-audio retrieval enables users to search large databases through an intuitive interface: they simply issue free-form natural language descriptions of the sound they would like to hear. To study the tasks of text-audio and audio-text retrieval, which have received limited attention in the existing literature, we introduce three challenging new benchmarks. We first construct text-audio and audio-text retrieval benchmarks from the AudioCaps and Clotho audio captioning datasets. Additionally, we introduce the SoundDescs benchmark, which consists of paired audio and natural language descriptions for a diverse collection of sounds that are complementary to those found in AudioCaps and Clotho. We employ these three benchmarks to establish baselines for cross-modal text-audio and audio-text retrieval, where we demonstrate the benefits of pre-training on diverse audio tasks. We hope that our benchmarks will inspire further research into audio retrieval with free-form text queries. Code, audio features for all datasets used, and the SoundDescs dataset are publicly available at https://github.com/akoepke/audio-retrieval-benchmark.

We consider the task of retrieving audio using free-form natural language queries. To study this problem, which has received limited attention in the existing literature, we introduce challenging new benchmarks for text-based audio retrieval using text annotations sourced from the Audiocaps and Clotho datasets. We then employ these benchmarks to establish baselines for cross-modal audio retrieval, where we demonstrate the benefits of pre-training on diverse audio tasks. We hope that our benchmarks will inspire further research into cross-modal text-based audio retrieval with free-form text queries.

We propose Wav2CLIP, a robust audio representation learning method by distilling from Contrastive Language-Image Pre-training (CLIP). We systematically evaluate Wav2CLIP on a variety of audio tasks including classification, retrieval, and generation, and show that Wav2CLIP can outperform several publicly available pre-trained audio representation algorithms. Wav2CLIP projects audio into a shared embedding space with images and text, which enables multimodal applications such as zero-shot classification, and cross-modal retrieval. Furthermore, Wav2CLIP needs just ~10% of the data to achieve competitive performance on downstream tasks compared with fully supervised models, and is more efficient to pre-train than competing methods as it does not require learning a visual model in concert with an auditory model. Finally, we demonstrate image generation from Wav2CLIP as qualitative assessment of the shared embedding space. Our code and model weights are open sourced and made available for further applications.

Open generative models are vitally important for the community, allowing for fine-tunes and serving as baselines when presenting new models. However, most current text-to-audio models are private and not accessible for artists and researchers to build upon. Here we describe the architecture and training process of a new open-weights text-to-audio model trained with Creative Commons data. Our evaluation shows that the model's performance is competitive with the state-of-the-art across various metrics. Notably, the reported FDopenl3 results (measuring the realism of the generations) showcase its potential for high-quality stereo sound synthesis at 44.1kHz.

Recent advancements in audio-aware large language models (ALLMs) enable them to process and understand audio inputs. However, these models often hallucinate non-existent sound events, reducing their reliability in real-world applications. To address this, we propose LISTEN (Learning to Identify Sounds Through Extended Negative Samples), a contrastive-like training method that enhances ALLMs' ability to distinguish between present and absent sounds using synthesized data from the backbone LLM. Unlike prior approaches, our method requires no modification to LLM parameters and efficiently integrates audio representations via a lightweight adapter. Experiments show that LISTEN effectively mitigates hallucinations while maintaining impressive performance on existing audio question and reasoning benchmarks. At the same time, it is more efficient in both data and computation.

In this paper, we propose and investigate the use of neural audio codec language models for the automatic generation of sample-based musical instruments based on text or reference audio prompts. Our approach extends a generative audio framework to condition on pitch across an 88-key spectrum, velocity, and a combined text/audio embedding. We identify maintaining timbral consistency within the generated instruments as a major challenge. To tackle this issue, we introduce three distinct conditioning schemes. We analyze our methods through objective metrics and human listening tests, demonstrating that our approach can produce compelling musical instruments. Specifically, we introduce a new objective metric to evaluate the timbral consistency of the generated instruments and adapt the average Contrastive Language-Audio Pretraining (CLAP) score for the text-to-instrument case, noting that its naive application is unsuitable for assessing this task. Our findings reveal a complex interplay between timbral consistency, the quality of generated samples, and their correspondence to the input prompt.

Convolutions operate only locally, thus failing to model global interactions. Self-attention is, however, able to learn representations that capture long-range dependencies in sequences. We propose a network architecture for audio super-resolution that combines convolution and self-attention. Attention-based Feature-Wise Linear Modulation (AFiLM) uses self-attention mechanism instead of recurrent neural networks to modulate the activations of the convolutional model. Extensive experiments show that our model outperforms existing approaches on standard benchmarks. Moreover, it allows for more parallelization resulting in significantly faster training.

We propose using self-supervised discrete representations for the task of speech resynthesis. To generate disentangled representation, we separately extract low-bitrate representations for speech content, prosodic information, and speaker identity. This allows to synthesize speech in a controllable manner. We analyze various state-of-the-art, self-supervised representation learning methods and shed light on the advantages of each method while considering reconstruction quality and disentanglement properties. Specifically, we evaluate the F0 reconstruction, speaker identification performance (for both resynthesis and voice conversion), recordings' intelligibility, and overall quality using subjective human evaluation. Lastly, we demonstrate how these representations can be used for an ultra-lightweight speech codec. Using the obtained representations, we can get to a rate of 365 bits per second while providing better speech quality than the baseline methods. Audio samples can be found under the following link: speechbot.github.io/resynthesis.

Speech restoration (SR) is a task of converting degraded speech signals into high-quality ones. In this study, we propose a robust SR model called Miipher, and apply Miipher to a new SR application: increasing the amount of high-quality training data for speech generation by converting speech samples collected from the Web to studio-quality. To make our SR model robust against various degradation, we use (i) a speech representation extracted from w2v-BERT for the input feature, and (ii) a text representation extracted from transcripts via PnG-BERT as a linguistic conditioning feature. Experiments show that Miipher (i) is robust against various audio degradation and (ii) enable us to train a high-quality text-to-speech (TTS) model from restored speech samples collected from the Web. Audio samples are available at our demo page: google.github.io/df-conformer/miipher/

We introduce BeepBank-500, a compact, fully synthetic earcon/alert dataset (300-500 clips) designed for rapid, rights-clean experimentation in human-computer interaction and audio machine learning. Each clip is generated from a parametric recipe controlling waveform family (sine, square, triangle, FM), fundamental frequency, duration, amplitude envelope, amplitude modulation (AM), and lightweight Schroeder-style reverberation. We use three reverberation settings: dry, and two synthetic rooms denoted 'rir small' ('small') and 'rir medium' ('medium') throughout the paper and in the metadata. We release mono 48 kHz WAV audio (16-bit), a rich metadata table (signal/spectral features), and tiny reproducible baselines for (i) waveform-family classification and (ii) f0 regression on single tones. The corpus targets tasks such as earcon classification, timbre analyses, and onset detection, with clearly stated licensing and limitations. Audio is dedicated to the public domain via CC0-1.0; code is under MIT. Data DOI: https://doi.org/10.5281/zenodo.17172015. Code: https://github.com/mandip42/earcons-mini-500.

Large language models (LLM)-based speech synthesis has been widely adopted in zero-shot speech synthesis. However, they require a large-scale data and possess the same limitations as previous autoregressive speech models, including slow inference speed and lack of robustness. This paper proposes HierSpeech++, a fast and strong zero-shot speech synthesizer for text-to-speech (TTS) and voice conversion (VC). We verified that hierarchical speech synthesis frameworks could significantly improve the robustness and expressiveness of the synthetic speech. Furthermore, we significantly improve the naturalness and speaker similarity of synthetic speech even in zero-shot speech synthesis scenarios. For text-to-speech, we adopt the text-to-vec framework, which generates a self-supervised speech representation and an F0 representation based on text representations and prosody prompts. Then, HierSpeech++ generates speech from the generated vector, F0, and voice prompt. We further introduce a high-efficient speech super-resolution framework from 16 kHz to 48 kHz. The experimental results demonstrated that the hierarchical variational autoencoder could be a strong zero-shot speech synthesizer given that it outperforms LLM-based and diffusion-based models. Moreover, we achieved the first human-level quality zero-shot speech synthesis. Audio samples and source code are available at https://github.com/sh-lee-prml/HierSpeechpp.

Generating long-form 44.1kHz stereo audio from text prompts can be computationally demanding. Further, most previous works do not tackle that music and sound effects naturally vary in their duration. Our research focuses on the efficient generation of long-form, variable-length stereo music and sounds at 44.1kHz using text prompts with a generative model. Stable Audio is based on latent diffusion, with its latent defined by a fully-convolutional variational autoencoder. It is conditioned on text prompts as well as timing embeddings, allowing for fine control over both the content and length of the generated music and sounds. Stable Audio is capable of rendering stereo signals of up to 95 sec at 44.1kHz in 8 sec on an A100 GPU. Despite its compute efficiency and fast inference, it is one of the best in two public text-to-music and -audio benchmarks and, differently from state-of-the-art models, can generate music with structure and stereo sounds.

Neural vocoders and codecs reconstruct waveforms from acoustic representations, which directly impact the audio quality. Among existing methods, upsampling-based time-domain models are superior in both inference speed and synthesis quality, achieving state-of-the-art performance. Still, despite their success in producing perceptually natural sound, their synthesis fidelity remains limited due to the aliasing artifacts brought by the inadequately designed model architectures. In particular, the unconstrained nonlinear activation generates an infinite number of harmonics that exceed the Nyquist frequency, resulting in ``folded-back'' aliasing artifacts. The widely used upsampling layer, ConvTranspose, copies the mirrored low-frequency parts to fill the empty high-frequency region, resulting in ``mirrored'' aliasing artifacts. Meanwhile, the combination of its inherent periodicity and the mirrored DC bias also brings ``tonal artifact,'' resulting in constant-frequency ringing. This paper aims to solve these issues from a signal processing perspective. Specifically, we apply oversampling and anti-derivative anti-aliasing to the activation function to obtain its anti-aliased form, and replace the problematic ConvTranspose layer with resampling to avoid the ``tonal artifact'' and eliminate aliased components. Based on our proposed anti-aliased modules, we introduce Pupu-Vocoder and Pupu-Codec, and release high-quality pre-trained checkpoints to facilitate audio generation research. We build a test signal benchmark to illustrate the effectiveness of the anti-aliased modules, and conduct experiments on speech, singing voice, music, and audio to validate our proposed models. Experimental results confirm that our lightweight Pupu-Vocoder and Pupu-Codec models can easily outperform existing systems on singing voice, music, and audio, while achieving comparable performance on speech.

Distributional shift is a central challenge in the deployment of machine learning models as they can be ill-equipped for real-world data. This is particularly evident in text-to-audio generation where the encoded representations are easily undermined by unseen prompts, which leads to the degradation of generated audio -- the limited set of the text-audio pairs remains inadequate for conditional audio generation in the wild as user prompts are under-specified. In particular, we observe a consistent audio quality degradation in generated audio samples with user prompts, as opposed to training set prompts. To this end, we present a retrieval-based in-context prompt editing framework that leverages the training captions as demonstrative exemplars to revisit the user prompts. We show that the framework enhanced the audio quality across the set of collected user prompts, which were edited with reference to the training captions as exemplars.

We introduce Audio-SDS, a generalization of Score Distillation Sampling (SDS) to text-conditioned audio diffusion models. While SDS was initially designed for text-to-3D generation using image diffusion, its core idea of distilling a powerful generative prior into a separate parametric representation extends to the audio domain. Leveraging a single pretrained model, Audio-SDS enables a broad range of tasks without requiring specialized datasets. In particular, we demonstrate how Audio-SDS can guide physically informed impact sound simulations, calibrate FM-synthesis parameters, and perform prompt-specified source separation. Our findings illustrate the versatility of distillation-based methods across modalities and establish a robust foundation for future work using generative priors in audio tasks.

We introduce MusicLM, a model generating high-fidelity music from text descriptions such as "a calming violin melody backed by a distorted guitar riff". MusicLM casts the process of conditional music generation as a hierarchical sequence-to-sequence modeling task, and it generates music at 24 kHz that remains consistent over several minutes. Our experiments show that MusicLM outperforms previous systems both in audio quality and adherence to the text description. Moreover, we demonstrate that MusicLM can be conditioned on both text and a melody in that it can transform whistled and hummed melodies according to the style described in a text caption. To support future research, we publicly release MusicCaps, a dataset composed of 5.5k music-text pairs, with rich text descriptions provided by human experts.

Propelled by the breakthrough in deep generative models, audio-to-image generation has emerged as a pivotal cross-model task that converts complex auditory signals into rich visual representations. However, previous works only focus on single-source audio inputs for image generation, ignoring the multi-source characteristic in natural auditory scenes, thus limiting the performance in generating comprehensive visual content. To bridge this gap, a method called MACS is proposed to conduct multi-source audio-to-image generation. This is the first work that explicitly separates multi-source audio to capture the rich audio components before image generation. MACS is a two-stage method. In the first stage, multi-source audio inputs are separated by a weakly supervised method, where the audio and text labels are semantically aligned by casting into a common space using the large pre-trained CLAP model. We introduce a ranking loss to consider the contextual significance of the separated audio signals. In the second stage, efficient image generation is achieved by mapping the separated audio signals to the generation condition using only a trainable adapter and a MLP layer. We preprocess the LLP dataset as the first full multi-source audio-to-image generation benchmark. The experiments are conducted on multi-source, mixed-source, and single-source audio-to-image generation tasks. The proposed MACS outperforms the current state-of-the-art methods in 17 of the 21 evaluation indexes on all tasks and delivers superior visual quality. The code will be publicly available.

Speech bandwidth expansion is crucial for expanding the frequency range of low-bandwidth speech signals, thereby improving audio quality, clarity and perceptibility in digital applications. Its applications span telephony, compression, text-to-speech synthesis, and speech recognition. This paper presents a novel approach using a high-fidelity generative adversarial network, unlike cascaded systems, our system is trained end-to-end on paired narrowband and wideband speech signals. Our method integrates various bandwidth upsampling ratios into a single unified model specifically designed for speech bandwidth expansion applications. Our approach exhibits robust performance across various bandwidth expansion factors, including those not encountered during training, demonstrating zero-shot capability. To the best of our knowledge, this is the first work to showcase this capability. The experimental results demonstrate that our method outperforms previous end-to-end approaches, as well as interpolation and traditional techniques, showcasing its effectiveness in practical speech enhancement applications.

Several methods have been developed to assess the perceptual quality of audio under transforms like lossy compression. However, they require paired reference signals of the unaltered content, limiting their use in applications where references are unavailable. This has hindered progress in audio generation and style transfer, where a no-reference quality assessment method would allow more reproducible comparisons across methods. We propose training a GAN on a large music library, and using its discriminator as a no-reference quality assessment measure of the perceived quality of music. This method is unsupervised, needs no access to degraded material and can be tuned for various domains of music. In a listening test with 448 human subjects, where participants rated professionally produced music tracks degraded with different levels and types of signal degradations such as waveshaping distortion and low-pass filtering, we establish a dataset of human rated material. By using the human rated dataset we show that the discriminator score correlates significantly with the subjective ratings, suggesting that the proposed method can be used to create a no-reference musical audio quality assessment measure.

End-to-end generation of musical audio using deep learning techniques has seen an explosion of activity recently. However, most models concentrate on generating fully mixed music in response to abstract conditioning information. In this work, we present an alternative paradigm for producing music generation models that can listen and respond to musical context. We describe how such a model can be constructed using a non-autoregressive, transformer-based model architecture and present a number of novel architectural and sampling improvements. We train the described architecture on both an open-source and a proprietary dataset. We evaluate the produced models using standard quality metrics and a new approach based on music information retrieval descriptors. The resulting model reaches the audio quality of state-of-the-art text-conditioned models, as well as exhibiting strong musical coherence with its context.

Large-scale pre-trained image-text models demonstrate remarkable versatility across diverse tasks, benefiting from their robust representational capabilities and effective multimodal alignment. We extend the application of these models, specifically CLIP, to the domain of sound source localization. Unlike conventional approaches, we employ the pre-trained CLIP model without explicit text input, relying solely on the audio-visual correspondence. To this end, we introduce a framework that translates audio signals into tokens compatible with CLIP's text encoder, yielding audio-driven embeddings. By directly using these embeddings, our method generates audio-grounded masks for the provided audio, extracts audio-grounded image features from the highlighted regions, and aligns them with the audio-driven embeddings using the audio-visual correspondence objective. Our findings suggest that utilizing pre-trained image-text models enable our model to generate more complete and compact localization maps for the sounding objects. Extensive experiments show that our method outperforms state-of-the-art approaches by a significant margin.

Audio language models have recently emerged as a promising approach for various audio generation tasks, relying on audio tokenizers to encode waveforms into sequences of discrete symbols. Audio tokenization often poses a necessary compromise between code bitrate and reconstruction accuracy. When dealing with low-bitrate audio codes, language models are constrained to process only a subset of the information embedded in the audio, which in turn restricts their generative capabilities. To circumvent these issues, we propose encoding audio as vector sequences in continuous space mathbb R^d and autoregressively generating these sequences using a decoder-only diffusion transformer (ARDiT). Our findings indicate that ARDiT excels in zero-shot text-to-speech and exhibits performance that compares to or even surpasses that of state-of-the-art models. High-bitrate continuous speech representation enables almost flawless reconstruction, allowing our model to achieve nearly perfect speech editing. Our experiments reveal that employing Integral Kullback-Leibler (IKL) divergence for distillation at each autoregressive step significantly boosts the perceived quality of the samples. Simultaneously, it condenses the iterative sampling process of the diffusion model into a single step. Furthermore, ARDiT can be trained to predict several continuous vectors in one step, significantly reducing latency during sampling. Impressively, one of our models can generate 170 ms of 24 kHz speech per evaluation step with minimal degradation in performance. Audio samples are available at http://ardit-tts.github.io/ .

Text-to-audio generation synthesizes realistic sounds or music given a natural language prompt. Diffusion-based frameworks, including the Tango and the AudioLDM series, represent the state-of-the-art in text-to-audio generation. Despite achieving high audio fidelity, they incur significant inference latency due to the slow diffusion sampling process. MAGNET, a mask-based model operating on discrete tokens, addresses slow inference through iterative mask-based parallel decoding. However, its audio quality still lags behind that of diffusion-based models. In this work, we introduce IMPACT, a text-to-audio generation framework that achieves high performance in audio quality and fidelity while ensuring fast inference. IMPACT utilizes iterative mask-based parallel decoding in a continuous latent space powered by diffusion modeling. This approach eliminates the fidelity constraints of discrete tokens while maintaining competitive inference speed. Results on AudioCaps demonstrate that IMPACT achieves state-of-the-art performance on key metrics including Fr\'echet Distance (FD) and Fr\'echet Audio Distance (FAD) while significantly reducing latency compared to prior models. The project website is available at https://audio-impact.github.io/.

With the rapid development of spatial audio technologies today, applications in AR, VR, and other scenarios have garnered extensive attention. Unlike traditional mono sound, spatial audio offers a more realistic and immersive auditory experience. Despite notable progress in the field, there remains a lack of comprehensive surveys that systematically organize and analyze these methods and their underlying technologies. In this paper, we provide a comprehensive overview of spatial audio and systematically review recent literature in the area. To address this, we chronologically outlining existing work related to spatial audio and categorize these studies based on input-output representations, as well as generation and understanding tasks, thereby summarizing various research aspects of spatial audio. In addition, we review related datasets, evaluation metrics, and benchmarks, offering insights from both training and evaluation perspectives. Related materials are available at https://github.com/dieKarotte/ASAudio.

Our goal is to collect a large-scale audio-visual dataset with low label noise from videos in the wild using computer vision techniques. The resulting dataset can be used for training and evaluating audio recognition models. We make three contributions. First, we propose a scalable pipeline based on computer vision techniques to create an audio dataset from open-source media. Our pipeline involves obtaining videos from YouTube; using image classification algorithms to localize audio-visual correspondence; and filtering out ambient noise using audio verification. Second, we use this pipeline to curate the VGGSound dataset consisting of more than 210k videos for 310 audio classes. Third, we investigate various Convolutional Neural Network~(CNN) architectures and aggregation approaches to establish audio recognition baselines for our new dataset. Compared to existing audio datasets, VGGSound ensures audio-visual correspondence and is collected under unconstrained conditions. Code and the dataset are available at http://www.robots.ox.ac.uk/~vgg/data/vggsound/

In recent text-to-speech synthesis and voice conversion systems, a mel-spectrogram is commonly applied as an intermediate representation, and the necessity for a mel-spectrogram vocoder is increasing. A mel-spectrogram vocoder must solve three inverse problems: recovery of the original-scale magnitude spectrogram, phase reconstruction, and frequency-to-time conversion. A typical convolutional mel-spectrogram vocoder solves these problems jointly and implicitly using a convolutional neural network, including temporal upsampling layers, when directly calculating a raw waveform. Such an approach allows skipping redundant processes during waveform synthesis (e.g., the direct reconstruction of high-dimensional original-scale spectrograms). By contrast, the approach solves all problems in a black box and cannot effectively employ the time-frequency structures existing in a mel-spectrogram. We thus propose iSTFTNet, which replaces some output-side layers of the mel-spectrogram vocoder with the inverse short-time Fourier transform (iSTFT) after sufficiently reducing the frequency dimension using upsampling layers, reducing the computational cost from black-box modeling and avoiding redundant estimations of high-dimensional spectrograms. During our experiments, we applied our ideas to three HiFi-GAN variants and made the models faster and more lightweight with a reasonable speech quality. Audio samples are available at https://www.kecl.ntt.co.jp/people/kaneko.takuhiro/projects/istftnet/.

We propose a novel step-by-step video-to-audio generation method that sequentially produces individual audio tracks, each corresponding to a specific sound event in the video. Our approach mirrors traditional Foley workflows, aiming to capture all sound events induced by a given video comprehensively. Each generation step is formulated as a guided video-to-audio synthesis task, conditioned on a target text prompt and previously generated audio tracks. This design is inspired by the idea of concept negation from prior compositional generation frameworks. To enable this guided generation, we introduce a training framework that leverages pre-trained video-to-audio models and eliminates the need for specialized paired datasets, allowing training on more accessible data. Experimental results demonstrate that our method generates multiple semantically distinct audio tracks for a single input video, leading to higher-quality composite audio synthesis than existing baselines.

Recent progress in music generation has been remarkably advanced by the state-of-the-art MusicLM, which comprises a hierarchy of three LMs, respectively, for semantic, coarse acoustic, and fine acoustic modelings. Yet, sampling with the MusicLM requires processing through these LMs one by one to obtain the fine-grained acoustic tokens, making it computationally expensive and prohibitive for a real-time generation. Efficient music generation with a quality on par with MusicLM remains a significant challenge. In this paper, we present MeLoDy (M for music; L for LM; D for diffusion), an LM-guided diffusion model that generates music audios of state-of-the-art quality meanwhile reducing 95.7% or 99.6% forward passes in MusicLM, respectively, for sampling 10s or 30s music. MeLoDy inherits the highest-level LM from MusicLM for semantic modeling, and applies a novel dual-path diffusion (DPD) model and an audio VAE-GAN to efficiently decode the conditioning semantic tokens into waveform. DPD is proposed to simultaneously model the coarse and fine acoustics by incorporating the semantic information into segments of latents effectively via cross-attention at each denoising step. Our experimental results suggest the superiority of MeLoDy, not only in its practical advantages on sampling speed and infinitely continuable generation, but also in its state-of-the-art musicality, audio quality, and text correlation. Our samples are available at https://Efficient-MeLoDy.github.io/.

It is an open challenge to obtain high quality training data, especially captions, for text-to-audio models. Although prior methods have leveraged text-only language models to augment and improve captions, such methods have limitations related to scale and coherence between audio and captions. In this work, we propose an audio captioning pipeline that uses an audio language model to synthesize accurate and diverse captions for audio at scale. We leverage this pipeline to produce a dataset of synthetic captions for AudioSet, named AF-AudioSet, and then evaluate the benefit of pre-training text-to-audio models on these synthetic captions. Through systematic evaluations on AudioCaps and MusicCaps, we find leveraging our pipeline and synthetic captions leads to significant improvements on audio generation quality, achieving a new state-of-the-art.

The sound codec's dual roles in minimizing data transmission latency and serving as tokenizers underscore its critical importance. Recent years have witnessed significant developments in codec models. The ideal sound codec should preserve content, paralinguistics, speakers, and audio information. However, the question of which codec achieves optimal sound information preservation remains unanswered, as in different papers, models are evaluated on their selected experimental settings. This study introduces Codec-SUPERB, an acronym for Codec sound processing Universal PERformance Benchmark. It is an ecosystem designed to assess codec models across representative sound applications and signal-level metrics rooted in sound domain knowledge.Codec-SUPERB simplifies result sharing through an online leaderboard, promoting collaboration within a community-driven benchmark database, thereby stimulating new development cycles for codecs. Furthermore, we undertake an in-depth analysis to offer insights into codec models from both application and signal perspectives, diverging from previous codec papers mainly concentrating on signal-level comparisons. Finally, we will release codes, the leaderboard, and data to accelerate progress within the community.

In this work, we introduce NU-Wave, the first neural audio upsampling model to produce waveforms of sampling rate 48kHz from coarse 16kHz or 24kHz inputs, while prior works could generate only up to 16kHz. NU-Wave is the first diffusion probabilistic model for audio super-resolution which is engineered based on neural vocoders. NU-Wave generates high-quality audio that achieves high performance in terms of signal-to-noise ratio (SNR), log-spectral distance (LSD), and accuracy of the ABX test. In all cases, NU-Wave outperforms the baseline models despite the substantially smaller model capacity (3.0M parameters) than baselines (5.4-21%). The audio samples of our model are available at https://mindslab-ai.github.io/nuwave, and the code will be made available soon.

Most existing datasets for sound event recognition (SER) are relatively small and/or domain-specific, with the exception of AudioSet, based on over 2M tracks from YouTube videos and encompassing over 500 sound classes. However, AudioSet is not an open dataset as its official release consists of pre-computed audio features. Downloading the original audio tracks can be problematic due to YouTube videos gradually disappearing and usage rights issues. To provide an alternative benchmark dataset and thus foster SER research, we introduce FSD50K, an open dataset containing over 51k audio clips totalling over 100h of audio manually labeled using 200 classes drawn from the AudioSet Ontology. The audio clips are licensed under Creative Commons licenses, making the dataset freely distributable (including waveforms). We provide a detailed description of the FSD50K creation process, tailored to the particularities of Freesound data, including challenges encountered and solutions adopted. We include a comprehensive dataset characterization along with discussion of limitations and key factors to allow its audio-informed usage. Finally, we conduct sound event classification experiments to provide baseline systems as well as insight on the main factors to consider when splitting Freesound audio data for SER. Our goal is to develop a dataset to be widely adopted by the community as a new open benchmark for SER research.

High-quality, large-scale audio captioning is crucial for advancing audio understanding, yet current automated methods often generate captions that lack fine-grained detail and contextual accuracy, primarily due to their reliance on limited unimodal or superficial multimodal information. Drawing inspiration from human auditory perception, which adeptly integrates cross-modal cues and performs sophisticated auditory scene analysis, we introduce a novel two-stage automated pipeline. This pipeline first employs specialized pretrained models to extract diverse contextual cues (e.g., speech, music, general sounds, and visual information from associated video). A large language model (LLM) then synthesizes these rich, multimodal inputs to generate detailed and context-aware audio captions. Key contributions of this work include: (1) the proposed scalable method for fine-grained audio caption generation; (2) FusionAudio, a new large-scale dataset comprising 1.2 million such detailed captions, combined with 6 million QA pairs; and (3) enhanced audio models developed using FusionAudio, specifically a CLAP-based audio encoder with superior audio-text alignment and instruction following. This paper paves the way for more nuanced and accurate automated understanding of complex audio environments. Code and data can be found in https://github.com/satsuki2486441738/FusionAudio.

Versatile audio super-resolution (SR) is the challenging task of restoring high-frequency components from low-resolution audio with sampling rates between 4kHz and 32kHz in various domains such as music, speech, and sound effects. Previous diffusion-based SR methods suffer from slow inference due to the need for a large number of sampling steps. In this paper, we introduce FlashSR, a single-step diffusion model for versatile audio super-resolution aimed at producing 48kHz audio. FlashSR achieves fast inference by utilizing diffusion distillation with three objectives: distillation loss, adversarial loss, and distribution-matching distillation loss. We further enhance performance by proposing the SR Vocoder, which is specifically designed for SR models operating on mel-spectrograms. FlashSR demonstrates competitive performance with the current state-of-the-art model in both objective and subjective evaluations while being approximately 22 times faster.

Audio in the real world may be perturbed due to numerous factors, causing the audio quality to be degraded. The following work presents an audio restoration model tailored for high-res music at 44.1kHz. Our model, Audio-to-Audio Schrodinger Bridges (A2SB), is capable of both bandwidth extension (predicting high-frequency components) and inpainting (re-generating missing segments). Critically, A2SB is end-to-end without need of a vocoder to predict waveform outputs, able to restore hour-long audio inputs, and trained on permissively licensed music data. A2SB is capable of achieving state-of-the-art bandwidth extension and inpainting quality on several out-of-distribution music test sets. Our demo website is https: //research.nvidia.com/labs/adlr/A2SB/.

We present the Melody Guided Music Generation (MMGen) model, the first novel approach using melody to guide the music generation that, despite a pretty simple method and extremely limited resources, achieves excellent performance. Specifically, we first align the melody with audio waveforms and their associated descriptions using the multimodal alignment module. Subsequently, we condition the diffusion module on the learned melody representations. This allows MMGen to generate music that matches the style of the provided audio while also producing music that reflects the content of the given text description. To address the scarcity of high-quality data, we construct a multi-modal dataset, MusicSet, which includes melody, text, and audio, and will be made publicly available. We conduct extensive experiments which demonstrate the superiority of the proposed model both in terms of experimental metrics and actual performance quality.

In this work, we systematically study music generation conditioned solely on the video. First, we present a large-scale dataset comprising 360K video-music pairs, including various genres such as movie trailers, advertisements, and documentaries. Furthermore, we propose VidMuse, a simple framework for generating music aligned with video inputs. VidMuse stands out by producing high-fidelity music that is both acoustically and semantically aligned with the video. By incorporating local and global visual cues, VidMuse enables the creation of musically coherent audio tracks that consistently match the video content through Long-Short-Term modeling. Through extensive experiments, VidMuse outperforms existing models in terms of audio quality, diversity, and audio-visual alignment. The code and datasets will be available at https://github.com/ZeyueT/VidMuse/.

Removing background noise from speech audio has been the subject of considerable effort, especially in recent years due to the rise of virtual communication and amateur recordings. Yet background noise is not the only unpleasant disturbance that can prevent intelligibility: reverb, clipping, codec artifacts, problematic equalization, limited bandwidth, or inconsistent loudness are equally disturbing and ubiquitous. In this work, we propose to consider the task of speech enhancement as a holistic endeavor, and present a universal speech enhancement system that tackles 55 different distortions at the same time. Our approach consists of a generative model that employs score-based diffusion, together with a multi-resolution conditioning network that performs enhancement with mixture density networks. We show that this approach significantly outperforms the state of the art in a subjective test performed by expert listeners. We also show that it achieves competitive objective scores with just 4-8 diffusion steps, despite not considering any particular strategy for fast sampling. We hope that both our methodology and technical contributions encourage researchers and practitioners to adopt a universal approach to speech enhancement, possibly framing it as a generative task.

Existing Self-Supervised Learning (SSL) models for speech typically process speech signals at a fixed resolution of 20 milliseconds. This approach overlooks the varying informational content present at different resolutions in speech signals. In contrast, this paper aims to incorporate multi-resolution information into speech self-supervised representation learning. We introduce a SSL model that leverages a hierarchical Transformer architecture, complemented by HuBERT-style masked prediction objectives, to process speech at multiple resolutions. Experimental results indicate that the proposed model not only achieves more efficient inference but also exhibits superior or comparable performance to the original HuBERT model over various tasks. Specifically, significant performance improvements over the original HuBERT have been observed in fine-tuning experiments on the LibriSpeech speech recognition benchmark as well as in evaluations using the Speech Universal PERformance Benchmark (SUPERB) and Multilingual SUPERB (ML-SUPERB).

Recently, there has been an increasing focus on audio-text cross-modal learning. However, most of the existing audio-text datasets contain only simple descriptions of sound events. Compared with classification labels, the advantages of such descriptions are significantly limited. In this paper, we first analyze the detailed information that human descriptions of audio may contain beyond sound event labels. Based on the analysis, we propose an automatic pipeline for curating audio-text pairs with rich details. Leveraging the property that sounds can be mixed and concatenated in the time domain, we control details in four aspects: temporal relationship, loudness, speaker identity, and occurrence number, in simulating audio mixtures. Corresponding details are transformed into captions by large language models. Audio-text pairs with rich details in text descriptions are thereby obtained. We validate the effectiveness of our pipeline with a small amount of simulated data, demonstrating that the simulated data enables models to learn detailed audio captioning.

Most neural vocoders employ band-limited mel-spectrograms to generate waveforms. If full-band spectral features are used as the input, the vocoder can be provided with as much acoustic information as possible. However, in some models employing full-band mel-spectrograms, an over-smoothing problem occurs as part of which non-sharp spectrograms are generated. To address this problem, we propose UnivNet, a neural vocoder that synthesizes high-fidelity waveforms in real time. Inspired by works in the field of voice activity detection, we added a multi-resolution spectrogram discriminator that employs multiple linear spectrogram magnitudes computed using various parameter sets. Using full-band mel-spectrograms as input, we expect to generate high-resolution signals by adding a discriminator that employs spectrograms of multiple resolutions as the input. In an evaluation on a dataset containing information on hundreds of speakers, UnivNet obtained the best objective and subjective results among competing models for both seen and unseen speakers. These results, including the best subjective score for text-to-speech, demonstrate the potential for fast adaptation to new speakers without a need for training from scratch.

Codec-based text-to-speech (TTS) models have recently gained traction for their efficiency and strong performance in voice cloning. However, codec-based TTS faces limitations due to the challenges of pretraining robust speech codecs and the quality degradation introduced by quantization errors. Emerging evidence suggests that continuous-valued generative models can alleviate these issues and serve as a promising alternative. Yet, effectively modelling diverse speech patterns and developing reliable sampling strategies for continuous-valued autoregressive (AR) TTS remains underexplored. In this work, we propose BELLE, Bayesian evidential learning with language modelling for TTS, a novel continuous-valued AR framework that directly predicts mel-spectrograms from textual input. BELLE treats each mel-spectrogram frame as a Gaussian distribution sampled from a learned hyper distribution, enabling principled uncertainty estimation, particularly in scenarios with parallel data (i.e., one text-audio prompt paired with multiple speech samples). To obtain such data, diverse speech samples are synthesized using multiple pre-trained TTS models given the same text-audio prompts, which are distilled into BELLE via Bayesian evidential learning. Experimental results indicate that BELLE demonstrates highly competitive performance compared with the current best open-source TTS models, even though BELLE is trained on a large amount of synthetic data and uses only approximately one-tenth of their training data. Audio samples generated by BELLE are available at https://belletts.github.io/Belle/. The code, checkpoints, and synthetic data will be released after the paper is accepted.

Editing signals using large pre-trained models, in a zero-shot manner, has recently seen rapid advancements in the image domain. However, this wave has yet to reach the audio domain. In this paper, we explore two zero-shot editing techniques for audio signals, which use DDPM inversion on pre-trained diffusion models. The first, adopted from the image domain, allows text-based editing. The second, is a novel approach for discovering semantically meaningful editing directions without supervision. When applied to music signals, this method exposes a range of musically interesting modifications, from controlling the participation of specific instruments to improvisations on the melody. Samples can be found on our examples page in https://hilamanor.github.io/AudioEditing/ and code can be found in https://github.com/hilamanor/AudioEditing/ .

While efficient architectures and a plethora of augmentations for end-to-end image classification tasks have been suggested and heavily investigated, state-of-the-art techniques for audio classifications still rely on numerous representations of the audio signal together with large architectures, fine-tuned from large datasets. By utilizing the inherited lightweight nature of audio and novel audio augmentations, we were able to present an efficient end-to-end network with strong generalization ability. Experiments on a variety of sound classification sets demonstrate the effectiveness and robustness of our approach, by achieving state-of-the-art results in various settings. Public code is available at: https://github.com/Alibaba-MIIL/AudioClassfication{this http url}

This report presents the Sony-TAu Realistic Spatial Soundscapes 2022 (STARS22) dataset for sound event localization and detection, comprised of spatial recordings of real scenes collected in various interiors of two different sites. The dataset is captured with a high resolution spherical microphone array and delivered in two 4-channel formats, first-order Ambisonics and tetrahedral microphone array. Sound events in the dataset belonging to 13 target sound classes are annotated both temporally and spatially through a combination of human annotation and optical tracking. The dataset serves as the development and evaluation dataset for the Task 3 of the DCASE2022 Challenge on Sound Event Localization and Detection and introduces significant new challenges for the task compared to the previous iterations, which were based on synthetic spatialized sound scene recordings. Dataset specifications are detailed including recording and annotation process, target classes and their presence, and details on the development and evaluation splits. Additionally, the report presents the baseline system that accompanies the dataset in the challenge with emphasis on the differences with the baseline of the previous iterations; namely, introduction of the multi-ACCDOA representation to handle multiple simultaneous occurences of events of the same class, and support for additional improved input features for the microphone array format. Results of the baseline indicate that with a suitable training strategy a reasonable detection and localization performance can be achieved on real sound scene recordings. The dataset is available in https://zenodo.org/record/6387880.

Although audio foundations models have seen great progress on a wide variety of tasks, their application in real-world acoustic environments with reverberation and noise has been less successful. Moreover, as audio foundation models are typically trained on dry, single-channel audio clips, the inherent spatial nature of real-world sound scenes is overlooked and tasks involving sound localization ruled out. To address these limitations, we propose GRAM: a General-purpose Real-world Audio Model utilizing a multi-channel masked auto-encoder approach to efficiently learn spatial audio representations from high-quality simulated real-world scenes. To evaluate the performance of GRAM and other audio foundation models in real-world sound scenes, we release Nat-HEAR: A naturalistic version of the HEAR benchmark suite comprising a simulated real-world version, as well as two new sound localization tasks. We show that the performance of GRAM surpasses all state-of-the-art self-supervised audio foundation models and speech models on both HEAR and Nat-HEAR, while using only a fraction of the training data. GRAM also showcases state-of-the-art localization performance, surpassing even supervised sound localization approaches, and can be flexibly applied either to a two-channel, binaural sound format or a four-channel, Ambisonics format. Validating GRAM's performance on real-world sound recordings demonstrates robust transfer to real-world scenes. Taken together, GRAM presents a significant advancement towards robust, spatial audio foundation models for real-world applications.

In this paper, we experimented with the SpeechT5 model pre-trained on large-scale datasets. We pre-trained the foundation model from scratch and fine-tuned it on a large-scale robust multi-speaker text-to-speech (TTS) task. We tested the model capabilities in a zero- and few-shot scenario. Based on two listening tests, we evaluated the synthetic audio quality and the similarity of how synthetic voices resemble real voices. Our results showed that the SpeechT5 model can generate a synthetic voice for any speaker using only one minute of the target speaker's data. We successfully demonstrated the high quality and similarity of our synthetic voices on publicly known Czech politicians and celebrities.

We introduce Audio Atlas, an interactive web application for visualizing audio data using text-audio embeddings. Audio Atlas is designed to facilitate the exploration and analysis of audio datasets using a contrastive embedding model and a vector database for efficient data management and semantic search. The system maps audio embeddings into a two-dimensional space and leverages DeepScatter for dynamic visualization. Designed for extensibility, Audio Atlas allows easy integration of new datasets, enabling users to better understand their audio data and identify both patterns and outliers. We open-source the codebase of Audio Atlas, and provide an initial implementation containing various audio and music datasets.

In this paper we propose a novel model for unconditional audio generation based on generating one audio sample at a time. We show that our model, which profits from combining memory-less modules, namely autoregressive multilayer perceptrons, and stateful recurrent neural networks in a hierarchical structure is able to capture underlying sources of variations in the temporal sequences over very long time spans, on three datasets of different nature. Human evaluation on the generated samples indicate that our model is preferred over competing models. We also show how each component of the model contributes to the exhibited performance.

Speech enhancement systems are typically trained using pairs of clean and noisy speech. In audio-visual speech enhancement (AVSE), there is not as much ground-truth clean data available; most audio-visual datasets are collected in real-world environments with background noise and reverberation, hampering the development of AVSE. In this work, we introduce AV2Wav, a resynthesis-based audio-visual speech enhancement approach that can generate clean speech despite the challenges of real-world training data. We obtain a subset of nearly clean speech from an audio-visual corpus using a neural quality estimator, and then train a diffusion model on this subset to generate waveforms conditioned on continuous speech representations from AV-HuBERT with noise-robust training. We use continuous rather than discrete representations to retain prosody and speaker information. With this vocoding task alone, the model can perform speech enhancement better than a masking-based baseline. We further fine-tune the diffusion model on clean/noisy utterance pairs to improve the performance. Our approach outperforms a masking-based baseline in terms of both automatic metrics and a human listening test and is close in quality to the target speech in the listening test. Audio samples can be found at https://home.ttic.edu/~jcchou/demo/avse/avse_demo.html.

This paper introduces FALL-E, a foley synthesis system and its training/inference strategies. The FALL-E model employs a cascaded approach comprising low-resolution spectrogram generation, spectrogram super-resolution, and a vocoder. We trained every sound-related model from scratch using our extensive datasets, and utilized a pre-trained language model. We conditioned the model with dataset-specific texts, enabling it to learn sound quality and recording environment based on text input. Moreover, we leveraged external language models to improve text descriptions of our datasets and performed prompt engineering for quality, coherence, and diversity. FALL-E was evaluated by an objective measure as well as listening tests in the DCASE 2023 challenge Task 7. The submission achieved the second place on average, while achieving the best score for diversity, second place for audio quality, and third place for class fitness.

Generating ambient sounds and effects is a challenging problem due to data scarcity and often insufficient caption quality, making it difficult to employ large-scale generative models for the task. In this work, we tackle the problem by introducing two new models. First, we propose AutoCap, a high-quality and efficient automatic audio captioning model. We show that by leveraging metadata available with the audio modality, we can substantially improve the quality of captions. AutoCap reaches CIDEr score of 83.2, marking a 3.2% improvement from the best available captioning model at four times faster inference speed. We then use AutoCap to caption clips from existing datasets, obtaining 761,000 audio clips with high-quality captions, forming the largest available audio-text dataset. Second, we propose GenAu, a scalable transformer-based audio generation architecture that we scale up to 1.25B parameters and train with our new dataset. When compared to state-of-the-art audio generators, GenAu obtains significant improvements of 15.7% in FAD score, 22.7% in IS, and 13.5% in CLAP score, indicating significantly improved quality of generated audio compared to previous works. This shows that the quality of data is often as important as its quantity. Besides, since AutoCap is fully automatic, new audio samples can be added to the training dataset, unlocking the training of even larger generative models for audio synthesis.

We introduce AudioLM, a framework for high-quality audio generation with long-term consistency. AudioLM maps the input audio to a sequence of discrete tokens and casts audio generation as a language modeling task in this representation space. We show how existing audio tokenizers provide different trade-offs between reconstruction quality and long-term structure, and we propose a hybrid tokenization scheme to achieve both objectives. Namely, we leverage the discretized activations of a masked language model pre-trained on audio to capture long-term structure and the discrete codes produced by a neural audio codec to achieve high-quality synthesis. By training on large corpora of raw audio waveforms, AudioLM learns to generate natural and coherent continuations given short prompts. When trained on speech, and without any transcript or annotation, AudioLM generates syntactically and semantically plausible speech continuations while also maintaining speaker identity and prosody for unseen speakers. Furthermore, we demonstrate how our approach extends beyond speech by generating coherent piano music continuations, despite being trained without any symbolic representation of music.

While recent work in controllable text-to-audio (TTA) generation has achieved fine-grained control through timestamp conditioning, its scope remains limited by audio quality and input format. These models often suffer from poor audio quality in real datasets due to sole reliance on synthetic data. Moreover, some models are constrained to a closed vocabulary of sound events, preventing them from controlling audio generation for open-ended, free-text queries. This paper introduces PicoAudio2, a framework that advances temporal-controllable TTA by mitigating these data and architectural limitations. Specifically, we use a grounding model to annotate event timestamps of real audio-text datasets to curate temporally-strong real data, in addition to simulation data from existing works. The model is trained on the combination of real and simulation data. Moreover, we propose an enhanced architecture that integrates the fine-grained information from a timestamp matrix with coarse-grained free-text input. Experiments show that PicoAudio2 exhibits superior performance in terms of temporal controllability and audio quality.

We present Kimi-Audio, an open-source audio foundation model that excels in audio understanding, generation, and conversation. We detail the practices in building Kimi-Audio, including model architecture, data curation, training recipe, inference deployment, and evaluation. Specifically, we leverage a 12.5Hz audio tokenizer, design a novel LLM-based architecture with continuous features as input and discrete tokens as output, and develop a chunk-wise streaming detokenizer based on flow matching. We curate a pre-training dataset that consists of more than 13 million hours of audio data covering a wide range of modalities including speech, sound, and music, and build a pipeline to construct high-quality and diverse post-training data. Initialized from a pre-trained LLM, Kimi-Audio is continual pre-trained on both audio and text data with several carefully designed tasks, and then fine-tuned to support a diverse of audio-related tasks. Extensive evaluation shows that Kimi-Audio achieves state-of-the-art performance on a range of audio benchmarks including speech recognition, audio understanding, audio question answering, and speech conversation. We release the codes, model checkpoints, as well as the evaluation toolkits in https://github.com/MoonshotAI/Kimi-Audio.

Deep learning models are mostly used in an offline inference fashion. However, this strongly limits the use of these models inside audio generation setups, as most creative workflows are based on real-time digital signal processing. Although approaches based on recurrent networks can be naturally adapted to this buffer-based computation, the use of convolutions still poses some serious challenges. To tackle this issue, the use of causal streaming convolutions have been proposed. However, this requires specific complexified training and can impact the resulting audio quality. In this paper, we introduce a new method allowing to produce non-causal streaming models. This allows to make any convolutional model compatible with real-time buffer-based processing. As our method is based on a post-training reconfiguration of the model, we show that it is able to transform models trained without causal constraints into a streaming model. We show how our method can be adapted to fit complex architectures with parallel branches. To evaluate our method, we apply it on the recent RAVE model, which provides high-quality real-time audio synthesis. We test our approach on multiple music and speech datasets and show that it is faster than overlap-add methods, while having no impact on the generation quality. Finally, we introduce two open-source implementation of our work as Max/MSP and PureData externals, and as a VST audio plugin. This allows to endow traditional digital audio workstation with real-time neural audio synthesis on a laptop CPU.

In this work, we propose WaveFlow, a small-footprint generative flow for raw audio, which is directly trained with maximum likelihood. It handles the long-range structure of 1-D waveform with a dilated 2-D convolutional architecture, while modeling the local variations using expressive autoregressive functions. WaveFlow provides a unified view of likelihood-based models for 1-D data, including WaveNet and WaveGlow as special cases. It generates high-fidelity speech as WaveNet, while synthesizing several orders of magnitude faster as it only requires a few sequential steps to generate very long waveforms with hundreds of thousands of time-steps. Furthermore, it can significantly reduce the likelihood gap that has existed between autoregressive models and flow-based models for efficient synthesis. Finally, our small-footprint WaveFlow has only 5.91M parameters, which is 15times smaller than WaveGlow. It can generate 22.05 kHz high-fidelity audio 42.6times faster than real-time (at a rate of 939.3 kHz) on a V100 GPU without engineered inference kernels.

Large Language Models (LLMs) have significantly advanced audio processing by leveraging audio codecs to discretize audio into tokens, enabling the application of language modeling techniques to speech data. However, existing audio codecs often operate at high frame rates, leading to slow training and inference, particularly for autoregressive models. To address this, there is growing interest in low frame-rate audio codecs, which reduce the number of autoregressive steps required to generate one second of audio. In this paper, we conduct ablation studies to examine the impact of frame rate, bitrate, and causality on codec reconstruction quality. Based on our findings, we introduce NanoCodec, a state-of-the-art audio codec that achieves high-quality compression at just 12.5 frames per second (FPS). NanoCodec outperforms related works across various bitrate ranges, establishing a new benchmark for low-latency and efficient Speech LLM training and inference.

With the emergence of audio-language models, constructing large-scale paired audio-language datasets has become essential yet challenging for model development, primarily due to the time-intensive and labour-heavy demands involved. While large language models (LLMs) have improved the efficiency of synthetic audio caption generation, current approaches struggle to effectively extract and incorporate detailed audio information. In this paper, we propose an automated pipeline that integrates audio-language models for fine-grained content extraction, LLMs for synthetic caption generation, and a contrastive language-audio pretraining (CLAP) model-based refinement process to improve the quality of captions. Specifically, we employ prompt chaining techniques in the content extraction stage to obtain accurate and fine-grained audio information, while we use the refinement process to mitigate potential hallucinations in the generated captions. Leveraging the AudioSet dataset and the proposed approach, we create AudioSetCaps, a dataset comprising 1.9 million audio-caption pairs, the largest audio-caption dataset at the time of writing. The models trained with AudioSetCaps achieve state-of-the-art performance on audio-text retrieval with R@1 scores of 46.3% for text-to-audio and 59.7% for audio-to-text retrieval and automated audio captioning with the CIDEr score of 84.8. As our approach has shown promising results with AudioSetCaps, we create another dataset containing 4.1 million synthetic audio-language pairs based on the Youtube-8M and VGGSound datasets. To facilitate research in audio-language learning, we have made our pipeline, datasets with 6 million audio-language pairs, and pre-trained models publicly available at https://github.com/JishengBai/AudioSetCaps.

In recent years, large language models have achieved significant success in generative tasks (e.g., speech cloning and audio generation) related to speech, audio, music, and other signal domains. A crucial element of these models is the discrete acoustic codecs, which serves as an intermediate representation replacing the mel-spectrogram. However, there exist several gaps between discrete codecs and downstream speech language models. Specifically, 1) most codec models are trained on only 1,000 hours of data, whereas most speech language models are trained on 60,000 hours; 2) Achieving good reconstruction performance requires the utilization of numerous codebooks, which increases the burden on downstream speech language models; 3) The initial channel of the codebooks contains excessive information, making it challenging to directly generate acoustic tokens from weakly supervised signals such as text in downstream tasks. Consequently, leveraging the characteristics of speech language models, we propose Language-Codec. In the Language-Codec, we introduce a Mask Channel Residual Vector Quantization (MCRVQ) mechanism along with improved Fourier transform structures and larger training datasets to address the aforementioned gaps. We compare our method with competing audio compression algorithms and observe significant outperformance across extensive evaluations. Furthermore, we also validate the efficiency of the Language-Codec on downstream speech language models. The source code and pre-trained models can be accessed at https://github.com/jishengpeng/languagecodec .

Audio-language models (ALMs) process sounds to provide a linguistic description of sound-producing events and scenes. Recent advances in computing power and dataset creation have led to significant progress in this domain. This paper surveys existing datasets used for training audio-language models, emphasizing the recent trend towards using large, diverse datasets to enhance model performance. Key sources of these datasets include the Freesound platform and AudioSet that have contributed to the field's rapid growth. Although prior surveys primarily address techniques and training details, this survey categorizes and evaluates a wide array of datasets, addressing their origins, characteristics, and use cases. It also performs a data leak analysis to ensure dataset integrity and mitigate bias between datasets. This survey was conducted by analyzing research papers up to and including December 2023, and does not contain any papers after that period.

Measuring the acoustic characteristics of a space is often done by capturing its impulse response (IR), a representation of how a full-range stimulus sound excites it. This work generates an IR from a single image, which can then be applied to other signals using convolution, simulating the reverberant characteristics of the space shown in the image. Recording these IRs is both time-intensive and expensive, and often infeasible for inaccessible locations. We use an end-to-end neural network architecture to generate plausible audio impulse responses from single images of acoustic environments. We evaluate our method both by comparisons to ground truth data and by human expert evaluation. We demonstrate our approach by generating plausible impulse responses from diverse settings and formats including well known places, musical halls, rooms in paintings, images from animations and computer games, synthetic environments generated from text, panoramic images, and video conference backgrounds.

Recent progress in text-to-music generation has enabled models to synthesize high-quality musical segments, full compositions, and even respond to fine-grained control signals, e.g. chord progressions. State-of-the-art (SOTA) systems differ significantly across many dimensions, such as training datasets, modeling paradigms, and architectural choices. This diversity complicates efforts to evaluate models fairly and pinpoint which design choices most influence performance. While factors like data and architecture are important, in this study we focus exclusively on the modeling paradigm. We conduct a systematic empirical analysis to isolate its effects, offering insights into associated trade-offs and emergent behaviors that can guide future text-to-music generation systems. Specifically, we compare the two arguably most common modeling paradigms: Auto-Regressive decoding and Conditional Flow-Matching. We conduct a controlled comparison by training all models from scratch using identical datasets, training configurations, and similar backbone architectures. Performance is evaluated across multiple axes, including generation quality, robustness to inference configurations, scalability, adherence to both textual and temporally aligned conditioning, and editing capabilities in the form of audio inpainting. This comparative study sheds light on distinct strengths and limitations of each paradigm, providing actionable insights that can inform future architectural and training decisions in the evolving landscape of text-to-music generation. Audio sampled examples are available at: https://huggingface.co/spaces/ortal1602/ARvsFM

The rapid advancement of artificial intelligence (AI) has enabled sophisticated audio generation and voice cloning technologies, posing significant security risks for applications reliant on voice authentication. While existing datasets and models primarily focus on distinguishing between human and fully synthetic speech, real-world attacks often involve audio that combines both genuine and cloned segments. To address this gap, we construct a novel hybrid audio dataset incorporating human, AI-generated, cloned, and mixed audio samples. We further propose fine-tuned Audio Spectrogram Transformer (AST)-based models tailored for detecting these complex acoustic patterns. Extensive experiments demonstrate that our approach significantly outperforms existing baselines in mixed-audio detection, achieving 97\% classification accuracy. Our findings highlight the importance of hybrid datasets and tailored models in advancing the robustness of speech-based authentication systems.

Audio and speech coding lack unified evaluation and open-source testing. Many candidate systems were evaluated on proprietary, non-reproducible, or small data, and machine learning-based codecs are often tested on datasets with similar distributions as trained on, which is unfairly compared to digital signal processing-based codecs that usually work well with unseen data. This paper presents a full-band audio and speech coding quality benchmark with more variable content types, including traditional open test vectors. An example use case of audio coding quality assessment is presented with open-source Opus, 3GPP's EVS, and recent ETSI's LC3 with LC3+ used in Bluetooth LE Audio profiles. Besides, quality variations of emotional speech encoding at 16 kbps are shown. The proposed open-source benchmark contributes to audio and speech coding democratization and is available at https://github.com/JozefColdenhoff/OpenACE.

Inspired by the recent progress in self-supervised learning for computer vision that generates supervision using data augmentations, we explore a new general-purpose audio representation learning approach. We propose learning general-purpose audio representation from a single audio segment without expecting relationships between different time segments of audio samples. To implement this principle, we introduce Bootstrap Your Own Latent (BYOL) for Audio (BYOL-A, pronounced "viola"), an audio self-supervised learning method based on BYOL for learning general-purpose audio representation. Unlike most previous audio self-supervised learning methods that rely on agreement of vicinity audio segments or disagreement of remote ones, BYOL-A creates contrasts in an augmented audio segment pair derived from a single audio segment. With a combination of normalization and augmentation techniques, BYOL-A achieves state-of-the-art results in various downstream tasks. Extensive ablation studies also clarified the contribution of each component and their combinations.

Creating high-quality sound effects from videos and text prompts requires precise alignment between visual and audio domains, both semantically and temporally, along with step-by-step guidance for professional audio generation. However, current state-of-the-art video-guided audio generation models often fall short of producing high-quality audio for both general and specialized use cases. To address this challenge, we introduce a multi-stage, multi-modal, end-to-end generative framework with Chain-of-Thought-like (CoT-like) guidance learning, termed Chain-of-Perform (CoP). First, we employ a transformer-based network architecture designed to achieve CoP guidance, enabling the generation of both general and professional audio. Second, we implement a multi-stage training framework that follows step-by-step guidance to ensure the generation of high-quality sound effects. Third, we develop a CoP multi-modal dataset, guided by video, to support step-by-step sound effects generation. Evaluation results highlight the advantages of the proposed multi-stage CoP generative framework compared to the state-of-the-art models on a variety of datasets, with FAD 0.79 to 0.74 (+6.33%), CLIP 16.12 to 17.70 (+9.80%) on VGGSound, SI-SDR 1.98dB to 3.35dB (+69.19%), MOS 2.94 to 3.49(+18.71%) on PianoYT-2h, and SI-SDR 2.22dB to 3.21dB (+44.59%), MOS 3.07 to 3.42 (+11.40%) on Piano-10h.