Daily Papers

While rendering and animation of photorealistic 3D human body models have matured and reached an impressive quality over the past years, modeling the spatial audio associated with such full body models has been largely ignored so far. In this work, we present a framework that allows for high-quality spatial audio generation, capable of rendering the full 3D soundfield generated by a human body, including speech, footsteps, hand-body interactions, and others. Given a basic audio-visual representation of the body in form of 3D body pose and audio from a head-mounted microphone, we demonstrate that we can render the full acoustic scene at any point in 3D space efficiently and accurately. To enable near-field and realtime rendering of sound, we borrow the idea of volumetric primitives from graphical neural rendering and transfer them into the acoustic domain. Our acoustic primitives result in an order of magnitude smaller soundfield representations and overcome deficiencies in near-field rendering compared to previous approaches.

Our environment is filled with rich and dynamic acoustic information. When we walk into a cathedral, the reverberations as much as appearance inform us of the sanctuary's wide open space. Similarly, as an object moves around us, we expect the sound emitted to also exhibit this movement. While recent advances in learned implicit functions have led to increasingly higher quality representations of the visual world, there have not been commensurate advances in learning spatial auditory representations. To address this gap, we introduce Neural Acoustic Fields (NAFs), an implicit representation that captures how sounds propagate in a physical scene. By modeling acoustic propagation in a scene as a linear time-invariant system, NAFs learn to continuously map all emitter and listener location pairs to a neural impulse response function that can then be applied to arbitrary sounds. We demonstrate that the continuous nature of NAFs enables us to render spatial acoustics for a listener at an arbitrary location, and can predict sound propagation at novel locations. We further show that the representation learned by NAFs can help improve visual learning with sparse views. Finally, we show that a representation informative of scene structure emerges during the learning of NAFs.

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 this paper, we work on a sound recognition system that continually incorporates new sound classes. Our main goal is to develop a framework where the model can be updated without relying on labeled data. For this purpose, we propose adopting representation learning, where an encoder is trained using unlabeled data. This learning framework enables the study and implementation of a practically relevant use case where only a small amount of the labels is available in a continual learning context. We also make the empirical observation that a similarity-based representation learning method within this framework is robust to forgetting even if no explicit mechanism against forgetting is employed. We show that this approach obtains similar performance compared to several distillation-based continual learning methods when employed on self-supervised representation learning methods.

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.

The goal of universal audio representation learning is to obtain foundational models that can be used for a variety of downstream tasks involving speech, music or environmental sounds. To approach this problem, methods inspired by self-supervised models from NLP, like BERT, are often used and adapted to audio. These models rely on the discrete nature of text, hence adopting this type of approach for audio processing requires either a change in the learning objective or mapping the audio signal to a set of discrete classes. In this work, we explore the use of EnCodec, a neural audio codec, to generate discrete targets for learning an universal audio model based on a masked autoencoder (MAE). We evaluate this approach, which we call EncodecMAE, on a wide range of audio tasks spanning speech, music and environmental sounds, achieving performances comparable or better than leading audio representation models.

Sound plays a major role in human perception. Along with vision, it provides essential information for understanding our surroundings. Despite advances in neural implicit representations, learning acoustics that align with visual scenes remains a challenge. We propose NeRAF, a method that jointly learns acoustic and radiance fields. NeRAF synthesizes both novel views and spatialized room impulse responses (RIR) at new positions by conditioning the acoustic field on 3D scene geometric and appearance priors from the radiance field. The generated RIR can be applied to auralize any audio signal. Each modality can be rendered independently and at spatially distinct positions, offering greater versatility. We demonstrate that NeRAF generates high-quality audio on SoundSpaces and RAF datasets, achieving significant performance improvements over prior methods while being more data-efficient. Additionally, NeRAF enhances novel view synthesis of complex scenes trained with sparse data through cross-modal learning. NeRAF is designed as a Nerfstudio module, providing convenient access to realistic audio-visual generation.

Learning audio representations from raw waveforms overcomes key limitations of spectrogram-based audio representation learning, such as the long latency of spectrogram computation and the loss of phase information. Yet, while self-supervised speech representation learning from raw waveforms has been remarkably successful, these approaches have not achieved similar feats for general-purpose audio representation learning from waveforms. Here, we propose WavJEPA, a waveform-based version of the Joint-Embedding Predictive Architecture. WavJEPA leverages high-level semantic representation learning to tackle the shortcomings of representation learning at the speech unit or token level. We show that this approach substantially outperforms state-of-the-art time-domain audio foundation models across a wide variety of downstream benchmark tasks, while requiring considerably fewer computational resources. Additionally, to overcome the performance drop that time-domain models typically exhibit in noisy and reverberant real-world acoustic environments, we present WavJEPA-Nat. WavJEPA-Nat is a multi-channel extension of the WavJEPA architecture trained on simulated naturalistic scenes. We find that WavJEPA-Nat is highly robust to reverberation and noise. These results highlight the feasibility and computational efficiency of general-purpose audio representation learning from raw waveforms, showcasing the potential for low-latency, robust time-domain audio foundation models for real-world applications.

This work explores whether language models encode meaningfully grounded representations of sounds of objects. We learn a linear probe that retrieves the correct text representation of an object given a snippet of audio related to that object, where the sound representation is given by a pretrained audio model. This probe is trained via a contrastive loss that pushes the language representations and sound representations of an object to be close to one another. After training, the probe is tested on its ability to generalize to objects that were not seen during training. Across different language models and audio models, we find that the probe generalization is above chance in many cases, indicating that despite being trained only on raw text, language models encode grounded knowledge of sounds for some objects.

Audio-Language models jointly learn multimodal text and audio representations that enable Zero-Shot inference. Models rely on the encoders to create powerful representations of the input and generalize to multiple tasks ranging from sounds, music, and speech. Although models have achieved remarkable performance, there is still a performance gap with task-specific models. In this paper, we propose a Contrastive Language-Audio Pretraining model that is pretrained with a diverse collection of 4.6M audio-text pairs employing two innovative encoders for Zero-Shot inference. To learn audio representations, we trained an audio encoder on 22 audio tasks, instead of the standard training of sound event classification. To learn language representations, we trained an autoregressive decoder-only model instead of the standard encoder-only models. Then, the audio and language representations are brought into a joint multimodal space using Contrastive Learning. We used our encoders to improve the downstream performance by a margin. We extensively evaluated the generalization of our representations on 26 downstream tasks, the largest in the literature. Our model achieves state of the art results in several tasks leading the way towards general-purpose audio representations.

While 3D Gaussian representations (3DGS) have proven effective for modeling the geometry and appearance of objects, their potential for capturing other physical attributes-such as sound-remains largely unexplored. In this paper, we present a novel framework dubbed SonicGauss for synthesizing impact sounds from 3DGS representations by leveraging their inherent geometric and material properties. Specifically, we integrate a diffusion-based sound synthesis model with a PointTransformer-based feature extractor to infer material characteristics and spatial-acoustic correlations directly from Gaussian ellipsoids. Our approach supports spatially varying sound responses conditioned on impact locations and generalizes across a wide range of object categories. Experiments on the ObjectFolder dataset and real-world recordings demonstrate that our method produces realistic, position-aware auditory feedback. The results highlight the framework's robustness and generalization ability, offering a promising step toward bridging 3D visual representations and interactive sound synthesis. Project page: https://chunshi.wang/SonicGauss

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 work we propose approaches to effectively transfer knowledge from weakly labeled web audio data. We first describe a convolutional neural network (CNN) based framework for sound event detection and classification using weakly labeled audio data. Our model trains efficiently from audios of variable lengths; hence, it is well suited for transfer learning. We then propose methods to learn representations using this model which can be effectively used for solving the target task. We study both transductive and inductive transfer learning tasks, showing the effectiveness of our methods for both domain and task adaptation. We show that the learned representations using the proposed CNN model generalizes well enough to reach human level accuracy on ESC-50 sound events dataset and set state of art results on this dataset. We further use them for acoustic scene classification task and once again show that our proposed approaches suit well for this task as well. We also show that our methods are helpful in capturing semantic meanings and relations as well. Moreover, in this process we also set state-of-art results on Audioset dataset, relying on balanced training set.

Deep neural networks are a promising tool for Audio Event Classification. In contrast to other data like natural images, there are many sensible and non-obvious representations for audio data, which could serve as input to these models. Due to their black-box nature, the effect of different input representations has so far mostly been investigated by measuring classification performance. In this work, we leverage eXplainable AI (XAI), to understand the underlying classification strategies of models trained on different input representations. Specifically, we compare two model architectures with regard to relevant input features used for Audio Event Detection: one directly processes the signal as the raw waveform, and the other takes in its time-frequency spectrogram representation. We show how relevance heatmaps obtained via "Siren"{Layer-wise Relevance Propagation} uncover representation-dependent decision strategies. With these insights, we can make a well-informed decision about the best input representation in terms of robustness and representativity and confirm that the model's classification strategies align with human requirements.

Although audio generation shares commonalities across different types of audio, such as speech, music, and sound effects, designing models for each type requires careful consideration of specific objectives and biases that can significantly differ from those of other types. To bring us closer to a unified perspective of audio generation, this paper proposes a framework that utilizes the same learning method for speech, music, and sound effect generation. Our framework introduces a general representation of audio, called language of audio (LOA). Any audio can be translated into LOA based on AudioMAE, a self-supervised pre-trained representation learning model. In the generation process, we translate any modalities into LOA by using a GPT-2 model, and we perform self-supervised audio generation learning with a latent diffusion model conditioned on LOA. The proposed framework naturally brings advantages such as in-context learning abilities and reusable self-supervised pretrained AudioMAE and latent diffusion models. Experiments on the major benchmarks of text-to-audio, text-to-music, and text-to-speech demonstrate new state-of-the-art or competitive performance to previous approaches. Our demo and code are available at https://audioldm.github.io/audioldm2.

From whirling ceiling fans to ticking clocks, the sounds that we hear subtly vary as we move through a scene. We ask whether these ambient sounds convey information about 3D scene structure and, if so, whether they provide a useful learning signal for multimodal models. To study this, we collect a dataset of paired audio and RGB-D recordings from a variety of quiet indoor scenes. We then train models that estimate the distance to nearby walls, given only audio as input. We also use these recordings to learn multimodal representations through self-supervision, by training a network to associate images with their corresponding sounds. These results suggest that ambient sound conveys a surprising amount of information about scene structure, and that it is a useful signal for learning multimodal features.

We introduce PixelPlayer, a system that, by leveraging large amounts of unlabeled videos, learns to locate image regions which produce sounds and separate the input sounds into a set of components that represents the sound from each pixel. Our approach capitalizes on the natural synchronization of the visual and audio modalities to learn models that jointly parse sounds and images, without requiring additional manual supervision. Experimental results on a newly collected MUSIC dataset show that our proposed Mix-and-Separate framework outperforms several baselines on source separation. Qualitative results suggest our model learns to ground sounds in vision, enabling applications such as independently adjusting the volume of sound sources.

Recent successful applications of convolutional neural networks (CNNs) to audio classification and speech recognition have motivated the search for better input representations for more efficient training. Visual displays of an audio signal, through various time-frequency representations such as spectrograms offer a rich representation of the temporal and spectral structure of the original signal. In this letter, we compare various popular signal processing methods to obtain this representation, such as short-time Fourier transform (STFT) with linear and Mel scales, constant-Q transform (CQT) and continuous Wavelet transform (CWT), and assess their impact on the classification performance of two environmental sound datasets using CNNs. This study supports the hypothesis that time-frequency representations are valuable in learning useful features for sound classification. Moreover, the actual transformation used is shown to impact the classification accuracy, with Mel-scaled STFT outperforming the other discussed methods slightly and baseline MFCC features to a large degree. Additionally, we observe that the optimal window size during transformation is dependent on the characteristics of the audio signal and architecturally, 2D convolution yielded better results in most cases compared to 1D.

How does audio describe the world around us? In this work, we propose a method for generating images of visual scenes from diverse in-the-wild sounds. This cross-modal generation task is challenging due to the significant information gap between auditory and visual signals. We address this challenge by designing a model that aligns audio-visual modalities by enriching audio features with visual information and translating them into the visual latent space. These features are then fed into the pre-trained image generator to produce images. To enhance image quality, we use sound source localization to select audio-visual pairs with strong cross-modal correlations. Our method achieves substantially better results on the VEGAS and VGGSound datasets compared to previous work and demonstrates control over the generation process through simple manipulations to the input waveform or latent space. Furthermore, we analyze the geometric properties of the learned embedding space and demonstrate that our learning approach effectively aligns audio-visual signals for cross-modal generation. Based on this analysis, we show that our method is agnostic to specific design choices, showing its generalizability by integrating various model architectures and different types of audio-visual data.

Sound content is an indispensable element for multimedia works such as video games, music, and films. Recent high-quality diffusion-based sound generation models can serve as valuable tools for the creators. However, despite producing high-quality sounds, these models often suffer from slow inference speeds. This drawback burdens creators, who typically refine their sounds through trial and error to align them with their artistic intentions. To address this issue, we introduce Sound Consistency Trajectory Models (SoundCTM). Our model enables flexible transitioning between high-quality 1-step sound generation and superior sound quality through multi-step generation. This allows creators to initially control sounds with 1-step samples before refining them through multi-step generation. While CTM fundamentally achieves flexible 1-step and multi-step generation, its impressive performance heavily depends on an additional pretrained feature extractor and an adversarial loss, which are expensive to train and not always available in other domains. Thus, we reframe CTM's training framework and introduce a novel feature distance by utilizing the teacher's network for a distillation loss. Additionally, while distilling classifier-free guided trajectories, we train conditional and unconditional student models simultaneously and interpolate between these models during inference. We also propose training-free controllable frameworks for SoundCTM, leveraging its flexible sampling capability. SoundCTM achieves both promising 1-step and multi-step real-time sound generation without using any extra off-the-shelf networks. Furthermore, we demonstrate SoundCTM's capability of controllable sound generation in a training-free manner.

Autonomous soundscape augmentation systems typically use trained models to pick optimal maskers to effect a desired perceptual change. While acoustic information is paramount to such systems, contextual information, including participant demographics and the visual environment, also influences acoustic perception. Hence, we propose modular modifications to an existing attention-based deep neural network, to allow early, mid-level, and late feature fusion of participant-linked, visual, and acoustic features. Ablation studies on module configurations and corresponding fusion methods using the ARAUS dataset show that contextual features improve the model performance in a statistically significant manner on the normalized ISO Pleasantness, to a mean squared error of 0.1194pm0.0012 for the best-performing all-modality model, against 0.1217pm0.0009 for the audio-only model. Soundscape augmentation systems can thereby leverage multimodal inputs for improved performance. We also investigate the impact of individual participant-linked factors using trained models to illustrate improvements in model explainability.

Recently, diffusion models have achieved great success in mono-channel audio generation. However, when it comes to stereo audio generation, the soundscapes often have a complex scene of multiple objects and directions. Controlling stereo audio with spatial contexts remains challenging due to high data costs and unstable generative models. To the best of our knowledge, this work represents the first attempt to address these issues. We first construct a large-scale, simulation-based, and GPT-assisted dataset, BEWO-1M, with abundant soundscapes and descriptions even including moving and multiple sources. Beyond text modality, we have also acquired a set of images and rationally paired stereo audios through retrieval to advance multimodal generation. Existing audio generation models tend to generate rather random and indistinct spatial audio. To provide accurate guidance for Latent Diffusion Models, we introduce the SpatialSonic model utilizing spatial-aware encoders and azimuth state matrices to reveal reasonable spatial guidance. By leveraging spatial guidance, our model not only achieves the objective of generating immersive and controllable spatial audio from text but also extends to other modalities as the pioneer attempt. Finally, under fair settings, we conduct subjective and objective evaluations on simulated and real-world data to compare our approach with prevailing methods. The results demonstrate the effectiveness of our method, highlighting its capability to generate spatial audio that adheres to physical rules.

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.

There has been a growing interest in the task of generating sound for silent videos, primarily because of its practicality in streamlining video post-production. However, existing methods for video-sound generation attempt to directly create sound from visual representations, which can be challenging due to the difficulty of aligning visual representations with audio representations. In this paper, we present SonicVisionLM, a novel framework aimed at generating a wide range of sound effects by leveraging vision-language models(VLMs). Instead of generating audio directly from video, we use the capabilities of powerful VLMs. When provided with a silent video, our approach first identifies events within the video using a VLM to suggest possible sounds that match the video content. This shift in approach transforms the challenging task of aligning image and audio into more well-studied sub-problems of aligning image-to-text and text-to-audio through the popular diffusion models. To improve the quality of audio recommendations with LLMs, we have collected an extensive dataset that maps text descriptions to specific sound effects and developed a time-controlled audio adapter. Our approach surpasses current state-of-the-art methods for converting video to audio, enhancing synchronization with the visuals, and improving alignment between audio and video components. Project page: https://yusiissy.github.io/SonicVisionLM.github.io/

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.

The integration of audio perception capabilities into Large Language Models (LLMs) has enabled significant advances in Audio-LLMs. Although application-focused developments, particularly in curating training data for specific capabilities e.g., audio reasoning, have progressed rapidly, the underlying mechanisms that govern efficient transfer of rich semantic representations from audio encoders to LLMs remain under-explored. We conceptualize effective audio-LLM interaction as the LLM's ability to proficiently probe the audio encoder representations to satisfy textual queries. This paper presents a systematic investigation on how architectural design choices can affect that. Beginning with a standard Pengi/LLaVA-style audio-LLM architecture, we propose and evaluate several modifications guided by hypotheses derived from mechanistic interpretability studies and LLM operational principles. Our experiments demonstrate that: (1) delaying audio integration until the LLM's initial layers establish textual context that enhances its ability to probe the audio representations for relevant information; (2) the LLM can proficiently probe audio representations exclusively through LLM layer's attention submodule, without requiring propagation to its Feed-Forward Network (FFN) submodule; (3) an efficiently integrated ensemble of diverse audio encoders provides richer, complementary representations, thereby broadening the LLM's capacity to probe a wider spectrum of audio information. All hypotheses are evaluated using an identical three-stage training curriculum on a dataset of 5.6 million audio-text pairs, ensuring controlled comparisons. Our final architecture, which incorporates all proposed modifications, achieves relative improvements from 10\% to 60\% over the baseline, validating our approach to optimizing cross-modal information transfer in audio-LLMs. Project page: https://ta012.github.io/PAL/

We demonstrate the efficacy of using intermediate representations from a single foundation model to enhance various music downstream tasks. We introduce SoniDo , a music foundation model (MFM) designed to extract hierarchical features from target music samples. By leveraging hierarchical intermediate features, SoniDo constrains the information granularity, leading to improved performance across various downstream tasks including both understanding and generative tasks. We specifically evaluated this approach on representative tasks such as music tagging, music transcription, music source separation, and music mixing. Our results reveal that the features extracted from foundation models provide valuable enhancements in training downstream task models. This highlights the capability of using features extracted from music foundation models as a booster for downstream tasks. Our approach not only benefits existing task-specific models but also supports music downstream tasks constrained by data scarcity. This paves the way for more effective and accessible music processing solutions.

Audio is an essential part of our life, but creating it often requires expertise and is time-consuming. Research communities have made great progress over the past year advancing the performance of large scale audio generative models for a single modality (speech, sound, or music) through adopting more powerful generative models and scaling data. However, these models lack controllability in several aspects: speech generation models cannot synthesize novel styles based on text description and are limited on domain coverage such as outdoor environments; sound generation models only provide coarse-grained control based on descriptions like "a person speaking" and would only generate mumbling human voices. This paper presents Audiobox, a unified model based on flow-matching that is capable of generating various audio modalities. We design description-based and example-based prompting to enhance controllability and unify speech and sound generation paradigms. We allow transcript, vocal, and other audio styles to be controlled independently when generating speech. To improve model generalization with limited labels, we adapt a self-supervised infilling objective to pre-train on large quantities of unlabeled audio. Audiobox sets new benchmarks on speech and sound generation (0.745 similarity on Librispeech for zero-shot TTS; 0.77 FAD on AudioCaps for text-to-sound) and unlocks new methods for generating audio with novel vocal and acoustic styles. We further integrate Bespoke Solvers, which speeds up generation by over 25 times compared to the default ODE solver for flow-matching, without loss of performance on several tasks. Our demo is available at https://audiobox.metademolab.com/

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.

Foley sound synthesis refers to the creation of authentic, diegetic sound effects for media, such as film or radio. In this study, we construct a neural Foley synthesizer capable of generating mono-audio clips across seven predefined categories. Our approach introduces multiple enhancements to existing models in the text-to-audio domain, with the goal of enriching the diversity and acoustic characteristics of the generated foleys. Notably, we utilize a pre-trained encoder that retains acoustical and musical attributes in intermediate embeddings, implement class-conditioning to enhance differentiability among foley classes in their intermediate representations, and devise an innovative transformer-based architecture for optimizing self-attention computations on very large inputs without compromising valuable information. Subsequent to implementation, we present intermediate outcomes that surpass the baseline, discuss practical challenges encountered in achieving optimal results, and outline potential pathways for further research.

We address the challenge of sound propagation simulations in 3D virtual rooms with moving sources, which have applications in virtual/augmented reality, game audio, and spatial computing. Solutions to the wave equation can describe wave phenomena such as diffraction and interference. However, simulating them using conventional numerical discretization methods with hundreds of source and receiver positions is intractable, making stimulating a sound field with moving sources impractical. To overcome this limitation, we propose using deep operator networks to approximate linear wave-equation operators. This enables the rapid prediction of sound propagation in realistic 3D acoustic scenes with moving sources, achieving millisecond-scale computations. By learning a compact surrogate model, we avoid the offline calculation and storage of impulse responses for all relevant source/listener pairs. Our experiments, including various complex scene geometries, show good agreement with reference solutions, with root mean squared errors ranging from 0.02 Pa to 0.10 Pa. Notably, our method signifies a paradigm shift as no prior machine learning approach has achieved precise predictions of complete wave fields within realistic domains. We anticipate that our findings will drive further exploration of deep neural operator methods, advancing research in immersive user experiences within virtual environments.

Neural audio synthesis methods now allow specifying ideas in natural language. However, these methods produce results that cannot be easily tweaked, as they are based on large latent spaces and up to billions of uninterpretable parameters. We propose a text-to-audio generation method that leverages a virtual modular sound synthesizer with only 78 parameters. Synthesizers have long been used by skilled sound designers for media like music and film due to their flexibility and intuitive controls. Our method, CTAG, iteratively updates a synthesizer's parameters to produce high-quality audio renderings of text prompts that can be easily inspected and tweaked. Sounds produced this way are also more abstract, capturing essential conceptual features over fine-grained acoustic details, akin to how simple sketches can vividly convey visual concepts. Our results show how CTAG produces sounds that are distinctive, perceived as artistic, and yet similarly identifiable to recent neural audio synthesis models, positioning it as a valuable and complementary tool.

Spatial sound reasoning is a fundamental human skill, enabling us to navigate and interpret our surroundings based on sound. In this paper we present BAT, which combines the spatial sound perception ability of a binaural acoustic scene analysis model with the natural language reasoning capabilities of a large language model (LLM) to replicate this innate ability. To address the lack of existing datasets of in-the-wild spatial sounds, we synthesized a binaural audio dataset using AudioSet and SoundSpaces 2.0. Next, we developed SpatialSoundQA, a spatial sound-based question-answering dataset, offering a range of QA tasks that train BAT in various aspects of spatial sound perception and reasoning. The acoustic front end encoder of BAT is a novel spatial audio encoder named Spatial Audio Spectrogram Transformer, or Spatial-AST, which by itself achieves strong performance across sound event detection, spatial localization, and distance estimation. By integrating Spatial-AST with LLaMA-2 7B model, BAT transcends standard Sound Event Localization and Detection (SELD) tasks, enabling the model to reason about the relationships between the sounds in its environment. Our experiments demonstrate BAT's superior performance on both spatial sound perception and reasoning, showcasing the immense potential of LLMs in navigating and interpreting complex spatial audio environments.

An important problem in machine auditory perception is to recognize and detect sound events. In this paper, we propose a sequential self-teaching approach to learning sounds. Our main proposition is that it is harder to learn sounds in adverse situations such as from weakly labeled and/or noisy labeled data, and in these situations a single stage of learning is not sufficient. Our proposal is a sequential stage-wise learning process that improves generalization capabilities of a given modeling system. We justify this method via technical results and on Audioset, the largest sound events dataset, our sequential learning approach can lead to up to 9% improvement in performance. A comprehensive evaluation also shows that the method leads to improved transferability of knowledge from previously trained models, thereby leading to improved generalization capabilities on transfer learning tasks.

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

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 generative models of audio directly generate samples in one of two domains: time or frequency. While sufficient to express any signal, these representations are inefficient, as they do not utilize existing knowledge of how sound is generated and perceived. A third approach (vocoders/synthesizers) successfully incorporates strong domain knowledge of signal processing and perception, but has been less actively researched due to limited expressivity and difficulty integrating with modern auto-differentiation-based machine learning methods. In this paper, we introduce the Differentiable Digital Signal Processing (DDSP) library, which enables direct integration of classic signal processing elements with deep learning methods. Focusing on audio synthesis, we achieve high-fidelity generation without the need for large autoregressive models or adversarial losses, demonstrating that DDSP enables utilizing strong inductive biases without losing the expressive power of neural networks. Further, we show that combining interpretable modules permits manipulation of each separate model component, with applications such as independent control of pitch and loudness, realistic extrapolation to pitches not seen during training, blind dereverberation of room acoustics, transfer of extracted room acoustics to new environments, and transformation of timbre between disparate sources. In short, DDSP enables an interpretable and modular approach to generative modeling, without sacrificing the benefits of deep learning. The library is publicly available at https://github.com/magenta/ddsp and we welcome further contributions from the community and domain experts.

Generating accurate sounds for complex audio-visual scenes is challenging, especially in the presence of multiple objects and sound sources. In this paper, we propose an {\em interactive object-aware audio generation} model that grounds sound generation in user-selected visual objects within images. Our method integrates object-centric learning into a conditional latent diffusion model, which learns to associate image regions with their corresponding sounds through multi-modal attention. At test time, our model employs image segmentation to allow users to interactively generate sounds at the {\em object} level. We theoretically validate that our attention mechanism functionally approximates test-time segmentation masks, ensuring the generated audio aligns with selected objects. Quantitative and qualitative evaluations show that our model outperforms baselines, achieving better alignment between objects and their associated sounds. Project page: https://tinglok.netlify.app/files/avobject/

Humans do not acquire perceptual abilities in the way we train machines. While machine learning algorithms typically operate on large collections of randomly-chosen, explicitly-labeled examples, human acquisition relies more heavily on multimodal unsupervised learning (as infants) and active learning (as children). With this motivation, we present a learning framework for sound representation and recognition that combines (i) a self-supervised objective based on a general notion of unimodal and cross-modal coincidence, (ii) a clustering objective that reflects our need to impose categorical structure on our experiences, and (iii) a cluster-based active learning procedure that solicits targeted weak supervision to consolidate categories into relevant semantic classes. By training a combined sound embedding/clustering/classification network according to these criteria, we achieve a new state-of-the-art unsupervised audio representation and demonstrate up to a 20-fold reduction in the number of labels required to reach a desired classification performance.

To enhance immersive experiences, binaural audio offers spatial awareness of sounding objects in AR, VR, and embodied AI applications. While existing audio spatialization methods can generally map any available monaural audio to binaural audio signals, they often lack the flexible and interactive control needed in complex multi-object user-interactive environments. To address this, we propose a Text-guided Audio Spatialization (TAS) framework that utilizes flexible text prompts and evaluates our model from unified generation and comprehension perspectives. Due to the limited availability of premium and large-scale stereo data, we construct the SpatialTAS dataset, which encompasses 376,000 simulated binaural audio samples to facilitate the training of our model. Our model learns binaural differences guided by 3D spatial location and relative position prompts, augmented by flipped-channel audio. It outperforms existing methods on both simulated and real-recorded datasets, demonstrating superior generalization and accuracy. Besides, we develop an assessment model based on Llama-3.1-8B, which evaluates the spatial semantic coherence between our generated binaural audio and text prompts through a spatial reasoning task. Results demonstrate that text prompts provide flexible and interactive control to generate binaural audio with excellent quality and semantic consistency in spatial locations. Dataset is available at https://github.com/Alice01010101/TASU

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.

We investigate applying audio manipulations using pretrained neural network-based autoencoders as an alternative to traditional signal processing methods, since the former may provide greater semantic or perceptual organization. To establish the potential of this approach, we first establish if representations from these models encode information about manipulations. We carry out experiments and produce visualizations using representations from two different pretrained autoencoders. Our findings indicate that, while some information about audio manipulations is encoded, this information is both limited and encoded in a non-trivial way. This is supported by our attempts to visualize these representations, which demonstrated that trajectories of representations for common manipulations are typically nonlinear and content dependent, even for linear signal manipulations. As a result, it is not yet clear how these pretrained autoencoders can be used to manipulate audio signals, however, our results indicate this may be due to the lack of disentanglement with respect to common audio manipulations.

In this study, we present a simple multi-channel framework for contrastive learning (MC-SimCLR) to encode 'what' and 'where' of spatial audios. MC-SimCLR learns joint spectral and spatial representations from unlabeled spatial audios, thereby enhancing both event classification and sound localization in downstream tasks. At its core, we propose a multi-level data augmentation pipeline that augments different levels of audio features, including waveforms, Mel spectrograms, and generalized cross-correlation (GCC) features. In addition, we introduce simple yet effective channel-wise augmentation methods to randomly swap the order of the microphones and mask Mel and GCC channels. By using these augmentations, we find that linear layers on top of the learned representation significantly outperform supervised models in terms of both event classification accuracy and localization error. We also perform a comprehensive analysis of the effect of each augmentation method and a comparison of the fine-tuning performance using different amounts of labeled data.

Building artificial intelligence (AI) systems on top of a set of foundation models (FMs) is becoming a new paradigm in AI research. Their representative and generative abilities learnt from vast amounts of data can be easily adapted and transferred to a wide range of downstream tasks without extra training from scratch. However, leveraging FMs in cross-modal generation remains under-researched when audio modality is involved. On the other hand, automatically generating semantically-relevant sound from visual input is an important problem in cross-modal generation studies. To solve this vision-to-audio (V2A) generation problem, existing methods tend to design and build complex systems from scratch using modestly sized datasets. In this paper, we propose a lightweight solution to this problem by leveraging foundation models, specifically CLIP, CLAP, and AudioLDM. We first investigate the domain gap between the latent space of the visual CLIP and the auditory CLAP models. Then we propose a simple yet effective mapper mechanism (V2A-Mapper) to bridge the domain gap by translating the visual input between CLIP and CLAP spaces. Conditioned on the translated CLAP embedding, pretrained audio generative FM AudioLDM is adopted to produce high-fidelity and visually-aligned sound. Compared to previous approaches, our method only requires a quick training of the V2A-Mapper. We further analyze and conduct extensive experiments on the choice of the V2A-Mapper and show that a generative mapper is better at fidelity and variability (FD) while a regression mapper is slightly better at relevance (CS). Both objective and subjective evaluation on two V2A datasets demonstrate the superiority of our proposed method compared to current state-of-the-art approaches - trained with 86% fewer parameters but achieving 53% and 19% improvement in FD and CS, respectively.

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.

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.

Learning to localize the sound source in videos without explicit annotations is a novel area of audio-visual research. Existing work in this area focuses on creating attention maps to capture the correlation between the two modalities to localize the source of the sound. In a video, oftentimes, the objects exhibiting movement are the ones generating the sound. In this work, we capture this characteristic by modeling the optical flow in a video as a prior to better aid in localizing the sound source. We further demonstrate that the addition of flow-based attention substantially improves visual sound source localization. Finally, we benchmark our method on standard sound source localization datasets and achieve state-of-the-art performance on the Soundnet Flickr and VGG Sound Source datasets. Code: https://github.com/denfed/heartheflow.

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.

This paper presents an innovative approach to enhance control over audio generation by emphasizing the alignment between audio and text representations during model training. In the context of language model-based audio generation, the model leverages input from both textual and audio token representations to predict subsequent audio tokens. However, the current configuration lacks explicit regularization to ensure the alignment between the chosen text representation and the language model's predictions. Our proposal involves the incorporation of audio and text representation regularization, particularly during the classifier-free guidance (CFG) phase, where the text condition is excluded from cross attention during language model training. The aim of this proposed representation regularization is to minimize discrepancies in audio and text similarity compared to other samples within the same training batch. Experimental results on both music and audio generation tasks demonstrate that our proposed methods lead to improvements in objective metrics for both audio and music generation, as well as an enhancement in the human perception for audio generation.

The thud of a bouncing ball, the onset of speech as lips open -- when visual and audio events occur together, it suggests that there might be a common, underlying event that produced both signals. In this paper, we argue that the visual and audio components of a video signal should be modeled jointly using a fused multisensory representation. We propose to learn such a representation in a self-supervised way, by training a neural network to predict whether video frames and audio are temporally aligned. We use this learned representation for three applications: (a) sound source localization, i.e. visualizing the source of sound in a video; (b) audio-visual action recognition; and (c) on/off-screen audio source separation, e.g. removing the off-screen translator's voice from a foreign official's speech. Code, models, and video results are available on our webpage: http://andrewowens.com/multisensory

This paper presents a novel approach to neural instrument sound synthesis using a two-stage semi-supervised learning framework capable of generating pitch-accurate, high-quality music samples from an expressive timbre latent space. Existing approaches that achieve sufficient quality for music production often rely on high-dimensional latent representations that are difficult to navigate and provide unintuitive user experiences. We address this limitation through a two-stage training paradigm: first, we train a pitch-timbre disentangled 2D representation of audio samples using a Variational Autoencoder; second, we use this representation as conditioning input for a Transformer-based generative model. The learned 2D latent space serves as an intuitive interface for navigating and exploring the sound landscape. We demonstrate that the proposed method effectively learns a disentangled timbre space, enabling expressive and controllable audio generation with reliable pitch conditioning. Experimental results show the model's ability to capture subtle variations in timbre while maintaining a high degree of pitch accuracy. The usability of our method is demonstrated in an interactive web application, highlighting its potential as a step towards future music production environments that are both intuitive and creatively empowering: https://pgesam.faresschulz.com

One of the decisions that arise when designing a neural network for any application is how the data should be represented in order to be presented to, and possibly generated by, a neural network. For audio, the choice is less obvious than it seems to be for visual images, and a variety of representations have been used for different applications including the raw digitized sample stream, hand-crafted features, machine discovered features, MFCCs and variants that include deltas, and a variety of spectral representations. This paper reviews some of these representations and issues that arise, focusing particularly on spectrograms for generating audio using neural networks for style transfer.

Despite significant advancements in neural text-to-audio generation, challenges persist in controllability and evaluation. This paper addresses these issues through the Sound Scene Synthesis challenge held as part of the Detection and Classification of Acoustic Scenes and Events 2024. We present an evaluation protocol combining objective metric, namely Fr\'echet Audio Distance, with perceptual assessments, utilizing a structured prompt format to enable diverse captions and effective evaluation. Our analysis reveals varying performance across sound categories and model architectures, with larger models generally excelling but innovative lightweight approaches also showing promise. The strong correlation between objective metrics and human ratings validates our evaluation approach. We discuss outcomes in terms of audio quality, controllability, and architectural considerations for text-to-audio synthesizers, providing direction for future research.

This report presents the dataset and the evaluation setup of the Sound Event Localization & Detection (SELD) task for the DCASE 2020 Challenge. The SELD task refers to the problem of trying to simultaneously classify a known set of sound event classes, detect their temporal activations, and estimate their spatial directions or locations while they are active. To train and test SELD systems, datasets of diverse sound events occurring under realistic acoustic conditions are needed. Compared to the previous challenge, a significantly more complex dataset was created for DCASE 2020. The two key differences are a more diverse range of acoustical conditions, and dynamic conditions, i.e. moving sources. The spatial sound scenes are created using real room impulse responses captured in a continuous manner with a slowly moving excitation source. Both static and moving sound events are synthesized from them. Ambient noise recorded on location is added to complete the generation of scene recordings. A baseline SELD method accompanies the dataset, based on a convolutional recurrent neural network, to provide benchmark scores for the task. The baseline is an updated version of the one used in the previous challenge, with input features and training modifications to improve its performance.

Footsteps are among the most ubiquitous sound effects in multimedia applications. There is substantial research into understanding the acoustic features and developing synthesis models for footstep sound effects. In this paper, we present a first attempt at adopting neural synthesis for this task. We implemented two GAN-based architectures and compared the results with real recordings as well as six traditional sound synthesis methods. Our architectures reached realism scores as high as recorded samples, showing encouraging results for the task at hand.

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}

A key function of auditory cognition is the association of characteristic sounds with their corresponding semantics over time. Humans attempting to discriminate between fine-grained audio categories, often replay the same discriminative sounds to increase their prediction confidence. We propose an end-to-end attention-based architecture that through selective repetition attends over the most discriminative sounds across the audio sequence. Our model initially uses the full audio sequence and iteratively refines the temporal segments replayed based on slot attention. At each playback, the selected segments are replayed using a smaller hop length which represents higher resolution features within these segments. We show that our method can consistently achieve state-of-the-art performance across three audio-classification benchmarks: AudioSet, VGG-Sound, and EPIC-KITCHENS-100.

The success of supervised deep learning methods is largely due to their ability to learn relevant features from raw data. Deep Neural Networks (DNNs) trained on large-scale datasets are capable of capturing a diverse set of features, and learning a representation that can generalize onto unseen tasks and datasets that are from the same domain. Hence, these models can be used as powerful feature extractors, in combination with shallower models as classifiers, for smaller tasks and datasets where the amount of training data is insufficient for learning an end-to-end model from scratch. During the past years, Convolutional Neural Networks (CNNs) have largely been the method of choice for audio processing. However, recently attention-based transformer models have demonstrated great potential in supervised settings, outperforming CNNs. In this work, we investigate the use of audio transformers trained on large-scale datasets to learn general-purpose representations. We study how the different setups in these audio transformers affect the quality of their embeddings. We experiment with the models' time resolution, extracted embedding level, and receptive fields in order to see how they affect performance on a variety of tasks and datasets, following the HEAR 2021 NeurIPS challenge evaluation setup. Our results show that representations extracted by audio transformers outperform CNN representations. Furthermore, we will show that transformers trained on Audioset can be extremely effective representation extractors for a wide range of downstream 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.

Sound can convey significant information for spatial reasoning in our daily lives. To endow deep networks with such ability, we address the challenge of dense indoor prediction with sound in both 2D and 3D via cross-modal knowledge distillation. In this work, we propose a Spatial Alignment via Matching (SAM) distillation framework that elicits local correspondence between the two modalities in vision-to-audio knowledge transfer. SAM integrates audio features with visually coherent learnable spatial embeddings to resolve inconsistencies in multiple layers of a student model. Our approach does not rely on a specific input representation, allowing for flexibility in the input shapes or dimensions without performance degradation. With a newly curated benchmark named Dense Auditory Prediction of Surroundings (DAPS), we are the first to tackle dense indoor prediction of omnidirectional surroundings in both 2D and 3D with audio observations. Specifically, for audio-based depth estimation, semantic segmentation, and challenging 3D scene reconstruction, the proposed distillation framework consistently achieves state-of-the-art performance across various metrics and backbone architectures.

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 sounds convey a great deal of information about the scenes, resulting in a variety of effects ranging from reverberation to additional ambient sounds. In this paper, we manipulate input speech to sound as though it was recorded within a different scene, given an audio-visual conditional example recorded from that scene. Our model learns through self-supervision, taking advantage of the fact that natural video contains recurring sound events and textures. We extract an audio clip from a video and apply speech enhancement. We then train a latent diffusion model to recover the original speech, using another audio-visual clip taken from elsewhere in the video as a conditional hint. Through this process, the model learns to transfer the conditional example's sound properties to the input speech. We show that our model can be successfully trained using unlabeled, in-the-wild videos, and that an additional visual signal can improve its sound prediction abilities. Please see our project webpage for video results: https://tinglok.netlify.app/files/avsoundscape/

Music foundation models possess impressive music generation capabilities. When people compose music, they may infuse their understanding of music into their work, by using notes and intervals to craft melodies, chords to build progressions, and tempo to create a rhythmic feel. To what extent is this true of music generation models? More specifically, are fundamental Western music theory concepts observable within the "inner workings" of these models? Recent work proposed leveraging latent audio representations from music generation models towards music information retrieval tasks (e.g. genre classification, emotion recognition), which suggests that high-level musical characteristics are encoded within these models. However, probing individual music theory concepts (e.g. tempo, pitch class, chord quality) remains under-explored. Thus, we introduce SynTheory, a synthetic MIDI and audio music theory dataset, consisting of tempos, time signatures, notes, intervals, scales, chords, and chord progressions concepts. We then propose a framework to probe for these music theory concepts in music foundation models (Jukebox and MusicGen) and assess how strongly they encode these concepts within their internal representations. Our findings suggest that music theory concepts are discernible within foundation models and that the degree to which they are detectable varies by model size and layer.

Self supervised representation learning has recently attracted a lot of research interest for both the audio and visual modalities. However, most works typically focus on a particular modality or feature alone and there has been very limited work that studies the interaction between the two modalities for learning self supervised representations. We propose a framework for learning audio representations guided by the visual modality in the context of audiovisual speech. We employ a generative audio-to-video training scheme in which we animate a still image corresponding to a given audio clip and optimize the generated video to be as close as possible to the real video of the speech segment. Through this process, the audio encoder network learns useful speech representations that we evaluate on emotion recognition and speech recognition. We achieve state of the art results for emotion recognition and competitive results for speech recognition. This demonstrates the potential of visual supervision for learning audio representations as a novel way for self-supervised learning which has not been explored in the past. The proposed unsupervised audio features can leverage a virtually unlimited amount of training data of unlabelled audiovisual speech and have a large number of potentially promising applications.

In this paper, we propose the use of spatial and harmonic features in combination with long short term memory (LSTM) recurrent neural network (RNN) for automatic sound event detection (SED) task. Real life sound recordings typically have many overlapping sound events, making it hard to recognize with just mono channel audio. Human listeners have been successfully recognizing the mixture of overlapping sound events using pitch cues and exploiting the stereo (multichannel) audio signal available at their ears to spatially localize these events. Traditionally SED systems have only been using mono channel audio, motivated by the human listener we propose to extend them to use multichannel audio. The proposed SED system is compared against the state of the art mono channel method on the development subset of TUT sound events detection 2016 database. The usage of spatial and harmonic features are shown to improve the performance of SED.

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.

While direction of arrival (DOA) of sound events is generally estimated from multichannel audio data recorded in a microphone array, sound events usually derive from visually perceptible source objects, e.g., sounds of footsteps come from the feet of a walker. This paper proposes an audio-visual sound event localization and detection (SELD) task, which uses multichannel audio and video information to estimate the temporal activation and DOA of target sound events. Audio-visual SELD systems can detect and localize sound events using signals from a microphone array and audio-visual correspondence. We also introduce an audio-visual dataset, Sony-TAu Realistic Spatial Soundscapes 2023 (STARSS23), which consists of multichannel audio data recorded with a microphone array, video data, and spatiotemporal annotation of sound events. Sound scenes in STARSS23 are recorded with instructions, which guide recording participants to ensure adequate activity and occurrences of sound events. STARSS23 also serves human-annotated temporal activation labels and human-confirmed DOA labels, which are based on tracking results of a motion capture system. Our benchmark results demonstrate the benefits of using visual object positions in audio-visual SELD tasks. The data is available at https://zenodo.org/record/7880637.

In this study, we introduce Unified Microphone Conversion, a unified generative framework to enhance the resilience of sound event classification systems against device variability. Building on the limitations of previous works, we condition the generator network with frequency response information to achieve many-to-many device mapping. This approach overcomes the inherent limitation of CycleGAN, requiring separate models for each device pair. Our framework leverages the strengths of CycleGAN for unpaired training to simulate device characteristics in audio recordings and significantly extends its scalability by integrating frequency response related information via Feature-wise Linear Modulation. The experiment results show that our method outperforms the state-of-the-art method by 2.6% and reducing variability by 0.8% in macro-average F1 score.

This paper introduces WaveNet, a deep neural network for generating raw audio waveforms. The model is fully probabilistic and autoregressive, with the predictive distribution for each audio sample conditioned on all previous ones; nonetheless we show that it can be efficiently trained on data with tens of thousands of samples per second of audio. When applied to text-to-speech, it yields state-of-the-art performance, with human listeners rating it as significantly more natural sounding than the best parametric and concatenative systems for both English and Mandarin. A single WaveNet can capture the characteristics of many different speakers with equal fidelity, and can switch between them by conditioning on the speaker identity. When trained to model music, we find that it generates novel and often highly realistic musical fragments. We also show that it can be employed as a discriminative model, returning promising results for phoneme recognition.

Recent advancements in deep learning have led to widespread use of techniques for audio content generation, notably employing Denoising Diffusion Probabilistic Models (DDPM) across various tasks. Among these, Foley Sound Synthesis is of particular interest for its role in applications for the creation of multimedia content. Given the temporal-dependent nature of sound, it is crucial to design generative models that can effectively handle the sequential modeling of audio samples. Selective State Space Models (SSMs) have recently been proposed as a valid alternative to previously proposed techniques, demonstrating competitive performance with lower computational complexity. In this paper, we introduce MambaFoley, a diffusion-based model that, to the best of our knowledge, is the first to leverage the recently proposed SSM known as Mamba for the Foley sound generation task. To evaluate the effectiveness of the proposed method, we compare it with a state-of-the-art Foley sound generative model using both objective and subjective analyses.

We demonstrate that language models pre-trained on codified (discretely-encoded) music audio learn representations that are useful for downstream MIR tasks. Specifically, we explore representations from Jukebox (Dhariwal et al. 2020): a music generation system containing a language model trained on codified audio from 1M songs. To determine if Jukebox's representations contain useful information for MIR, we use them as input features to train shallow models on several MIR tasks. Relative to representations from conventional MIR models which are pre-trained on tagging, we find that using representations from Jukebox as input features yields 30% stronger performance on average across four MIR tasks: tagging, genre classification, emotion recognition, and key detection. For key detection, we observe that representations from Jukebox are considerably stronger than those from models pre-trained on tagging, suggesting that pre-training via codified audio language modeling may address blind spots in conventional approaches. We interpret the strength of Jukebox's representations as evidence that modeling audio instead of tags provides richer representations for MIR.

Sound event localization and detection (SELD) has seen substantial advancements through learning-based methods. These systems, typically trained from scratch on specific datasets, have shown considerable generalization capabilities. Recently, deep neural networks trained on large-scale datasets have achieved remarkable success in the sound event classification (SEC) field, prompting an open question of whether these advancements can be extended to develop general-purpose SELD models. In this paper, leveraging the power of pre-trained SEC models, we propose pre-trained SELD networks (PSELDNets) on large-scale synthetic datasets. These synthetic datasets, generated by convolving sound events with simulated spatial room impulse responses (SRIRs), contain 1,167 hours of audio clips with an ontology of 170 sound classes. These PSELDNets are transferred to downstream SELD tasks. When we adapt PSELDNets to specific scenarios, particularly in low-resource data cases, we introduce a data-efficient fine-tuning method, AdapterBit. PSELDNets are evaluated on a synthetic-test-set using collected SRIRs from TAU Spatial Room Impulse Response Database (TAU-SRIR DB) and achieve satisfactory performance. We also conduct our experiments to validate the transferability of PSELDNets to three publicly available datasets and our own collected audio recordings. Results demonstrate that PSELDNets surpass state-of-the-art systems across all publicly available datasets. Given the need for direction-of-arrival estimation, SELD generally relies on sufficient multi-channel audio clips. However, incorporating the AdapterBit, PSELDNets show more efficient adaptability to various tasks using minimal multi-channel or even just monophonic audio clips, outperforming the traditional fine-tuning approaches.

We present a method for simultaneously localizing multiple sound sources within a visual scene. This task requires a model to both group a sound mixture into individual sources, and to associate them with a visual signal. Our method jointly solves both tasks at once, using a formulation inspired by the contrastive random walk of Jabri et al. We create a graph in which images and separated sounds correspond to nodes, and train a random walker to transition between nodes from different modalities with high return probability. The transition probabilities for this walk are determined by an audio-visual similarity metric that is learned by our model. We show through experiments with musical instruments and human speech that our model can successfully localize multiple sounds, outperforming other self-supervised methods. Project site: https://hxixixh.github.io/mix-and-localize

Machines that can represent and describe environmental soundscapes have practical potential, e.g., for audio tagging and captioning systems. Prevailing learning paradigms have been relying on parallel audio-text data, which is, however, scarcely available on the web. We propose VIP-ANT that induces Audio-Text alignment without using any parallel audio-text data. Our key idea is to share the image modality between bi-modal image-text representations and bi-modal image-audio representations; the image modality functions as a pivot and connects audio and text in a tri-modal embedding space implicitly. In a difficult zero-shot setting with no paired audio-text data, our model demonstrates state-of-the-art zero-shot performance on the ESC50 and US8K audio classification tasks, and even surpasses the supervised state of the art for Clotho caption retrieval (with audio queries) by 2.2\% R@1. We further investigate cases of minimal audio-text supervision, finding that, e.g., just a few hundred supervised audio-text pairs increase the zero-shot audio classification accuracy by 8\% on US8K. However, to match human parity on some zero-shot tasks, our empirical scaling experiments suggest that we would need about 2^{21} approx 2M supervised audio-caption pairs. Our work opens up new avenues for learning audio-text connections with little to no parallel audio-text data.

This paper proposes to use low-level spatial features extracted from multichannel audio for sound event detection. We extend the convolutional recurrent neural network to handle more than one type of these multichannel features by learning from each of them separately in the initial stages. We show that instead of concatenating the features of each channel into a single feature vector the network learns sound events in multichannel audio better when they are presented as separate layers of a volume. Using the proposed spatial features over monaural features on the same network gives an absolute F-score improvement of 6.1% on the publicly available TUT-SED 2016 dataset and 2.7% on the TUT-SED 2009 dataset that is fifteen times larger.

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.

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/.

We introduce AuriStream, a biologically inspired model for encoding speech via a two-stage framework inspired by the human auditory processing hierarchy. The first stage transforms raw audio into a time-frequency representation based on the human cochlea, from which we extract discrete cochlear tokens. The second stage applies an autoregressive sequence model over the cochlear tokens. AuriStream learns meaningful phoneme and word representations, and state-of-the-art lexical semantics. AuriStream shows competitive performance on diverse downstream SUPERB speech tasks. Complementing AuriStream's strong representational capabilities, it generates continuations of audio which can be visualized in a spectrogram space and decoded back into audio, providing insights into the model's predictions. In summary, we present a two-stage framework for speech representation learning to advance the development of more human-like models that efficiently handle a range of speech-based tasks.

This report presents the dataset and baseline of Task 3 of the DCASE2021 Challenge on Sound Event Localization and Detection (SELD). The dataset is based on emulation of real recordings of static or moving sound events under real conditions of reverberation and ambient noise, using spatial room impulse responses captured in a variety of rooms and delivered in two spatial formats. The acoustical synthesis remains the same as in the previous iteration of the challenge, however the new dataset brings more challenging conditions of polyphony and overlapping instances of the same class. The most important difference of the new dataset is the introduction of directional interferers, meaning sound events that are localized in space but do not belong to the target classes to be detected and are not annotated. Since such interfering events are expected in every real-world scenario of SELD, the new dataset aims to promote systems that deal with this condition effectively. A modified SELDnet baseline employing the recent ACCDOA representation of SELD problems accompanies the dataset and it is shown to outperform the previous one. The new dataset is shown to be significantly more challenging for both baselines according to all considered metrics. To investigate the individual and combined effects of ambient noise, interferers, and reverberation, we study the performance of the baseline on different versions of the dataset excluding or including combinations of these factors. The results indicate that by far the most detrimental effects are caused by directional interferers.

Recent audio-visual generative models have made substantial progress in generating images from audio. However, existing approaches focus on generating images from single-class audio and fail to generate images from mixed audio. To address this, we propose an Audio-Visual Generation and Separation model (AV-GAS) for generating images from soundscapes (mixed audio containing multiple classes). Our contribution is threefold: First, we propose a new challenge in the audio-visual generation task, which is to generate an image given a multi-class audio input, and we propose a method that solves this task using an audio-visual separator. Second, we introduce a new audio-visual separation task, which involves generating separate images for each class present in a mixed audio input. Lastly, we propose new evaluation metrics for the audio-visual generation task: Class Representation Score (CRS) and a modified R@K. Our model is trained and evaluated on the VGGSound dataset. We show that our method outperforms the state-of-the-art, achieving 7% higher CRS and 4% higher R@2* in generating plausible images with mixed audio.

Despite progress in video-to-audio generation, the field focuses predominantly on mono output, lacking spatial immersion. Existing binaural approaches remain constrained by a two-stage pipeline that first generates mono audio and then performs spatialization, often resulting in error accumulation and spatio-temporal inconsistencies. To address this limitation, we introduce the task of end-to-end binaural spatial audio generation directly from silent video. To support this task, we present the BiAudio dataset, comprising approximately 97K video-binaural audio pairs spanning diverse real-world scenes and camera rotation trajectories, constructed through a semi-automated pipeline. Furthermore, we propose ViSAudio, an end-to-end framework that employs conditional flow matching with a dual-branch audio generation architecture, where two dedicated branches model the audio latent flows. Integrated with a conditional spacetime module, it balances consistency between channels while preserving distinctive spatial characteristics, ensuring precise spatio-temporal alignment between audio and the input video. Comprehensive experiments demonstrate that ViSAudio outperforms existing state-of-the-art methods across both objective metrics and subjective evaluations, generating high-quality binaural audio with spatial immersion that adapts effectively to viewpoint changes, sound-source motion, and diverse acoustic environments. Project website: https://kszpxxzmc.github.io/ViSAudio-project.

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.

Generative models have shown remarkable performance in speech enhancement (SE), achieving superior perceptual quality over traditional discriminative approaches. However, existing generative SE approaches often overlook the risk of hallucination under severe noise, leading to incorrect spoken content or inconsistent speaker characteristics, which we term linguistic and acoustic hallucinations, respectively. We argue that linguistic hallucination stems from models' failure to constrain valid phonological structures and it is a more fundamental challenge. While language models (LMs) are well-suited for capturing the underlying speech structure through modeling the distribution of discrete tokens, existing approaches are limited in learning from noise-corrupted representations, which can lead to contaminated priors and hallucinations. To overcome these limitations, we propose the Phonologically Anchored Speech Enhancer (PASE), a generative SE framework that leverages the robust phonological prior embedded in the pre-trained WavLM model to mitigate hallucinations. First, we adapt WavLM into a denoising expert via representation distillation to clean its final-layer features. Guided by the model's intrinsic phonological prior, this process enables robust denoising while minimizing linguistic hallucinations. To further reduce acoustic hallucinations, we train the vocoder with a dual-stream representation: the high-level phonetic representation provides clean linguistic content, while a low-level acoustic representation retains speaker identity and prosody. Experimental results demonstrate that PASE not only surpasses state-of-the-art discriminative models in perceptual quality, but also significantly outperforms prior generative models with substantially lower linguistic and acoustic hallucinations.

Applications of deep learning for audio effects often focus on modeling analog effects or learning to control effects to emulate a trained audio engineer. However, deep learning approaches also have the potential to expand creativity through neural audio effects that enable new sound transformations. While recent work demonstrated that neural networks with random weights produce compelling audio effects, control of these effects is limited and unintuitive. To address this, we introduce a method for the steerable discovery of neural audio effects. This method enables the design of effects using example recordings provided by the user. We demonstrate how this method produces an effect similar to the target effect, along with interesting inaccuracies, while also providing perceptually relevant controls.

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.

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.

In crowded settings, the human brain can focus on speech from a target speaker, given prior knowledge of how they sound. We introduce a novel intelligent hearable system that achieves this capability, enabling target speech hearing to ignore all interfering speech and noise, but the target speaker. A naive approach is to require a clean speech example to enroll the target speaker. This is however not well aligned with the hearable application domain since obtaining a clean example is challenging in real world scenarios, creating a unique user interface problem. We present the first enrollment interface where the wearer looks at the target speaker for a few seconds to capture a single, short, highly noisy, binaural example of the target speaker. This noisy example is used for enrollment and subsequent speech extraction in the presence of interfering speakers and noise. Our system achieves a signal quality improvement of 7.01 dB using less than 5 seconds of noisy enrollment audio and can process 8 ms of audio chunks in 6.24 ms on an embedded CPU. Our user studies demonstrate generalization to real-world static and mobile speakers in previously unseen indoor and outdoor multipath environments. Finally, our enrollment interface for noisy examples does not cause performance degradation compared to clean examples, while being convenient and user-friendly. Taking a step back, this paper takes an important step towards enhancing the human auditory perception with artificial intelligence. We provide code and data at: https://github.com/vb000/LookOnceToHear.

We create a reusable Transformer, BrainBERT, for intracranial recordings bringing modern representation learning approaches to neuroscience. Much like in NLP and speech recognition, this Transformer enables classifying complex concepts, i.e., decoding neural data, with higher accuracy and with much less data by being pretrained in an unsupervised manner on a large corpus of unannotated neural recordings. Our approach generalizes to new subjects with electrodes in new positions and to unrelated tasks showing that the representations robustly disentangle the neural signal. Just like in NLP where one can study language by investigating what a language model learns, this approach opens the door to investigating the brain by what a model of the brain learns. As a first step along this path, we demonstrate a new analysis of the intrinsic dimensionality of the computations in different areas of the brain. To construct these representations, we combine a technique for producing super-resolution spectrograms of neural data with an approach designed for generating contextual representations of audio by masking. In the future, far more concepts will be decodable from neural recordings by using representation learning, potentially unlocking the brain like language models unlocked language.

Text-to-speech (TTS) methods have shown promising results in voice cloning, but they require a large number of labeled text-speech pairs. Minimally-supervised speech synthesis decouples TTS by combining two types of discrete speech representations(semantic \& acoustic) and using two sequence-to-sequence tasks to enable training with minimal supervision. However, existing methods suffer from information redundancy and dimension explosion in semantic representation, and high-frequency waveform distortion in discrete acoustic representation. Autoregressive frameworks exhibit typical instability and uncontrollability issues. And non-autoregressive frameworks suffer from prosodic averaging caused by duration prediction models. To address these issues, we propose a minimally-supervised high-fidelity speech synthesis method, where all modules are constructed based on the diffusion models. The non-autoregressive framework enhances controllability, and the duration diffusion model enables diversified prosodic expression. Contrastive Token-Acoustic Pretraining (CTAP) is used as an intermediate semantic representation to solve the problems of information redundancy and dimension explosion in existing semantic coding methods. Mel-spectrogram is used as the acoustic representation. Both semantic and acoustic representations are predicted by continuous variable regression tasks to solve the problem of high-frequency fine-grained waveform distortion. Experimental results show that our proposed method outperforms the baseline method. We provide audio samples on our website.

Time-frequency (TF) representations provide powerful and intuitive features for the analysis of time series such as audio. But still, generative modeling of audio in the TF domain is a subtle matter. Consequently, neural audio synthesis widely relies on directly modeling the waveform and previous attempts at unconditionally synthesizing audio from neurally generated invertible TF features still struggle to produce audio at satisfying quality. In this article, focusing on the short-time Fourier transform, we discuss the challenges that arise in audio synthesis based on generated invertible TF features and how to overcome them. We demonstrate the potential of deliberate generative TF modeling by training a generative adversarial network (GAN) on short-time Fourier features. We show that by applying our guidelines, our TF-based network was able to outperform a state-of-the-art GAN generating waveforms directly, despite the similar architecture in the two networks.

Sound designers and Foley artists usually sonorize a scene, such as from a movie or video game, by manually annotating and sonorizing each action of interest in the video. In our case, the intent is to leave full creative control to sound designers with a tool that allows them to bypass the more repetitive parts of their work, thus being able to focus on the creative aspects of sound production. We achieve this presenting Stable-V2A, a two-stage model consisting of: an RMS-Mapper that estimates an envelope representative of the audio characteristics associated with the input video; and Stable-Foley, a diffusion model based on Stable Audio Open that generates audio semantically and temporally aligned with the target video. Temporal alignment is guaranteed by the use of the envelope as a ControlNet input, while semantic alignment is achieved through the use of sound representations chosen by the designer as cross-attention conditioning of the diffusion process. We train and test our model on Greatest Hits, a dataset commonly used to evaluate V2A models. In addition, to test our model on a case study of interest, we introduce Walking The Maps, a dataset of videos extracted from video games depicting animated characters walking in different locations. Samples and code available on our demo page at https://ispamm.github.io/Stable-V2A.

Humans rely on multisensory integration to perceive spatial environments, where auditory cues enable sound source localization in three-dimensional space. Despite the critical role of spatial audio in immersive technologies such as VR/AR, most existing multimodal datasets provide only monaural audio, which limits the development of spatial audio generation and understanding. To address these challenges, we introduce MRSAudio, a large-scale multimodal spatial audio dataset designed to advance research in spatial audio understanding and generation. MRSAudio spans four distinct components: MRSLife, MRSSpeech, MRSMusic, and MRSSing, covering diverse real-world scenarios. The dataset includes synchronized binaural and ambisonic audio, exocentric and egocentric video, motion trajectories, and fine-grained annotations such as transcripts, phoneme boundaries, lyrics, scores, and prompts. To demonstrate the utility and versatility of MRSAudio, we establish five foundational tasks: audio spatialization, and spatial text to speech, spatial singing voice synthesis, spatial music generation and sound event localization and detection. Results show that MRSAudio enables high-quality spatial modeling and supports a broad range of spatial audio research. Demos and dataset access are available at https://mrsaudio.github.io.

Realistic audio synthesis that captures accurate acoustic phenomena is essential for creating immersive experiences in virtual and augmented reality. Synthesizing the sound received at any position relies on the estimation of impulse response (IR), which characterizes how sound propagates in one scene along different paths before arriving at the listener's position. In this paper, we present Acoustic Volume Rendering (AVR), a novel approach that adapts volume rendering techniques to model acoustic impulse responses. While volume rendering has been successful in modeling radiance fields for images and neural scene representations, IRs present unique challenges as time-series signals. To address these challenges, we introduce frequency-domain volume rendering and use spherical integration to fit the IR measurements. Our method constructs an impulse response field that inherently encodes wave propagation principles and achieves state-of-the-art performance in synthesizing impulse responses for novel poses. Experiments show that AVR surpasses current leading methods by a substantial margin. Additionally, we develop an acoustic simulation platform, AcoustiX, which provides more accurate and realistic IR simulations than existing simulators. Code for AVR and AcoustiX are available at https://zitonglan.github.io/avr.

What audio embedding approach generalizes best to a wide range of downstream tasks across a variety of everyday domains without fine-tuning? The aim of the HEAR benchmark is to develop a general-purpose audio representation that provides a strong basis for learning in a wide variety of tasks and scenarios. HEAR evaluates audio representations using a benchmark suite across a variety of domains, including speech, environmental sound, and music. HEAR was launched as a NeurIPS 2021 shared challenge. In the spirit of shared exchange, each participant submitted an audio embedding model following a common API that is general-purpose, open-source, and freely available to use. Twenty-nine models by thirteen external teams were evaluated on nineteen diverse downstream tasks derived from sixteen datasets. Open evaluation code, submitted models and datasets are key contributions, enabling comprehensive and reproducible evaluation, as well as previously impossible longitudinal studies. It still remains an open question whether one single general-purpose audio representation can perform as holistically as the human ear.

Music two-tower multimodal systems integrate audio and text modalities into a joint audio-text space, enabling direct comparison between songs and their corresponding labels. These systems enable new approaches for classification and retrieval, leveraging both modalities. Despite the promising results they have shown for zero-shot classification and retrieval tasks, closer inspection of the embeddings is needed. This paper evaluates the inherent zero-shot properties of joint audio-text spaces for the case-study of instrument recognition. We present an evaluation and analysis of two-tower systems for zero-shot instrument recognition and a detailed analysis of the properties of the pre-joint and joint embeddings spaces. Our findings suggest that audio encoders alone demonstrate good quality, while challenges remain within the text encoder or joint space projection. Specifically, two-tower systems exhibit sensitivity towards specific words, favoring generic prompts over musically informed ones. Despite the large size of textual encoders, they do not yet leverage additional textual context or infer instruments accurately from their descriptions. Lastly, a novel approach for quantifying the semantic meaningfulness of the textual space leveraging an instrument ontology is proposed. This method reveals deficiencies in the systems' understanding of instruments and provides evidence of the need for fine-tuning text encoders on musical data.

Interactions with virtual assistants typically start with a trigger phrase followed by a command. In this work, we explore the possibility of making these interactions more natural by eliminating the need for a trigger phrase. Our goal is to determine whether a user addressed the virtual assistant based on signals obtained from the streaming audio recorded by the device microphone. We address this task by combining 1-best hypotheses and decoder signals from an automatic speech recognition system with acoustic representations from an audio encoder as input features to a large language model (LLM). In particular, we are interested in data and resource efficient systems that require only a small amount of training data and can operate in scenarios with only a single frozen LLM available on a device. For this reason, our model is trained on 80k or less examples of multimodal data using a combination of low-rank adaptation and prefix tuning. We compare the proposed system to unimodal baselines and show that the multimodal approach achieves lower equal-error-rates (EERs), while using only a fraction of the training data. We also show that low-dimensional specialized audio representations lead to lower EERs than high-dimensional general audio representations.

Recent works of music representation learning mainly focus on learning acoustic music representations with unlabeled audios or further attempt to acquire multi-modal music representations with scarce annotated audio-text pairs. They either ignore the language semantics or rely on labeled audio datasets that are difficult and expensive to create. Moreover, merely modeling semantic space usually fails to achieve satisfactory performance on music recommendation tasks since the user preference space is ignored. In this paper, we propose a novel Hierarchical Two-stage Contrastive Learning (HTCL) method that models similarity from the semantic perspective to the user perspective hierarchically to learn a comprehensive music representation bridging the gap between semantic and user preference spaces. We devise a scalable audio encoder and leverage a pre-trained BERT model as the text encoder to learn audio-text semantics via large-scale contrastive pre-training. Further, we explore a simple yet effective way to exploit interaction data from our online music platform to adapt the semantic space to user preference space via contrastive fine-tuning, which differs from previous works that follow the idea of collaborative filtering. As a result, we obtain a powerful audio encoder that not only distills language semantics from the text encoder but also models similarity in user preference space with the integrity of semantic space preserved. Experimental results on both music semantic and recommendation tasks confirm the effectiveness of our method.

In recent years, foundation models (FMs) such as large language models (LLMs) and latent diffusion models (LDMs) have profoundly impacted diverse sectors, including music. This comprehensive review examines state-of-the-art (SOTA) pre-trained models and foundation models in music, spanning from representation learning, generative learning and multimodal learning. We first contextualise the significance of music in various industries and trace the evolution of AI in music. By delineating the modalities targeted by foundation models, we discover many of the music representations are underexplored in FM development. Then, emphasis is placed on the lack of versatility of previous methods on diverse music applications, along with the potential of FMs in music understanding, generation and medical application. By comprehensively exploring the details of the model pre-training paradigm, architectural choices, tokenisation, finetuning methodologies and controllability, we emphasise the important topics that should have been well explored, like instruction tuning and in-context learning, scaling law and emergent ability, as well as long-sequence modelling etc. A dedicated section presents insights into music agents, accompanied by a thorough analysis of datasets and evaluations essential for pre-training and downstream tasks. Finally, by underscoring the vital importance of ethical considerations, we advocate that following research on FM for music should focus more on such issues as interpretability, transparency, human responsibility, and copyright issues. The paper offers insights into future challenges and trends on FMs for music, aiming to shape the trajectory of human-AI collaboration in the music realm.

Novel view acoustic synthesis (NVAS) aims to render binaural audio at any target viewpoint, given a mono audio emitted by a sound source at a 3D scene. Existing methods have proposed NeRF-based implicit models to exploit visual cues as a condition for synthesizing binaural audio. However, in addition to low efficiency originating from heavy NeRF rendering, these methods all have a limited ability of characterizing the entire scene environment such as room geometry, material properties, and the spatial relation between the listener and sound source. To address these issues, we propose a novel Audio-Visual Gaussian Splatting (AV-GS) model. To obtain a material-aware and geometry-aware condition for audio synthesis, we learn an explicit point-based scene representation with an audio-guidance parameter on locally initialized Gaussian points, taking into account the space relation from the listener and sound source. To make the visual scene model audio adaptive, we propose a point densification and pruning strategy to optimally distribute the Gaussian points, with the per-point contribution in sound propagation (e.g., more points needed for texture-less wall surfaces as they affect sound path diversion). Extensive experiments validate the superiority of our AV-GS over existing alternatives on the real-world RWAS and simulation-based SoundSpaces datasets.

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.

Audio-Language Models (ALMs), which are trained on audio-text data, focus on the processing, understanding, and reasoning of sounds. Unlike traditional supervised learning approaches learning from predefined labels, ALMs utilize natural language as a supervision signal, which is more suitable for describing complex real-world audio recordings. ALMs demonstrate strong zero-shot capabilities and can be flexibly adapted to diverse downstream tasks. These strengths not only enhance the accuracy and generalization of audio processing tasks but also promote the development of models that more closely resemble human auditory perception and comprehension. Recent advances in ALMs have positioned them at the forefront of computer audition research, inspiring a surge of efforts to advance ALM technologies. Despite rapid progress in the field of ALMs, there is still a notable lack of systematic surveys that comprehensively organize and analyze developments. In this paper, we present a comprehensive review of ALMs with a focus on general audio tasks, aiming to fill this gap by providing a structured and holistic overview of ALMs. Specifically, we cover: (1) the background of computer audition and audio-language models; (2) the foundational aspects of ALMs, including prevalent network architectures, training objectives, and evaluation methods; (3) foundational pre-training and audio-language pre-training approaches; (4) task-specific fine-tuning, multi-task tuning and agent systems for downstream applications; (5) datasets and benchmarks; and (6) current challenges and future directions. Our review provides a clear technical roadmap for researchers to understand the development and future trends of existing technologies, offering valuable references for implementation in real-world scenarios.

Learning acoustic models directly from the raw waveform data with minimal processing is challenging. Current waveform-based models have generally used very few (~2) convolutional layers, which might be insufficient for building high-level discriminative features. In this work, we propose very deep convolutional neural networks (CNNs) that directly use time-domain waveforms as inputs. Our CNNs, with up to 34 weight layers, are efficient to optimize over very long sequences (e.g., vector of size 32000), necessary for processing acoustic waveforms. This is achieved through batch normalization, residual learning, and a careful design of down-sampling in the initial layers. Our networks are fully convolutional, without the use of fully connected layers and dropout, to maximize representation learning. We use a large receptive field in the first convolutional layer to mimic bandpass filters, but very small receptive fields subsequently to control the model capacity. We demonstrate the performance gains with the deeper models. Our evaluation shows that the CNN with 18 weight layers outperform the CNN with 3 weight layers by over 15% in absolute accuracy for an environmental sound recognition task and matches the performance of models using log-mel features.

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

Understanding the internal mechanisms of large audio-language models (LALMs) is crucial for interpreting their behavior and improving performance. This work presents the first in-depth analysis of how LALMs internally perceive and recognize auditory attributes. By applying vocabulary projection on three state-of-the-art LALMs, we track how attribute information evolves across layers and token positions. We find that attribute information generally decreases with layer depth when recognition fails, and that resolving attributes at earlier layers correlates with better accuracy. Moreover, LALMs heavily rely on querying auditory inputs for predicting attributes instead of aggregating necessary information in hidden states at attribute-mentioning positions. Based on our findings, we demonstrate a method to enhance LALMs. Our results offer insights into auditory attribute processing, paving the way for future improvements.

Deep generative models applied to audio have improved by a large margin the state-of-the-art in many speech and music related tasks. However, as raw waveform modelling remains an inherently difficult task, audio generative models are either computationally intensive, rely on low sampling rates, are complicated to control or restrict the nature of possible signals. Among those models, Variational AutoEncoders (VAE) give control over the generation by exposing latent variables, although they usually suffer from low synthesis quality. In this paper, we introduce a Realtime Audio Variational autoEncoder (RAVE) allowing both fast and high-quality audio waveform synthesis. We introduce a novel two-stage training procedure, namely representation learning and adversarial fine-tuning. We show that using a post-training analysis of the latent space allows a direct control between the reconstruction fidelity and the representation compactness. By leveraging a multi-band decomposition of the raw waveform, we show that our model is the first able to generate 48kHz audio signals, while simultaneously running 20 times faster than real-time on a standard laptop CPU. We evaluate synthesis quality using both quantitative and qualitative subjective experiments and show the superiority of our approach compared to existing models. Finally, we present applications of our model for timbre transfer and signal compression. All of our source code and audio examples are publicly available.

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.

Generative models in vision have seen rapid progress due to algorithmic improvements and the availability of high-quality image datasets. In this paper, we offer contributions in both these areas to enable similar progress in audio modeling. First, we detail a powerful new WaveNet-style autoencoder model that conditions an autoregressive decoder on temporal codes learned from the raw audio waveform. Second, we introduce NSynth, a large-scale and high-quality dataset of musical notes that is an order of magnitude larger than comparable public datasets. Using NSynth, we demonstrate improved qualitative and quantitative performance of the WaveNet autoencoder over a well-tuned spectral autoencoder baseline. Finally, we show that the model learns a manifold of embeddings that allows for morphing between instruments, meaningfully interpolating in timbre to create new types of sounds that are realistic and expressive.

The sound effects that designers add to videos are designed to convey a particular artistic effect and, thus, may be quite different from a scene's true sound. Inspired by the challenges of creating a soundtrack for a video that differs from its true sound, but that nonetheless matches the actions occurring on screen, we propose the problem of conditional Foley. We present the following contributions to address this problem. First, we propose a pretext task for training our model to predict sound for an input video clip using a conditional audio-visual clip sampled from another time within the same source video. Second, we propose a model for generating a soundtrack for a silent input video, given a user-supplied example that specifies what the video should "sound like". We show through human studies and automated evaluation metrics that our model successfully generates sound from video, while varying its output according to the content of a supplied example. Project site: https://xypb.github.io/CondFoleyGen/

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}

Large language models (LLMs) prompted with text and audio represent the state of the art in various auditory tasks, including speech, music, and general audio, showing emergent abilities on unseen tasks. However, these capabilities have yet to be fully demonstrated in bioacoustics tasks, such as detecting animal vocalizations in large recordings, classifying rare and endangered species, and labeling context and behavior - tasks that are crucial for conservation, biodiversity monitoring, and the study of animal behavior. In this work, we present NatureLM-audio, the first audio-language foundation model specifically designed for bioacoustics. Our carefully curated training dataset comprises text-audio pairs spanning a diverse range of bioacoustics, speech, and music data, designed to address the challenges posed by limited annotated datasets in the field. We demonstrate successful transfer of learned representations from music and speech to bioacoustics, and our model shows promising generalization to unseen taxa and tasks. Importantly, we test NatureLM-audio on a novel benchmark (BEANS-Zero) and it sets the new state of the art (SotA) on several bioacoustics tasks, including zero-shot classification of unseen species. To advance bioacoustics research, we also open-source the code for generating training and benchmark data, as well as for training the model.

The selection of maskers and playback gain levels in a soundscape augmentation system is crucial to its effectiveness in improving the overall acoustic comfort of a given environment. Traditionally, the selection of appropriate maskers and gain levels has been informed by expert opinion, which may not representative of the target population, or by listening tests, which can be time-consuming and labour-intensive. Furthermore, the resulting static choices of masker and gain are often inflexible to the dynamic nature of real-world soundscapes. In this work, we utilized a deep learning model to perform joint selection of the optimal masker and its gain level for a given soundscape. The proposed model was designed with highly modular building blocks, allowing for an optimized inference process that can quickly search through a large number of masker and gain combinations. In addition, we introduced the use of feature-domain soundscape augmentation conditioned on the digital gain level, eliminating the computationally expensive waveform-domain mixing process during inference time, as well as the tedious pre-calibration process required for new maskers. The proposed system was validated on a large-scale dataset of subjective responses to augmented soundscapes with more than 440 participants, ensuring the ability of the model to predict combined effect of the masker and its gain level on the perceptual pleasantness level.

The ability of artificial intelligence (AI) systems to perceive and comprehend audio signals is crucial for many applications. Although significant progress has been made in this area since the development of AudioSet, most existing models are designed to map audio inputs to pre-defined, discrete sound label sets. In contrast, humans possess the ability to not only classify sounds into coarse-grained categories, but also to listen to the details of the sounds, explain the reason for the predictions, think what the sound infers, and understand the scene and what action needs to be taken. Such capabilities beyond perception are not yet present in existing audio models. On the other hand, modern large language models (LLMs) exhibit emerging reasoning ability but they lack audio perception capabilities. Therefore, we ask the question: can we build an AI model that has both audio perception and a reasoning ability? In this paper, we propose a novel audio foundation model, called LTU (Listen, Think, and Understand). To train LTU, we created a new OpenAQA-5M dataset consisting of 1.9 million closed-ended and 3.7 million open-ended, diverse (audio, question, answer) tuples, and used an autoregressive training framework and a perception-to-understanding curriculum. LTU demonstrates strong performance and generalization ability on conventional audio tasks such as classification and captioning. Moreover, it exhibits remarkable reasoning and comprehension abilities in the audio domain. To the best of our knowledge, LTU is the first audio-enabled large language model that bridges audio perception with advanced reasoning.

Contrastive language-audio pre-training (CLAP) enables zero-shot (ZS) inference of audio and exhibits promising performance in several classification tasks. However, conventional audio representations are still crucial for many tasks where ZS is not applicable (e.g., regression problems). Here, we explore a new representation, a general-purpose audio-language representation, that performs well in both ZS and transfer learning. To do so, we propose a new method, M2D-CLAP, which combines self-supervised learning Masked Modeling Duo (M2D) and CLAP. M2D learns an effective representation to model audio signals, and CLAP aligns the representation with text embedding. As a result, M2D-CLAP learns a versatile representation that allows for both ZS and transfer learning. Experiments show that M2D-CLAP performs well on linear evaluation, fine-tuning, and ZS classification with a GTZAN state-of-the-art of 75.17%, thus achieving a general-purpose audio-language representation.

Unsupervised speech representation learning has shown remarkable success at finding representations that correlate with phonetic structures and improve downstream speech recognition performance. However, most research has been focused on evaluating the representations in terms of their ability to improve the performance of speech recognition systems on read English (e.g. Wall Street Journal and LibriSpeech). This evaluation methodology overlooks two important desiderata that speech representations should have: robustness to domain shifts and transferability to other languages. In this paper we learn representations from up to 8000 hours of diverse and noisy speech data and evaluate the representations by looking at their robustness to domain shifts and their ability to improve recognition performance in many languages. We find that our representations confer significant robustness advantages to the resulting recognition systems: we see significant improvements in out-of-domain transfer relative to baseline feature sets and the features likewise provide improvements in 25 phonetically diverse languages including tonal languages and low-resource languages.

Existing approaches for generating multitrack music with transformer models have been limited in terms of the number of instruments, the length of the music segments and slow inference. This is partly due to the memory requirements of the lengthy input sequences necessitated by existing representations. In this work, we propose a new multitrack music representation that allows a diverse set of instruments while keeping a short sequence length. Our proposed Multitrack Music Transformer (MMT) achieves comparable performance with state-of-the-art systems, landing in between two recently proposed models in a subjective listening test, while achieving substantial speedups and memory reductions over both, making the method attractive for real time improvisation or near real time creative applications. Further, we propose a new measure for analyzing musical self-attention and show that the trained model attends more to notes that form a consonant interval with the current note and to notes that are 4N beats away from the current step.

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.

Lifelong audio feature extraction involves learning new sound classes incrementally, which is essential for adapting to new data distributions over time. However, optimizing the model only on new data can lead to catastrophic forgetting of previously learned tasks, which undermines the model's ability to perform well over the long term. This paper introduces a new approach to continual audio representation learning called DeCoR. Unlike other methods that store previous data, features, or models, DeCoR indirectly distills knowledge from an earlier model to the latest by predicting quantization indices from a delayed codebook. We demonstrate that DeCoR improves acoustic scene classification accuracy and integrates well with continual self-supervised representation learning. Our approach introduces minimal storage and computation overhead, making it a lightweight and efficient solution for continual learning.

Binaural rendering aims to synthesize binaural audio that mimics natural hearing based on a mono audio and the locations of the speaker and listener. Although many methods have been proposed to solve this problem, they struggle with rendering quality and streamable inference. Synthesizing high-quality binaural audio that is indistinguishable from real-world recordings requires precise modeling of binaural cues, room reverb, and ambient sounds. Additionally, real-world applications demand streaming inference. To address these challenges, we propose a flow matching based streaming binaural speech synthesis framework called BinauralFlow. We consider binaural rendering to be a generation problem rather than a regression problem and design a conditional flow matching model to render high-quality audio. Moreover, we design a causal U-Net architecture that estimates the current audio frame solely based on past information to tailor generative models for streaming inference. Finally, we introduce a continuous inference pipeline incorporating streaming STFT/ISTFT operations, a buffer bank, a midpoint solver, and an early skip schedule to improve rendering continuity and speed. Quantitative and qualitative evaluations demonstrate the superiority of our method over SOTA approaches. A perceptual study further reveals that our model is nearly indistinguishable from real-world recordings, with a 42% confusion rate.

Audio-driven video generation aims to synthesize realistic videos that align with input audio recordings, akin to the human ability to visualize scenes from auditory input. However, existing approaches predominantly focus on exploring semantic information, such as the classes of sounding sources present in the audio, limiting their ability to generate videos with accurate content and spatial composition. In contrast, we humans can not only naturally identify the semantic categories of sounding sources but also determine their deeply encoded spatial attributes, including locations and movement directions. This useful information can be elucidated by considering specific spatial indicators derived from the inherent physical properties of sound, such as loudness or frequency. As prior methods largely ignore this factor, we present SpA2V, the first framework explicitly exploits these spatial auditory cues from audios to generate videos with high semantic and spatial correspondence. SpA2V decomposes the generation process into two stages: 1) Audio-guided Video Planning: We meticulously adapt a state-of-the-art MLLM for a novel task of harnessing spatial and semantic cues from input audio to construct Video Scene Layouts (VSLs). This serves as an intermediate representation to bridge the gap between the audio and video modalities. 2) Layout-grounded Video Generation: We develop an efficient and effective approach to seamlessly integrate VSLs as conditional guidance into pre-trained diffusion models, enabling VSL-grounded video generation in a training-free manner. Extensive experiments demonstrate that SpA2V excels in generating realistic videos with semantic and spatial alignment to the input audios.

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.