Daily Papers

Recent dense audio-visual (AV) models achieve impressive retrieval and emergent localization, but almost all evidence comes from English-centric, caption-rich web video. It is unclear whether these objectives survive in low-resource, code-switched, and noisy multilingual settings that typify developing regions. We show they do**-**and that the choice of aggregation function becomes even more critical. Using a multilingual subset of Project Vaani spanning dozens of Indian languages and dialectal variants, we compare three contrastive objectives: (i) a global mean-pooled loss (CLIP-style), (ii) a dense max-mean token matcher (DenseAV-style), and (iii) a simple hybrid (motivated by frozen-vision alignment strategies). The dense objective delivers a +59% relative R@1 (Audio Visual) improvement over global pooling and substantially lower mean/median ranks, while consistently producing sharp zero-shot localization heatmaps of spoken objects-despite keeping the vision backbone entirely frozen (no LoRA / partial fine-tuning). Our results demonstrate that dense token routing is not a luxury of high-resource English corpora; it is more decisive when annotations and acoustic cleanliness are scarce. We release the codebase and trained models.

Recent Omni-multimodal Large Language Models show promise in unified audio, vision, and text modeling. However, streaming audio-video understanding remains challenging, as existing approaches suffer from disjointed capabilities: they typically exhibit incomplete modality support or lack autonomous proactive monitoring. To address this, we present ROMA, a real-time omni-multimodal assistant for unified reactive and proactive interaction. ROMA processes continuous inputs as synchronized multimodal units, aligning dense audio with discrete video frames to handle granularity mismatches. For online decision-making, we introduce a lightweight speak head that decouples response initiation from generation to ensure precise triggering without task conflict. We train ROMA with a curated streaming dataset and a two-stage curriculum that progressively optimizes for streaming format adaptation and proactive responsiveness. To standardize the fragmented evaluation landscape, we reorganize diverse benchmarks into a unified suite covering both proactive (alert, narration) and reactive (QA) settings. Extensive experiments across 12 benchmarks demonstrate ROMA achieves state-of-the-art performance on proactive tasks while competitive in reactive settings, validating its robustness in unified real-time omni-multimodal understanding.

Traditionally, bioacoustics has relied on spectrograms and continuous, per-frame audio representations for the analysis of animal sounds, also serving as input to machine learning models. Meanwhile, the International Phonetic Alphabet (IPA) system has provided an interpretable, language-independent method for transcribing human speech sounds. In this paper, we introduce ISPA (Inter-Species Phonetic Alphabet), a precise, concise, and interpretable system designed for transcribing animal sounds into text. We compare acoustics-based and feature-based methods for transcribing and classifying animal sounds, demonstrating their comparable performance with baseline methods utilizing continuous, dense audio representations. By representing animal sounds with text, we effectively treat them as a "foreign language," and we show that established human language ML paradigms and models, such as language models, can be successfully applied to improve performance.

Audio-driven one-shot talking face generation methods are usually trained on video resources of various persons. However, their created videos often suffer unnatural mouth shapes and asynchronous lips because those methods struggle to learn a consistent speech style from different speakers. We observe that it would be much easier to learn a consistent speech style from a specific speaker, which leads to authentic mouth movements. Hence, we propose a novel one-shot talking face generation framework by exploring consistent correlations between audio and visual motions from a specific speaker and then transferring audio-driven motion fields to a reference image. Specifically, we develop an Audio-Visual Correlation Transformer (AVCT) that aims to infer talking motions represented by keypoint based dense motion fields from an input audio. In particular, considering audio may come from different identities in deployment, we incorporate phonemes to represent audio signals. In this manner, our AVCT can inherently generalize to audio spoken by other identities. Moreover, as face keypoints are used to represent speakers, AVCT is agnostic against appearances of the training speaker, and thus allows us to manipulate face images of different identities readily. Considering different face shapes lead to different motions, a motion field transfer module is exploited to reduce the audio-driven dense motion field gap between the training identity and the one-shot reference. Once we obtained the dense motion field of the reference image, we employ an image renderer to generate its talking face videos from an audio clip. Thanks to our learned consistent speaking style, our method generates authentic mouth shapes and vivid movements. Extensive experiments demonstrate that our synthesized videos outperform the state-of-the-art in terms of visual quality and lip-sync.

We present DenseAV, a novel dual encoder grounding architecture that learns high-resolution, semantically meaningful, and audio-visually aligned features solely through watching videos. We show that DenseAV can discover the ``meaning'' of words and the ``location'' of sounds without explicit localization supervision. Furthermore, it automatically discovers and distinguishes between these two types of associations without supervision. We show that DenseAV's localization abilities arise from a new multi-head feature aggregation operator that directly compares dense image and audio representations for contrastive learning. In contrast, many other systems that learn ``global'' audio and video representations cannot localize words and sound. Finally, we contribute two new datasets to improve the evaluation of AV representations through speech and sound prompted semantic segmentation. On these and other datasets we show DenseAV dramatically outperforms the prior art on speech and sound prompted semantic segmentation. DenseAV outperforms the previous state-of-the-art, ImageBind, on cross-modal retrieval using fewer than half of the parameters. Project Page: https://aka.ms/denseav{https://aka.ms/denseav}

This paper deals with the problem of audio source separation. To handle the complex and ill-posed nature of the problems of audio source separation, the current state-of-the-art approaches employ deep neural networks to obtain instrumental spectra from a mixture. In this study, we propose a novel network architecture that extends the recently developed densely connected convolutional network (DenseNet), which has shown excellent results on image classification tasks. To deal with the specific problem of audio source separation, an up-sampling layer, block skip connection and band-dedicated dense blocks are incorporated on top of DenseNet. The proposed approach takes advantage of long contextual information and outperforms state-of-the-art results on SiSEC 2016 competition by a large margin in terms of signal-to-distortion ratio. Moreover, the proposed architecture requires significantly fewer parameters and considerably less training time compared with other methods.

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

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

This paper presents our latest investigation on Densely Connected Convolutional Networks (DenseNets) for acoustic modelling (AM) in automatic speech recognition. DenseN-ets are very deep, compact convolutional neural networks, which have demonstrated incredible improvements over the state-of-the-art results on several data sets in computer vision. Our experimental results show that DenseNet can be used for AM significantly outperforming other neural-based models such as DNNs, CNNs, VGGs. Furthermore, results on Wall Street Journal revealed that with only a half of the training data DenseNet was able to outperform other models trained with the full data set by a large margin.

Large language models (LLMs) have significantly advanced audio processing through audio codecs that convert audio into discrete tokens, enabling the application of language modelling techniques to audio data. However, traditional codecs often operate at high bitrates or within narrow domains such as speech and lack the semantic clues required for efficient language modelling. Addressing these challenges, we introduce SemantiCodec, a novel codec designed to compress audio into fewer than a hundred tokens per second across diverse audio types, including speech, general audio, and music, without compromising quality. SemantiCodec features a dual-encoder architecture: a semantic encoder using a self-supervised AudioMAE, discretized using k-means clustering on extensive audio data, and an acoustic encoder to capture the remaining details. The semantic and acoustic encoder outputs are used to reconstruct audio via a diffusion-model-based decoder. SemantiCodec is presented in three variants with token rates of 25, 50, and 100 per second, supporting a range of ultra-low bit rates between 0.31 kbps and 1.43 kbps. Experimental results demonstrate that SemantiCodec significantly outperforms the state-of-the-art Descript codec on reconstruction quality. Our results also suggest that SemantiCodec contains significantly richer semantic information than all evaluated audio codecs, even at significantly lower bitrates. Our code and demos are available at https://haoheliu.github.io/SemantiCodec/.

Supervised deep learning has gained significant attention for speech enhancement recently. The state-of-the-art deep learning methods perform the task by learning a ratio/binary mask that is applied to the mixture in the time-frequency domain to produce the clean speech. Despite the great performance in the single-channel setting, these frameworks lag in performance in the multichannel setting as the majority of these methods a) fail to exploit the available spatial information fully, and b) still treat the deep architecture as a black box which may not be well-suited for multichannel audio processing. This paper addresses these drawbacks, a) by utilizing complex ratio masking instead of masking on the magnitude of the spectrogram, and more importantly, b) by introducing a channel-attention mechanism inside the deep architecture to mimic beamforming. We propose Channel-Attention Dense U-Net, in which we apply the channel-attention unit recursively on feature maps at every layer of the network, enabling the network to perform non-linear beamforming. We demonstrate the superior performance of the network against the state-of-the-art approaches on the CHiME-3 dataset.

We propose WHISPER-GPT: A generative large language model (LLM) for speech and music that allows us to work with continuous audio representations and discrete tokens simultaneously as part of a single architecture. There has been a huge surge in generative audio, speech, and music models that utilize discrete audio tokens derived from neural compression algorithms, e.g. ENCODEC. However, one of the major drawbacks of this approach is handling the context length. It blows up for high-fidelity generative architecture if one has to account for all the audio contents at various frequencies for the next token prediction. By combining continuous audio representation like the spectrogram and discrete acoustic tokens, we retain the best of both worlds: Have all the information needed from the audio at a specific time instance in a single token, yet allow LLM to predict the future token to allow for sampling and other benefits discrete space provides. We show how our architecture improves the perplexity and negative log-likelihood scores for the next token prediction compared to a token-based LLM for speech and music.

We present AudioGen-Omni - a unified approach based on multimodal diffusion transformers (MMDit), capable of generating high-fidelity audio, speech, and song coherently synchronized with the input video. AudioGen-Omni introduces a novel joint training paradigm that seamlessly integrates large-scale video-text-audio corpora, enabling a model capable of generating semantically rich, acoustically diverse audio conditioned on multimodal inputs and adaptable to a wide range of audio generation tasks. AudioGen-Omni employs a unified lyrics-transcription encoder that encodes graphemes and phonemes from both song and spoken inputs into dense frame-level representations. Dense frame-level representations are fused using an AdaLN-based joint attention mechanism enhanced with phase-aligned anisotropic positional infusion (PAAPI), wherein RoPE is selectively applied to temporally structured modalities to ensure precise and robust cross-modal alignment. By unfreezing all modalities and masking missing inputs, AudioGen-Omni mitigates the semantic constraints of text-frozen paradigms, enabling effective cross-modal conditioning. This joint training approach enhances audio quality, semantic alignment, and lip-sync accuracy, while also achieving state-of-the-art results on Text-to-Audio/Speech/Song tasks. With an inference time of 1.91 seconds for 8 seconds of audio, it offers substantial improvements in both efficiency and generality.

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.

Voice communication in bandwidth-constrained environments--maritime, satellite, and tactical networks--remains prohibitively expensive. Traditional codecs struggle below 1 kbps, while existing semantic approaches (STT-TTS) sacrifice prosody and speaker identity. We present STCTS, a generative semantic compression framework enabling natural voice communication at 80 bps. STCTS explicitly decomposes speech into linguistic content, prosodic expression, and speaker timbre, applying tailored compression: context-aware text encoding (70 bps), sparse prosody transmission via TTS interpolation (<14 bps at 0.1-1 Hz), and amortized speaker embedding. Evaluations on LibriSpeech demonstrate a 75x bitrate reduction versus Opus (6 kbps) and 12x versus EnCodec (1 kbps), while maintaining perceptual quality (NISQA MOS > 4.26), graceful degradation under packet loss and noise resilience. We also discover a bimodal quality distribution with prosody sampling rate: sparse and dense updates both achieve high quality, while mid-range rates degrade due to perceptual discontinuities--guiding optimal configuration design. Beyond efficiency, our modular architecture supports privacy-preserving encryption, human-interpretable transmission, and flexible deployment on edge devices, offering a robust solution for ultra-low bandwidth scenarios.

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

Audio-driven portrait animation aims to synthesize portrait videos that are conditioned by given audio. Animating high-fidelity and multimodal video portraits has a variety of applications. Previous methods have attempted to capture different motion modes and generate high-fidelity portrait videos by training different models or sampling signals from given videos. However, lacking correlation learning between lip-sync and other movements (e.g., head pose/eye blinking) usually leads to unnatural results. In this paper, we propose a unified system for multi-person, diverse, and high-fidelity talking portrait generation. Our method contains three stages, i.e., 1) Mapping-Once network with Dual Attentions (MODA) generates talking representation from given audio. In MODA, we design a dual-attention module to encode accurate mouth movements and diverse modalities. 2) Facial composer network generates dense and detailed face landmarks, and 3) temporal-guided renderer syntheses stable videos. Extensive evaluations demonstrate that the proposed system produces more natural and realistic video portraits compared to previous methods.

Omnimodal large language models have made significant strides in unifying audio and visual modalities; however, they often lack the fine-grained cross-modal understanding and have difficulty with multimodal alignment. To address these limitations, we introduce OmniAgent, a fully audio-guided active perception agent that dynamically orchestrates specialized tools to achieve more fine-grained audio-visual reasoning. Unlike previous works that rely on rigid, static workflows and dense frame-captioning, this paper demonstrates a paradigm shift from passive response generation to active multimodal inquiry. OmniAgent employs dynamic planning to autonomously orchestrate tool invocation on demand, strategically concentrating perceptual attention on task-relevant cues. Central to our approach is a novel coarse-to-fine audio-guided perception paradigm, which leverages audio cues to localize temporal events and guide subsequent reasoning. Extensive empirical evaluations on three audio-video understanding benchmarks demonstrate that OmniAgent achieves state-of-the-art performance, surpassing leading open-source and proprietary models by substantial margins of 10% - 20% accuracy.

We introduce Music Flamingo, a novel large audio-language model designed to advance music (including song) understanding in foundational audio models. While audio-language research has progressed rapidly, music remains challenging due to its dynamic, layered, and information-dense nature. Progress has been further limited by the difficulty of scaling open audio understanding models, primarily because of the scarcity of high-quality music data and annotations. As a result, prior models are restricted to producing short, high-level captions, answering only surface-level questions, and showing limited generalization across diverse musical cultures. To address these challenges, we curate MF-Skills, a large-scale dataset labeled through a multi-stage pipeline that yields rich captions and question-answer pairs covering harmony, structure, timbre, lyrics, and cultural context. We fine-tune an enhanced Audio Flamingo 3 backbone on MF-Skills and further strengthen multiple skills relevant to music understanding. To improve the model's reasoning abilities, we introduce a post-training recipe: we first cold-start with MF-Think, a novel chain-of-thought dataset grounded in music theory, followed by GRPO-based reinforcement learning with custom rewards. Music Flamingo achieves state-of-the-art results across 10+ benchmarks for music understanding and reasoning, establishing itself as a generalist and musically intelligent audio-language model. Beyond strong empirical results, Music Flamingo sets a new standard for advanced music understanding by demonstrating how models can move from surface-level recognition toward layered, human-like perception of songs. We believe this work provides both a benchmark and a foundation for the community to build the next generation of models that engage with music as meaningfully as humans do.

In everyday communication, humans frequently use speech and gestures to refer to specific areas or objects, a process known as Referential Dialogue (RD). While prior studies have investigated RD through Large Language Models (LLMs) or Large Multimodal Models (LMMs) in static contexts, the exploration of Temporal Referential Dialogue (TRD) within audio-visual media remains limited. Two primary challenges hinder progress in this field: (1) the absence of comprehensive, untrimmed audio-visual video datasets with precise temporal annotations, and (2) the need for methods to integrate complex temporal auditory and visual cues effectively. To address these challenges, we introduce a novel framework to generate PU-VALOR, an extensive audio-visual dataset comprising over 114,000 untrimmed videos with accurate temporal demarcations. We also present AVicuna, featuring an Audio-Visual Tokens Interleaver (AVTI) that ensures the temporal alignment of audio-visual information. Additionally, we develop the A5-222K dataset, encompassing more than 200,000 audio-text pairings, to facilitate the audio and text alignments. Our experiments demonstrate that AVicuna can effectively handle TRD in audio-visual videos and achieve state-of-the-art performance on various audio-visual video understanding tasks, particularly in untrimmed videos. We further investigate the optimal audio-interleaving rate for interleaved audio-visual inputs, which maximizes performance on the Audio-Visual Event Dense Localization task.

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

A fundamental characteristic of audio is its compositional nature. Audio-language models (ALMs) trained using a contrastive approach (e.g., CLAP) that learns a shared representation between audio and language modalities have improved performance in many downstream applications, including zero-shot audio classification, audio retrieval, etc. However, the ability of these models to effectively perform compositional reasoning remains largely unexplored and necessitates additional research. In this paper, we propose CompA, a collection of two expert-annotated benchmarks with a majority of real-world audio samples, to evaluate compositional reasoning in ALMs. Our proposed CompA-order evaluates how well an ALM understands the order or occurrence of acoustic events in audio, and CompA-attribute evaluates attribute binding of acoustic events. An instance from either benchmark consists of two audio-caption pairs, where both audios have the same acoustic events but with different compositions. An ALM is evaluated on how well it matches the right audio to the right caption. Using this benchmark, we first show that current ALMs perform only marginally better than random chance, thereby struggling with compositional reasoning. Next, we propose CompA-CLAP, where we fine-tune CLAP using a novel learning method to improve its compositional reasoning abilities. To train CompA-CLAP, we first propose improvements to contrastive training with composition-aware hard negatives, allowing for more focused training. Next, we propose a novel modular contrastive loss that helps the model learn fine-grained compositional understanding and overcomes the acute scarcity of openly available compositional audios. CompA-CLAP significantly improves over all our baseline models on the CompA benchmark, indicating its superior compositional reasoning capabilities.

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

Audio-video joint generation has progressed rapidly, yet substantial challenges still remain. Non-commercial approaches still suffer audio-visual asynchrony, poor lip-speech alignment, and unimodal degradation, which can be stemmed from weak audio-visual correspondence modeling, limited generalization, and scarce high-quality dense-caption data. To address these issues, we introduce Klear and delve into three axes--model architecture, training strategy, and data curation. Architecturally, we adopt a single-tower design with unified DiT blocks and an Omni-Full Attention mechanism, achieving tight audio-visual alignment and strong scalability. Training-wise, we adopt a progressive multitask regime--random modality masking to joint optimization across tasks, and a multistage curriculum, yielding robust representations, strengthening A-V aligned world knowledge, and preventing unimodal collapse. For datasets, we present the first large-scale audio-video dataset with dense captions, and introduce a novel automated data-construction pipeline which annotates and filters millions of diverse, high-quality, strictly aligned audio-video-caption triplets. Building on this, Klear scales to large datasets, delivering high-fidelity, semantically and temporally aligned, instruction-following generation in both joint and unimodal settings while generalizing robustly to out-of-distribution scenarios. Across tasks, it substantially outperforms prior methods by a large margin and achieves performance comparable to Veo 3, offering a unified, scalable path toward next-generation audio-video synthesis.

Audio-driven talking head generation has drawn much attention in recent years, and many efforts have been made in lip-sync, expressive facial expressions, natural head pose generation, and high video quality. However, no model has yet led or tied on all these metrics due to the one-to-many mapping between audio and motion. In this paper, we propose VividTalk, a two-stage generic framework that supports generating high-visual quality talking head videos with all the above properties. Specifically, in the first stage, we map the audio to mesh by learning two motions, including non-rigid expression motion and rigid head motion. For expression motion, both blendshape and vertex are adopted as the intermediate representation to maximize the representation ability of the model. For natural head motion, a novel learnable head pose codebook with a two-phase training mechanism is proposed. In the second stage, we proposed a dual branch motion-vae and a generator to transform the meshes into dense motion and synthesize high-quality video frame-by-frame. Extensive experiments show that the proposed VividTalk can generate high-visual quality talking head videos with lip-sync and realistic enhanced by a large margin, and outperforms previous state-of-the-art works in objective and subjective comparisons.

Existing large vision-language models (LVLMs) are largely limited to processing short, seconds-long videos and struggle with generating coherent descriptions for extended video spanning minutes or more. Long video description introduces new challenges, such as plot-level consistency across descriptions. To address these, we figure out audio-visual character identification, matching character names to each dialogue, as a key factor. We propose StoryTeller, a system for generating dense descriptions of long videos, incorporating both low-level visual concepts and high-level plot information. StoryTeller uses a multimodal large language model that integrates visual, audio, and text modalities to perform audio-visual character identification on minute-long video clips. The results are then fed into a LVLM to enhance consistency of video description. We validate our approach on movie description tasks and introduce MovieStory101, a dataset with dense descriptions for three-minute movie clips. To evaluate long video descriptions, we create MovieQA, a large set of multiple-choice questions for the MovieStory101 test set. We assess descriptions by inputting them into GPT-4 to answer these questions, using accuracy as an automatic evaluation metric. Experiments show that StoryTeller outperforms all open and closed-source baselines on MovieQA, achieving 9.5% higher accuracy than the strongest baseline, Gemini-1.5-pro, and demonstrating a +15.56% advantage in human side-by-side evaluations. Additionally, incorporating audio-visual character identification from StoryTeller improves the performance of all video description models, with Gemini-1.5-pro and GPT-4o showing relative improvement of 5.5% and 13.0%, respectively, in accuracy on MovieQA.

Mixture of Experts (MoE) architectures have recently started burgeoning due to their ability to scale model's capacity while maintaining the computational cost affordable. Furthermore, they can be applied to both Transformers and State Space Models, the current state-of-the-art models in numerous fields. While MoE has been mostly investigated for the pre-training stage, its use in parameter-efficient transfer learning settings is under-explored. To narrow this gap, this paper attempts to demystify the use of MoE for parameter-efficient fine-tuning of Audio Spectrogram Transformers to audio and speech downstream tasks. Specifically, we propose Soft Mixture of Adapters (Soft-MoA). It exploits adapters as the experts and, leveraging the recent Soft MoE method, it relies on a soft assignment between the input tokens and experts to keep the computational time limited. Extensive experiments across 4 benchmarks demonstrate that Soft-MoA outperforms the single adapter method and performs on par with the dense MoA counterpart. We finally present ablation studies on key elements of Soft-MoA, showing for example that Soft-MoA achieves better scaling with more experts, as well as ensuring that all experts contribute to the computation of the output tokens, thus dispensing with the expert imbalance issue.

Recent Large Audio-Language Models (LALMs) exhibit impressive capabilities in understanding audio content for conversational QA tasks. However, these models struggle to accurately understand timestamps for temporal localization (e.g., Temporal Audio Grounding) and are restricted to short audio perception, leading to constrained capabilities on fine-grained tasks. We identify three key aspects that limit their temporal localization and long audio understanding: (i) timestamp representation, (ii) architecture, and (iii) data. To address this, we introduce TimeAudio, a novel method that empowers LALMs to connect their understanding of audio content with precise temporal perception. Specifically, we incorporate unique temporal markers to improve time-sensitive reasoning and apply an absolute time-aware encoding that explicitly grounds the acoustic features with absolute time information. Moreover, to achieve end-to-end long audio understanding, we introduce a segment-level token merging module to substantially reduce audio token redundancy and enhance the efficiency of information extraction. Due to the lack of suitable datasets and evaluation metrics, we consolidate existing audio datasets into a new dataset focused on temporal tasks and establish a series of metrics to evaluate the fine-grained performance. Evaluations show strong performance across a variety of fine-grained tasks, such as dense captioning, temporal grounding, and timeline speech summarization, demonstrating TimeAudio's robust temporal localization and reasoning capabilities.

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

Syllables are compositional units of spoken language that play a crucial role in human speech perception and production. However, current neural speech representations lack structure, resulting in dense token sequences that are costly to process. To bridge this gap, we propose a new model, Sylber, that produces speech representations with clean and robust syllabic structure. Specifically, we propose a self-supervised model that regresses features on syllabic segments distilled from a teacher model which is an exponential moving average of the model in training. This results in a highly structured representation of speech features, offering three key benefits: 1) a fast, linear-time syllable segmentation algorithm, 2) efficient syllabic tokenization with an average of 4.27 tokens per second, and 3) syllabic units better suited for lexical and syntactic understanding. We also train token-to-speech generative models with our syllabic units and show that fully intelligible speech can be reconstructed from these tokens. Lastly, we observe that categorical perception, a linguistic phenomenon of speech perception, emerges naturally in our model, making the embedding space more categorical and sparse than previous self-supervised learning approaches. Together, we present a novel self-supervised approach for representing speech as syllables, with significant potential for efficient speech tokenization and spoken language modeling.

Diverse actions give rise to rich audio-visual signals in long videos. Recent works showcase that the two modalities of audio and video exhibit different temporal extents of events and distinct labels. We address the interplay between the two modalities in long videos by explicitly modelling the temporal extents of audio and visual events. We propose the Time Interval Machine (TIM) where a modality-specific time interval poses as a query to a transformer encoder that ingests a long video input. The encoder then attends to the specified interval, as well as the surrounding context in both modalities, in order to recognise the ongoing action. We test TIM on three long audio-visual video datasets: EPIC-KITCHENS, Perception Test, and AVE, reporting state-of-the-art (SOTA) for recognition. On EPIC-KITCHENS, we beat previous SOTA that utilises LLMs and significantly larger pre-training by 2.9% top-1 action recognition accuracy. Additionally, we show that TIM can be adapted for action detection, using dense multi-scale interval queries, outperforming SOTA on EPIC-KITCHENS-100 for most metrics, and showing strong performance on the Perception Test. Our ablations show the critical role of integrating the two modalities and modelling their time intervals in achieving this performance. Code and models at: https://github.com/JacobChalk/TIM

Most prior art in visual understanding relies solely on analyzing the "what" (e.g., event recognition) and "where" (e.g., event localization), which in some cases, fails to describe correct contextual relationships between events or leads to incorrect underlying visual attention. Part of what defines us as human and fundamentally different from machines is our instinct to seek causality behind any association, say an event Y that happened as a direct result of event X. To this end, we propose iPerceive, a framework capable of understanding the "why" between events in a video by building a common-sense knowledge base using contextual cues to infer causal relationships between objects in the video. We demonstrate the effectiveness of our technique using the dense video captioning (DVC) and video question answering (VideoQA) tasks. Furthermore, while most prior work in DVC and VideoQA relies solely on visual information, other modalities such as audio and speech are vital for a human observer's perception of an environment. We formulate DVC and VideoQA tasks as machine translation problems that utilize multiple modalities. By evaluating the performance of iPerceive DVC and iPerceive VideoQA on the ActivityNet Captions and TVQA datasets respectively, we show that our approach furthers the state-of-the-art. Code and samples are available at: iperceive.amanchadha.com.

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

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

This study assesses deep learning models for audio classification in a clinical setting with the constraint of small datasets reflecting real-world prospective data collection. We analyze CNNs, including DenseNet and ConvNeXt, alongside transformer models like ViT, SWIN, and AST, and compare them against pre-trained audio models such as YAMNet and VGGish. Our method highlights the benefits of pre-training on large datasets before fine-tuning on specific clinical data. We prospectively collected two first-of-their-kind patient audio datasets from stroke patients. We investigated various preprocessing techniques, finding that RGB and grayscale spectrogram transformations affect model performance differently based on the priors they learn from pre-training. Our findings indicate CNNs can match or exceed transformer models in small dataset contexts, with DenseNet-Contrastive and AST models showing notable performance. This study highlights the significance of incremental marginal gains through model selection, pre-training, and preprocessing in sound classification; this offers valuable insights for clinical diagnostics that rely on audio classification.

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

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

Large language models (LLMs) have significantly advanced audio processing through audio codecs that convert audio into discrete tokens, enabling the application of language modeling techniques to audio data. However, audio codecs often operate at high frame rates, resulting in slow training and inference, especially for autoregressive models. To address this challenge, we present the Low Frame-rate Speech Codec (LFSC): a neural audio codec that leverages finite scalar quantization and adversarial training with large speech language models to achieve high-quality audio compression with a 1.89 kbps bitrate and 21.5 frames per second. We demonstrate that our novel codec can make the inference of LLM-based text-to-speech models around three times faster while improving intelligibility and producing quality comparable to previous models.

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.

The rapid advancements in large language models (LLMs) have significantly enhanced natural language processing capabilities, facilitating the development of AudioLLMs that process and understand speech and audio inputs alongside text. Existing AudioLLMs typically combine a pre-trained audio encoder with a pre-trained LLM, which are subsequently finetuned on specific audio tasks. However, the pre-trained audio encoder has constrained capacity to capture features for new tasks and datasets. To address this, we propose to incorporate mixtures of `weak' encoders (MoWE) into the AudioLLM framework. MoWE supplements a base encoder with a pool of relatively light weight encoders, selectively activated based on the audio input to enhance feature extraction without significantly increasing model size. Our empirical results demonstrate that MoWE effectively improves multi-task performance, broadening the applicability of AudioLLMs to more diverse audio tasks.

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}

We present SoundStream, a novel neural audio codec that can efficiently compress speech, music and general audio at bitrates normally targeted by speech-tailored codecs. SoundStream relies on a model architecture composed by a fully convolutional encoder/decoder network and a residual vector quantizer, which are trained jointly end-to-end. Training leverages recent advances in text-to-speech and speech enhancement, which combine adversarial and reconstruction losses to allow the generation of high-quality audio content from quantized embeddings. By training with structured dropout applied to quantizer layers, a single model can operate across variable bitrates from 3kbps to 18kbps, with a negligible quality loss when compared with models trained at fixed bitrates. In addition, the model is amenable to a low latency implementation, which supports streamable inference and runs in real time on a smartphone CPU. In subjective evaluations using audio at 24kHz sampling rate, SoundStream at 3kbps outperforms Opus at 12kbps and approaches EVS at 9.6kbps. Moreover, we are able to perform joint compression and enhancement either at the encoder or at the decoder side with no additional latency, which we demonstrate through background noise suppression for speech.

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

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

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.

Contrastive learning has shown remarkable success in the field of multimodal representation learning. In this paper, we propose a pipeline of contrastive language-audio pretraining to develop an audio representation by combining audio data with natural language descriptions. To accomplish this target, we first release LAION-Audio-630K, a large collection of 633,526 audio-text pairs from different data sources. Second, we construct a contrastive language-audio pretraining model by considering different audio encoders and text encoders. We incorporate the feature fusion mechanism and keyword-to-caption augmentation into the model design to further enable the model to process audio inputs of variable lengths and enhance the performance. Third, we perform comprehensive experiments to evaluate our model across three tasks: text-to-audio retrieval, zero-shot audio classification, and supervised audio classification. The results demonstrate that our model achieves superior performance in text-to-audio retrieval task. In audio classification tasks, the model achieves state-of-the-art performance in the zero-shot setting and is able to obtain performance comparable to models' results in the non-zero-shot setting. LAION-Audio-630K and the proposed model are both available to the public.

This paper presents a way of doing large scale audio understanding without traditional state of the art neural architectures. Ever since the introduction of deep learning for understanding audio signals in the past decade, convolutional architectures have been able to achieve state of the art results surpassing traditional hand-crafted features. In the recent past, there has been a similar shift away from traditional convolutional and recurrent neural networks towards purely end-to-end Transformer architectures. We, in this work, explore an approach, based on Bag-of-Words model. Our approach does not have any convolutions, recurrence, attention, transformers or other approaches such as BERT. We utilize micro and macro level clustered vanilla embeddings, and use a MLP head for classification. We only use feed-forward encoder-decoder models to get the bottlenecks of spectral envelops, spectral patches and slices as well as multi-resolution spectra. A classification head (a feed-forward layer), similar to the approach in SimCLR is trained on a learned representation. Using simple codes learned on latent representations, we show how we surpass traditional convolutional neural network architectures, and come strikingly close to outperforming powerful Transformer architectures. This work hopefully would pave way for exciting advancements in the field of representation learning without massive, end-to-end neural architectures.

Efficiently compressing high-dimensional audio signals into a compact and informative latent space is crucial for various tasks, including generative modeling and music information retrieval (MIR). Existing audio autoencoders, however, often struggle to achieve high compression ratios while preserving audio fidelity and facilitating efficient downstream applications. We introduce Music2Latent2, a novel audio autoencoder that addresses these limitations by leveraging consistency models and a novel approach to representation learning based on unordered latent embeddings, which we call summary embeddings. Unlike conventional methods that encode local audio features into ordered sequences, Music2Latent2 compresses audio signals into sets of summary embeddings, where each embedding can capture distinct global features of the input sample. This enables to achieve higher reconstruction quality at the same compression ratio. To handle arbitrary audio lengths, Music2Latent2 employs an autoregressive consistency model trained on two consecutive audio chunks with causal masking, ensuring coherent reconstruction across segment boundaries. Additionally, we propose a novel two-step decoding procedure that leverages the denoising capabilities of consistency models to further refine the generated audio at no additional cost. Our experiments demonstrate that Music2Latent2 outperforms existing continuous audio autoencoders regarding audio quality and performance on downstream tasks. Music2Latent2 paves the way for new possibilities in audio compression.

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.

Recent developments in diffusion- and flow- based models have significantly advanced Text-to-Audio Generation (TTA). While achieving great synthesis quality and controllability, current TTA systems still suffer from slow inference speed, which significantly limits their practical applicability. This paper presents MeanAudio, a novel MeanFlow-based model tailored for fast and faithful text-to-audio generation. Built on a Flux-style latent transformer, MeanAudio regresses the average velocity field during training, enabling fast generation by mapping directly from the start to the endpoint of the flow trajectory. By incorporating classifier-free guidance (CFG) into the training target, MeanAudio incurs no additional cost in the guided sampling process. To further stabilize training, we propose an instantaneous-to-mean curriculum with flow field mix-up, which encourages the model to first learn the foundational instantaneous dynamics, and then gradually adapt to mean flows. This strategy proves critical for enhancing training efficiency and generation quality. Experimental results demonstrate that MeanAudio achieves state-of-the-art performance in single-step audio generation. Specifically, it achieves a real time factor (RTF) of 0.013 on a single NVIDIA RTX 3090, yielding a 100x speedup over SOTA diffusion-based TTA systems. Moreover, MeanAudio also demonstrates strong performance in multi-step generation, enabling smooth and coherent transitions across successive synthesis steps.

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

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

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.

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

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

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

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

Neural audio codecs and autoencoders have emerged as versatile models for audio compression, transmission, feature-extraction, and latent-space generation. However, a key limitation is that most are trained to maximize reconstruction fidelity, often neglecting the specific latent structure necessary for optimal performance in diverse downstream applications. We propose a simple, post-hoc framework to address this by modifying the bottleneck of a pre-trained autoencoder. Our method introduces a "Re-Bottleneck", an inner bottleneck trained exclusively through latent space losses to instill user-defined structure. We demonstrate the framework's effectiveness in three experiments. First, we enforce an ordering on latent channels without sacrificing reconstruction quality. Second, we align latents with semantic embeddings, analyzing the impact on downstream diffusion modeling. Third, we introduce equivariance, ensuring that a filtering operation on the input waveform directly corresponds to a specific transformation in the latent space. Ultimately, our Re-Bottleneck framework offers a flexible and efficient way to tailor representations of neural audio models, enabling them to seamlessly meet the varied demands of different applications with minimal additional training.

A good audio codec for live applications such as telecommunication is characterized by three key properties: (1) compression, i.e.\ the bitrate that is required to transmit the signal should be as low as possible; (2) latency, i.e.\ encoding and decoding the signal needs to be fast enough to enable communication without or with only minimal noticeable delay; and (3) reconstruction quality of the signal. In this work, we propose an open-source, streamable, and real-time neural audio codec that achieves strong performance along all three axes: it can reconstruct highly natural sounding 48~kHz speech signals while operating at only 12~kbps and running with less than 6~ms (GPU)/10~ms (CPU) latency. An efficient training paradigm is also demonstrated for developing such neural audio codecs for real-world scenarios. Both objective and subjective evaluations using the VCTK corpus are provided. To sum up, AudioDec is a well-developed plug-and-play benchmark for audio codec applications.

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

Audio-based generative models for music have seen great strides recently, but so far have not managed to produce full-length music tracks with coherent musical structure. We show that by training a generative model on long temporal contexts it is possible to produce long-form music of up to 4m45s. Our model consists of a diffusion-transformer operating on a highly downsampled continuous latent representation (latent rate of 21.5Hz). It obtains state-of-the-art generations according to metrics on audio quality and prompt alignment, and subjective tests reveal that it produces full-length music with coherent structure.

The loudness war, an ongoing phenomenon in the music industry characterized by the increasing final loudness of music while reducing its dynamic range, has been a controversial topic for decades. Music mastering engineers have used limiters to heavily compress and make music louder, which can induce ear fatigue and hearing loss in listeners. In this paper, we introduce music de-limiter networks that estimate uncompressed music from heavily compressed signals. Inspired by the principle of a limiter, which performs sample-wise gain reduction of a given signal, we propose the framework of sample-wise gain inversion (SGI). We also present the musdb-XL-train dataset, consisting of 300k segments created by applying a commercial limiter plug-in for training real-world friendly de-limiter networks. Our proposed de-limiter network achieves excellent performance with a scale-invariant source-to-distortion ratio (SI-SDR) of 23.8 dB in reconstructing musdb-HQ from musdb- XL data, a limiter-applied version of musdb-HQ. The training data, codes, and model weights are available in our repository (https://github.com/jeonchangbin49/De-limiter).

Developing large audio language models (LMs) capable of understanding diverse spoken interactions is essential for accommodating the multimodal nature of human communication and can increase the accessibility of language technologies across different user populations. Recent work on audio LMs has primarily evaluated their performance on short audio segments, typically under 30 seconds, with limited exploration of long-form conversational speech segments that more closely reflect natural user interactions with these models. We introduce Brutally Long Audio Bench (BLAB), a challenging long-form audio benchmark that evaluates audio LMs on localization, duration estimation, emotion, and counting tasks using audio segments averaging 51 minutes in length. BLAB consists of 833+ hours of diverse, full-length audio clips, each paired with human-annotated, text-based natural language questions and answers. Our audio data were collected from permissively licensed sources and underwent a human-assisted filtering process to ensure task compliance. We evaluate six open-source and proprietary audio LMs on BLAB and find that all of them, including advanced models such as Gemini 2.0 Pro and GPT-4o, struggle with the tasks in BLAB. Our comprehensive analysis reveals key insights into the trade-offs between task difficulty and audio duration. In general, we find that audio LMs struggle with long-form speech, with performance declining as duration increases. They perform poorly on localization, temporal reasoning, counting, and struggle to understand non-phonemic information, relying more on prompts than audio content. BLAB serves as a challenging evaluation framework to develop audio LMs with robust long-form audio understanding capabilities.

In recent years, video generation has become a prominent generative tool and has drawn significant attention. However, there is little consideration in audio-to-video generation, though audio contains unique qualities like temporal semantics and magnitude. Hence, we propose The Power of Sound (TPoS) model to incorporate audio input that includes both changeable temporal semantics and magnitude. To generate video frames, TPoS utilizes a latent stable diffusion model with textual semantic information, which is then guided by the sequential audio embedding from our pretrained Audio Encoder. As a result, this method produces audio reactive video contents. We demonstrate the effectiveness of TPoS across various tasks and compare its results with current state-of-the-art techniques in the field of audio-to-video generation. More examples are available at https://ku-vai.github.io/TPoS/

Conditional sound separation in multi-source audio mixtures without having access to single source sound data during training is a long standing challenge. Existing mix-and-separate based methods suffer from significant performance drop with multi-source training mixtures due to the lack of supervision signal for single source separation cases during training. However, in the case of language-conditional audio separation, we do have access to corresponding text descriptions for each audio mixture in our training data, which can be seen as (rough) representations of the audio samples in the language modality. To this end, in this paper, we propose a generic bi-modal separation framework which can enhance the existing unsupervised frameworks to separate single-source signals in a target modality (i.e., audio) using the easily separable corresponding signals in the conditioning modality (i.e., language), without having access to single-source samples in the target modality during training. We empirically show that this is well within reach if we have access to a pretrained joint embedding model between the two modalities (i.e., CLAP). Furthermore, we propose to incorporate our framework into two fundamental scenarios to enhance separation performance. First, we show that our proposed methodology significantly improves the performance of purely unsupervised baselines by reducing the distribution shift between training and test samples. In particular, we show that our framework can achieve 71% boost in terms of Signal-to-Distortion Ratio (SDR) over the baseline, reaching 97.5% of the supervised learning performance. Second, we show that we can further improve the performance of the supervised learning itself by 17% if we augment it by our proposed weakly-supervised framework, that enables a powerful semi-supervised framework for audio separation.

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

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.

The transformer architecture by Vaswani et al. (2017) is now ubiquitous across application domains, from natural language processing to speech processing and image understanding. We propose DenseFormer, a simple modification to the standard architecture that improves the perplexity of the model without increasing its size -- adding a few thousand parameters for large-scale models in the 100B parameters range. Our approach relies on an additional averaging step after each transformer block, which computes a weighted average of current and past representations -- we refer to this operation as Depth-Weighted-Average (DWA). The learned DWA weights exhibit coherent patterns of information flow, revealing the strong and structured reuse of activations from distant layers. Experiments demonstrate that DenseFormer is more data efficient, reaching the same perplexity of much deeper transformer models, and that for the same perplexity, these new models outperform transformer baselines in terms of memory efficiency and inference time.

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.

We propose an end-to-end music mixing style transfer system that converts the mixing style of an input multitrack to that of a reference song. This is achieved with an encoder pre-trained with a contrastive objective to extract only audio effects related information from a reference music recording. All our models are trained in a self-supervised manner from an already-processed wet multitrack dataset with an effective data preprocessing method that alleviates the data scarcity of obtaining unprocessed dry data. We analyze the proposed encoder for the disentanglement capability of audio effects and also validate its performance for mixing style transfer through both objective and subjective evaluations. From the results, we show the proposed system not only converts the mixing style of multitrack audio close to a reference but is also robust with mixture-wise style transfer upon using a music source separation model.

Processing long-form audio is a major challenge for Large Audio Language models (LALMs). These models struggle with the quadratic cost of attention (O(N^2)) and with modeling long-range temporal dependencies. Existing audio benchmarks are built mostly from short clips and do not evaluate models in realistic long context settings. To address this gap, we introduce AudioMarathon, a benchmark designed to evaluate both understanding and inference efficiency on long-form audio. AudioMarathon provides a diverse set of tasks built upon three pillars: long-context audio inputs with durations ranging from 90.0 to 300.0 seconds, which correspond to encoded sequences of 2,250 to 7,500 audio tokens, respectively, full domain coverage across speech, sound, and music, and complex reasoning that requires multi-hop inference. We evaluate state-of-the-art LALMs and observe clear performance drops as audio length grows. We also study acceleration techniques and analyze the trade-offs of token pruning and KV cache eviction. The results show large gaps across current LALMs and highlight the need for better temporal reasoning and memory-efficient architectures. We believe AudioMarathon will drive the audio and multimodal research community to develop more advanced audio understanding models capable of solving complex 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/.

Large Audio Language Models (LALMs) represent an important frontier in multimodal AI, addressing diverse audio tasks. Recently, post-training of LALMs has received increasing attention due to significant performance improvements over foundation models. While single-stage post-training such as reinforcement learning (RL) has demonstrated promising results, multi-stage approaches such as supervised fine-tuning (SFT) followed by RL remain suboptimal. The allocation of data across multiple training stages to maximize LALM capabilities has not been fully explored, and large-scale, high-quality datasets for such research are also lacking. To address these problems, we firstly present AudioMCQ, a comprehensive audio multiple-choice question dataset comprising 571k samples with two kinds of chain-of-thought annotations. Secondly, we investigate the prevalent zero audio-contribution phenomenon in LALMs, where models derive correct answers solely from textual information without processing audio content. We propose Audio-Contribution Filtering to partition data into weak and strong audio-contribution subsets. Based on these insights, we develop two effective post-training paradigms: Weak-to-Strong (SFT on weak audio-contribution data followed by RL on strong audio-contribution data) and Mixed-to-Strong (SFT on mixed audio-contribution data followed by RL on strong audio-contribution data). We achieve first place in the DCASE 2025 Audio-Question-Answering challenge by using AudioMCQ. Additionally, leveraging our dataset with different training strategies, we achieve 78.2\% on MMAU-test-mini, 75.6\% on MMAU, 67.1\% on MMAR, and 70.7\% on MMSU, establishing new state-of-the-art performance across these benchmarks.

Music tagging is a task to predict the tags of music recordings. However, previous music tagging research primarily focuses on close-set music tagging tasks which can not be generalized to new tags. In this work, we propose a zero-shot music tagging system modeled by a joint music and language attention (JMLA) model to address the open-set music tagging problem. The JMLA model consists of an audio encoder modeled by a pretrained masked autoencoder and a decoder modeled by a Falcon7B. We introduce preceiver resampler to convert arbitrary length audio into fixed length embeddings. We introduce dense attention connections between encoder and decoder layers to improve the information flow between the encoder and decoder layers. We collect a large-scale music and description dataset from the internet. We propose to use ChatGPT to convert the raw descriptions into formalized and diverse descriptions to train the JMLA models. Our proposed JMLA system achieves a zero-shot audio tagging accuracy of 64.82% on the GTZAN dataset, outperforming previous zero-shot systems and achieves comparable results to previous systems on the FMA and the MagnaTagATune datasets.

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

Music source separation involves a large input field to model a long-term dependence of an audio signal. Previous convolutional neural network (CNN)-based approaches address the large input field modeling using sequentially down- and up-sampling feature maps or dilated convolution. In this paper, we claim the importance of a rapid growth of a receptive field and a simultaneous modeling of multi-resolution data in a single convolution layer, and propose a novel CNN architecture called densely connected dilated DenseNet (D3Net). D3Net involves a novel multi-dilated convolution that has different dilation factors in a single layer to model different resolutions simultaneously. By combining the multi-dilated convolution with DenseNet architecture, D3Net avoids the aliasing problem that exists when we naively incorporate the dilated convolution in DenseNet. Experimental results on MUSDB18 dataset show that D3Net achieves state-of-the-art performance with an average signal to distortion ratio (SDR) of 6.01 dB.

With the emergence of neural audio codecs, which encode multiple streams of discrete tokens from audio, large language models have recently gained attention as a promising approach for zero-shot Text-to-Speech (TTS) synthesis. Despite the ongoing rush towards scaling paradigms, audio tokenization ironically amplifies the scalability challenge, stemming from its long sequence length and the complexity of modelling the multiple sequences. To mitigate these issues, we present CLaM-TTS that employs a probabilistic residual vector quantization to (1) achieve superior compression in the token length, and (2) allow a language model to generate multiple tokens at once, thereby eliminating the need for cascaded modeling to handle the number of token streams. Our experimental results demonstrate that CLaM-TTS is better than or comparable to state-of-the-art neural codec-based TTS models regarding naturalness, intelligibility, speaker similarity, and inference speed. In addition, we examine the impact of the pretraining extent of the language models and their text tokenization strategies on performances.

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

We introduce a two-stage self-supervised framework that combines the Joint-Embedding Predictive Architecture (JEPA) with a Density Adaptive Attention Mechanism (DAAM) for learning robust speech representations. Stage~1 uses JEPA with DAAM to learn semantic audio features via masked prediction in latent space, fully decoupled from waveform reconstruction. Stage~2 leverages these representations for efficient tokenization using Finite Scalar Quantization (FSQ) and a mixed-radix packing scheme, followed by high-fidelity waveform reconstruction with a HiFi-GAN decoder. By integrating Gaussian mixture-based density-adaptive gating into the JEPA encoder, the model performs adaptive temporal feature selection and discovers hierarchical speech structure at a low frame rate of 2.5~Hz. The resulting tokens (47.5 tokens/sec) provide a reversible, highly compressed, and language-model-friendly representation that is competitive with, and often more efficient than, existing neural audio codecs.

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

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

Achieving high-fidelity audio compression while preserving perceptual quality across diverse content remains a key challenge in Neural Audio Coding (NAC). We introduce MUFFIN, a fully convolutional Neural Psychoacoustic Coding (NPC) framework that leverages psychoacoustically guided multi-band frequency reconstruction. At its core is a Multi-Band Spectral Residual Vector Quantization (MBS-RVQ) module that allocates bitrate across frequency bands based on perceptual salience. This design enables efficient compression while disentangling speaker identity from content using distinct codebooks. MUFFIN incorporates a transformer-inspired convolutional backbone and a modified snake activation to enhance resolution in fine-grained spectral regions. Experimental results on multiple benchmarks demonstrate that MUFFIN consistently outperforms existing approaches in reconstruction quality. A high-compression variant achieves a state-of-the-art 12.5 Hz rate with minimal loss. MUFFIN also proves effective in downstream generative tasks, highlighting its promise as a token representation for integration with language models. Audio samples and code are available.

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.

Language models have been effectively applied to modeling natural signals, such as images, video, speech, and audio. A crucial component of these models is the codec tokenizer, which compresses high-dimensional natural signals into lower-dimensional discrete tokens. In this paper, we introduce WavTokenizer, which offers several advantages over previous SOTA acoustic codec models in the audio domain: 1)extreme compression. By compressing the layers of quantizers and the temporal dimension of the discrete codec, one-second audio of 24kHz sampling rate requires only a single quantizer with 40 or 75 tokens. 2)improved subjective quality. Despite the reduced number of tokens, WavTokenizer achieves state-of-the-art reconstruction quality with outstanding UTMOS scores and inherently contains richer semantic information. Specifically, we achieve these results by designing a broader VQ space, extended contextual windows, and improved attention networks, as well as introducing a powerful multi-scale discriminator and an inverse Fourier transform structure. We conducted extensive reconstruction experiments in the domains of speech, audio, and music. WavTokenizer exhibited strong performance across various objective and subjective metrics compared to state-of-the-art models. We also tested semantic information, VQ utilization, and adaptability to generative models. Comprehensive ablation studies confirm the necessity of each module in WavTokenizer. The related code, demos, and pre-trained models are available at https://github.com/jishengpeng/WavTokenizer.

Large Audio-Language Models (LALMs) are often constrained by short audio context windows, even when their text backbones support long contexts, limiting long-form audio understanding. Prior work has introduced context-extension methods (e.g. YaRN) on unimodal LLMs, yet their application to LALMs remains unexplored. First, building on RoPE-based context extension, we introduce Partial YaRN, a training-free, audio-only extension method that modifies only audio token positions, leaving text positions intact to preserve the base LLM's text capabilities. Second, we propose Virtual Longform Audio Training (VLAT), a training strategy that extends Partial YaRN into a training-time positional augmentation. VLAT simulates diverse audio lengths during training, enabling generalization to inputs far longer than those seen in training and improving robustness for long-context audio understanding. Our experiments on SALMONN and Qwen2-Audio show that Partial YaRN outperforms the original models across wide range of settings, and VLAT training strategy provides substantial improvement, achieving strong performance on long audio of unseen lengths.

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

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

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.

Large language models (LLMs) have transformed NLP, yet their integration with audio remains underexplored -- despite audio's centrality to human communication. We introduce Falcon3-Audio, a family of Audio-Language Models (ALMs) built on instruction-tuned LLMs and Whisper encoders. Using a remarkably small amount of public audio data -- less than 30K hours (5K unique) -- Falcon3-Audio-7B matches the best reported performance among open-weight models on the MMAU benchmark, with a score of 64.14, matching R1-AQA, while distinguishing itself through superior data and parameter efficiency, single-stage training, and transparency. Notably, our smallest 1B model remains competitive with larger open models ranging from 2B to 13B parameters. Through extensive ablations, we find that common complexities -- such as curriculum learning, multiple audio encoders, and intricate cross-attention connectors -- are not required for strong performance, even compared to models trained on over 500K hours of data.

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

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

Recent advancements in multimodal reasoning have largely overlooked the audio modality. We introduce Audio-Reasoner, a large-scale audio language model for deep reasoning in audio tasks. We meticulously curated a large-scale and diverse multi-task audio dataset with simple annotations. Then, we leverage closed-source models to conduct secondary labeling, QA generation, along with structured COT process. These datasets together form a high-quality reasoning dataset with 1.2 million reasoning-rich samples, which we name CoTA. Following inference scaling principles, we train Audio-Reasoner on CoTA, enabling it to achieve great logical capabilities in audio reasoning. Experiments show state-of-the-art performance across key benchmarks, including MMAU-mini (+25.42%), AIR-Bench chat/foundation(+14.57%/+10.13%), and MELD (+8.01%). Our findings stress the core of structured CoT training in advancing audio reasoning.

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

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}

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.

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.

Recent advancements in audio generation have been significantly propelled by the capabilities of Large Language Models (LLMs). The existing research on audio LLM has primarily focused on enhancing the architecture and scale of audio language models, as well as leveraging larger datasets, and generally, acoustic codecs, such as EnCodec, are used for audio tokenization. However, these codecs were originally designed for audio compression, which may lead to suboptimal performance in the context of audio LLM. Our research aims to address the shortcomings of current audio LLM codecs, particularly their challenges in maintaining semantic integrity in generated audio. For instance, existing methods like VALL-E, which condition acoustic token generation on text transcriptions, often suffer from content inaccuracies and elevated word error rates (WER) due to semantic misinterpretations of acoustic tokens, resulting in word skipping and errors. To overcome these issues, we propose a straightforward yet effective approach called X-Codec. X-Codec incorporates semantic features from a pre-trained semantic encoder before the Residual Vector Quantization (RVQ) stage and introduces a semantic reconstruction loss after RVQ. By enhancing the semantic ability of the codec, X-Codec significantly reduces WER in speech synthesis tasks and extends these benefits to non-speech applications, including music and sound generation. Our experiments in text-to-speech, music continuation, and text-to-sound tasks demonstrate that integrating semantic information substantially improves the overall performance of language models in audio generation. Our code and demo are available (Demo: https://x-codec-audio.github.io Code: https://github.com/zhenye234/xcodec)

Neural audio codecs have recently gained traction for their ability to compress high-fidelity audio and generate discrete tokens that can be utilized in downstream generative modeling tasks. However, leading approaches often rely on resource-intensive models and multi-quantizer architectures, resulting in considerable computational overhead and constrained real-world applicability. In this paper, we present SQCodec, a lightweight neural audio codec that leverages a single quantizer to address these limitations. SQCodec explores streamlined convolutional networks and local Transformer modules, alongside TConv, a novel mechanism designed to capture acoustic variations across multiple temporal scales, thereby enhancing reconstruction fidelity while reducing model complexity. Extensive experiments across diverse datasets show that SQCodec achieves audio quality comparable to multi-quantizer baselines, while its single-quantizer design offers enhanced adaptability and its lightweight architecture reduces resource consumption by an order of magnitude. The source code is publicly available at https://github.com/zhai-lw/SQCodec.

Discrete audio tokens are compact representations that aim to preserve perceptual quality, phonetic content, and speaker characteristics while enabling efficient storage and inference, as well as competitive performance across diverse downstream tasks.They provide a practical alternative to continuous features, enabling the integration of speech and audio into modern large language models (LLMs). As interest in token-based audio processing grows, various tokenization methods have emerged, and several surveys have reviewed the latest progress in the field. However, existing studies often focus on specific domains or tasks and lack a unified comparison across various benchmarks. This paper presents a systematic review and benchmark of discrete audio tokenizers, covering three domains: speech, music, and general audio. We propose a taxonomy of tokenization approaches based on encoder-decoder, quantization techniques, training paradigm, streamability, and application domains. We evaluate tokenizers on multiple benchmarks for reconstruction, downstream performance, and acoustic language modeling, and analyze trade-offs through controlled ablation studies. Our findings highlight key limitations, practical considerations, and open challenges, providing insight and guidance for future research in this rapidly evolving area. For more information, including our main results and tokenizer database, please refer to our website: https://poonehmousavi.github.io/dates-website/.

Modern multimodal large language models often claim "video understanding," yet most evaluations use muted videos or simply discard audio. We ask a direct question: how much does audio actually matter for contemporary Video-LLMs and the benchmarks that certify them? We audit widely used suites and observe that many items are even solvable from a single frame, rendering audio largely redundant. Building on LLaVA-OneVision architecture, we attach a speech/audio encoder (e.g., Whisper) and analyze when audio helps, while addressing audio token explosion with a lightweight Mamba-based state-space token compressor. We find that audio yields minimal gains on recent video benchmarks but is decisive on curated, audio-sensitive subsets. To enable faithful evaluation, we release AVQA-Hard and Music-AVQA-Hard, our model, and code. Our findings surface a growing gap between current academic practice and real-world expectations, and provide practical tools for scalable audio-visual Video-LLMs. We will fully open-source our work at https://github.com/naver-ai/LLaVA-AV-SSM.

Existing neural audio codecs usually sacrifice computational complexity for audio quality. They build the feature transformation layers mainly on convolutional blocks, which are not inherently appropriate for capturing local redundancies of audio signals. As compensation, either adversarial losses from a discriminator or a large number of model parameters are required to improve the codec. To that end, we propose Efficient Speech Codec (ESC), a lightweight parameter-efficient codec laid on cross-scale residual vector quantization and transformers. Our model leverages mirrored hierarchical window-attention transformer blocks and performs step-wise decoding from coarse-to-fine feature representations. To enhance codebook utilization, we design a learning paradigm that involves a pre-training stage to assist with codec training. Extensive results show that ESC can achieve high audio quality with much lower complexity, which is a prospective alternative in place of existing codecs.

Efficient audio representations in a compressed continuous latent space are critical for generative audio modeling and Music Information Retrieval (MIR) tasks. However, some existing audio autoencoders have limitations, such as multi-stage training procedures, slow iterative sampling, or low reconstruction quality. We introduce Music2Latent, an audio autoencoder that overcomes these limitations by leveraging consistency models. Music2Latent encodes samples into a compressed continuous latent space in a single end-to-end training process while enabling high-fidelity single-step reconstruction. Key innovations include conditioning the consistency model on upsampled encoder outputs at all levels through cross connections, using frequency-wise self-attention to capture long-range frequency dependencies, and employing frequency-wise learned scaling to handle varying value distributions across frequencies at different noise levels. We demonstrate that Music2Latent outperforms existing continuous audio autoencoders in sound quality and reconstruction accuracy while achieving competitive performance on downstream MIR tasks using its latent representations. To our knowledge, this represents the first successful attempt at training an end-to-end consistency autoencoder model.

Large diffusion models have been successful in text-to-audio (T2A) synthesis tasks, but they often suffer from common issues such as semantic misalignment and poor temporal consistency due to limited natural language understanding and data scarcity. Additionally, 2D spatial structures widely used in T2A works lead to unsatisfactory audio quality when generating variable-length audio samples since they do not adequately prioritize temporal information. To address these challenges, we propose Make-an-Audio 2, a latent diffusion-based T2A method that builds on the success of Make-an-Audio. Our approach includes several techniques to improve semantic alignment and temporal consistency: Firstly, we use pre-trained large language models (LLMs) to parse the text into structured <event & order> pairs for better temporal information capture. We also introduce another structured-text encoder to aid in learning semantic alignment during the diffusion denoising process. To improve the performance of variable length generation and enhance the temporal information extraction, we design a feed-forward Transformer-based diffusion denoiser. Finally, we use LLMs to augment and transform a large amount of audio-label data into audio-text datasets to alleviate the problem of scarcity of temporal data. Extensive experiments show that our method outperforms baseline models in both objective and subjective metrics, and achieves significant gains in temporal information understanding, semantic consistency, and sound quality.

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.

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.

Audio comprehension-including speech, non-speech sounds, and music-is essential for achieving human-level intelligence. Consequently, AI agents must demonstrate holistic audio understanding to qualify as generally intelligent. However, evaluating auditory intelligence comprehensively remains challenging. To address this gap, we introduce MMAU-Pro, the most comprehensive and rigorously curated benchmark for assessing audio intelligence in AI systems. MMAU-Pro contains 5,305 instances, where each instance has one or more audios paired with human expert-generated question-answer pairs, spanning speech, sound, music, and their combinations. Unlike existing benchmarks, MMAU-Pro evaluates auditory intelligence across 49 unique skills and multiple complex dimensions, including long-form audio comprehension, spatial audio reasoning, multi-audio understanding, among others. All questions are meticulously designed to require deliberate multi-hop reasoning, including both multiple-choice and open-ended response formats. Importantly, audio data is sourced directly ``from the wild" rather than from existing datasets with known distributions. We evaluate 22 leading open-source and proprietary multimodal AI models, revealing significant limitations: even state-of-the-art models such as Gemini 2.5 Flash and Audio Flamingo 3 achieve only 59.2% and 51.7% accuracy, respectively, approaching random performance in multiple categories. Our extensive analysis highlights specific shortcomings and provides novel insights, offering actionable perspectives for the community to enhance future AI systems' progression toward audio general intelligence. The benchmark and code is available at https://sonalkum.github.io/mmau-pro.

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

We introduces X-ARES (eXtensive Audio Representation and Evaluation Suite), a novel open-source benchmark designed to systematically assess audio encoder performance across diverse domains. By encompassing tasks spanning speech, environmental sounds, and music, X-ARES provides two evaluation approaches for evaluating audio representations: linear fine-tuning and unparameterized evaluation. The framework includes 22 distinct tasks that cover essential aspects of audio processing, from speech recognition and emotion detection to sound event classification and music genre identification. Our extensive evaluation of state-of-the-art audio encoders reveals significant performance variations across different tasks and domains, highlighting the complexity of general audio representation learning.

With the growth of the Internet of Things and the rise of Big Data, data processing and machine learning applications are being moved to cheap and low size, weight, and power (SWaP) devices at the edge, often in the form of mobile phones, embedded systems, or microcontrollers. The field of Cyber-Physical Measurements and Signature Intelligence (MASINT) makes use of these devices to analyze and exploit data in ways not otherwise possible, which results in increased data quality, increased security, and decreased bandwidth. However, methods to train and deploy models at the edge are limited, and models with sufficient accuracy are often too large for the edge device. Therefore, there is a clear need for techniques to create efficient AI/ML at the edge. This work presents training techniques for audio models in the field of environmental sound classification at the edge. Specifically, we design and train Transformers to classify office sounds in audio clips. Results show that a BERT-based Transformer, trained on Mel spectrograms, can outperform a CNN using 99.85% fewer parameters. To achieve this result, we first tested several audio feature extraction techniques designed for Transformers, using ESC-50 for evaluation, along with various augmentations. Our final model outperforms the state-of-the-art MFCC-based CNN on the office sounds dataset, using just over 6,000 parameters -- small enough to run on a microcontroller.

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.

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.

Universal sound separation aims to extract clean audio tracks corresponding to distinct events from mixed audio, which is critical for artificial auditory perception. However, current methods heavily rely on artificially mixed audio for training, which limits their ability to generalize to naturally mixed audio collected in real-world environments. To overcome this limitation, we propose ClearSep, an innovative framework that employs a data engine to decompose complex naturally mixed audio into multiple independent tracks, thereby allowing effective sound separation in real-world scenarios. We introduce two remix-based evaluation metrics to quantitatively assess separation quality and use these metrics as thresholds to iteratively apply the data engine alongside model training, progressively optimizing separation performance. In addition, we propose a series of training strategies tailored to these separated independent tracks to make the best use of them. Extensive experiments demonstrate that ClearSep achieves state-of-the-art performance across multiple sound separation tasks, highlighting its potential for advancing sound separation in natural audio scenarios. For more examples and detailed results, please visit our demo page at https://clearsep.github.io.

Recent advancements in latent diffusion models (LDMs) have markedly enhanced text-to-audio generation, yet their iterative sampling processes impose substantial computational demands, limiting practical deployment. While recent methods utilizing consistency-based distillation aim to achieve few-step or single-step inference, their one-step performance is constrained by curved trajectories, preventing them from surpassing traditional diffusion models. In this work, we introduce FlashAudio with rectified flows to learn straight flow for fast simulation. To alleviate the inefficient timesteps allocation and suboptimal distribution of noise, FlashAudio optimizes the time distribution of rectified flow with Bifocal Samplers and proposes immiscible flow to minimize the total distance of data-noise pairs in a batch vias assignment. Furthermore, to address the amplified accumulation error caused by the classifier-free guidance (CFG), we propose Anchored Optimization, which refines the guidance scale by anchoring it to a reference trajectory. Experimental results on text-to-audio generation demonstrate that FlashAudio's one-step generation performance surpasses the diffusion-based models with hundreds of sampling steps on audio quality and enables a sampling speed of 400x faster than real-time on a single NVIDIA 4090Ti GPU.

The rapid development of large-scale text-to-speech (TTS) models has led to significant advancements in modeling diverse speaker prosody and voices. However, these models often face issues such as slow inference speeds, reliance on complex pre-trained neural codec representations, and difficulties in achieving naturalness and high similarity to reference speakers. To address these challenges, this work introduces StyleTTS-ZS, an efficient zero-shot TTS model that leverages distilled time-varying style diffusion to capture diverse speaker identities and prosodies. We propose a novel approach that represents human speech using input text and fixed-length time-varying discrete style codes to capture diverse prosodic variations, trained adversarially with multi-modal discriminators. A diffusion model is then built to sample this time-varying style code for efficient latent diffusion. Using classifier-free guidance, StyleTTS-ZS achieves high similarity to the reference speaker in the style diffusion process. Furthermore, to expedite sampling, the style diffusion model is distilled with perceptual loss using only 10k samples, maintaining speech quality and similarity while reducing inference speed by 90%. Our model surpasses previous state-of-the-art large-scale zero-shot TTS models in both naturalness and similarity, offering a 10-20 faster sampling speed, making it an attractive alternative for efficient large-scale zero-shot TTS systems. The audio demo, code and models are available at https://styletts-zs.github.io/.

Text-to-audio (TTA) system has recently gained attention for its ability to synthesize general audio based on text descriptions. However, previous studies in TTA have limited generation quality with high computational costs. In this study, we propose AudioLDM, a TTA system that is built on a latent space to learn the continuous audio representations from contrastive language-audio pretraining (CLAP) latents. The pretrained CLAP models enable us to train LDMs with audio embedding while providing text embedding as a condition during sampling. By learning the latent representations of audio signals and their compositions without modeling the cross-modal relationship, AudioLDM is advantageous in both generation quality and computational efficiency. Trained on AudioCaps with a single GPU, AudioLDM achieves state-of-the-art TTA performance measured by both objective and subjective metrics (e.g., frechet distance). Moreover, AudioLDM is the first TTA system that enables various text-guided audio manipulations (e.g., style transfer) in a zero-shot fashion. Our implementation and demos are available at https://audioldm.github.io.

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.

Neural audio codecs are a fundamental component of modern generative audio pipelines. Although recent codecs achieve strong low-bitrate reconstruction and provide powerful representations for downstream tasks, most are non-streamable, limiting their use in real-time applications. We present FocalCodec-Stream, a hybrid codec based on focal modulation that compresses speech into a single binary codebook at 0.55 - 0.80 kbps with a theoretical latency of 80 ms. Our approach combines multi-stage causal distillation of WavLM with targeted architectural improvements, including a lightweight refiner module that enhances quality under latency constraints. Experiments show that FocalCodec-Stream outperforms existing streamable codecs at comparable bitrates, while preserving both semantic and acoustic information. The result is a favorable trade-off between reconstruction quality, downstream task performance, latency, and efficiency. Code and checkpoints will be released at https://github.com/lucadellalib/focalcodec.

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.

This paper presents a new approach to fine-tuning OpenAI's Whisper model for low-resource languages by introducing a novel data generation method that converts sentence-level data into a long-form corpus, using Swiss German as a case study. Non-sentence-level data, which could improve the performance of long-form audio, is difficult to obtain and often restricted by copyright laws. Our method bridges this gap by transforming more accessible sentence-level data into a format that preserves the model's ability to handle long-form audio and perform segmentation without requiring non-sentence-level data. Our data generation process improves performance in several real-world applications and leads to the development of a new state-of-the-art speech-to-text (STT) model for Swiss German. We compare our model with a non-fine-tuned Whisper and our previous state-of-the-art Swiss German STT models, where our new model achieves higher BLEU scores. Our results also indicate that the proposed method is adaptable to other low-resource languages, supported by written guidance and code that allows the creation of fine-tuned Whisper models, which keep segmentation capabilities and allow the transcription of longer audio files using only sentence-level data with high quality.

In this article, we adapted five recent SSL methods to the task of audio classification. The first two methods, namely Deep Co-Training (DCT) and Mean Teacher (MT), involve two collaborative neural networks. The three other algorithms, called MixMatch (MM), ReMixMatch (RMM), and FixMatch (FM), are single-model methods that rely primarily on data augmentation strategies. Using the Wide-ResNet-28-2 architecture in all our experiments, 10% of labeled data and the remaining 90% as unlabeled data for training, we first compare the error rates of the five methods on three standard benchmark audio datasets: Environmental Sound Classification (ESC-10), UrbanSound8K (UBS8K), and Google Speech Commands (GSC). In all but one cases, MM, RMM, and FM outperformed MT and DCT significantly, MM and RMM being the best methods in most experiments. On UBS8K and GSC, MM achieved 18.02% and 3.25% error rate (ER), respectively, outperforming models trained with 100% of the available labeled data, which reached 23.29% and 4.94%, respectively. RMM achieved the best results on ESC-10 (12.00% ER), followed by FM which reached 13.33%. Second, we explored adding the mixup augmentation, used in MM and RMM, to DCT, MT, and FM. In almost all cases, mixup brought consistent gains. For instance, on GSC, FM reached 4.44% and 3.31% ER without and with mixup. Our PyTorch code will be made available upon paper acceptance at https:// github. com/ Labbe ti/ SSLH.