Daily Papers

Audio source separation models must preserve fine spectral structure while keeping the cost of the separator tractable. Band-split architectures reduce this cost by manually partitioning the spectrum into predefined frequency bands and encoding each band as a token, but the same boundaries are used for every mixture. Because informative spectral structure varies with source content, fixed boundaries can merge discriminative components or spend tokens where little resolution is needed. We introduce Dynamic Band Splitting (DBS), an end-to-end framework that adapts boundary locations and band widths to each mixture under a fixed band-token budget. DBS predicts content-conditioned boundary scores within frequency blocks, selects a prescribed number of boundaries using hard Top-K, and applies content-dependent pooling to obtain compact band tokens. After separation, it smooths and expands these tokens to the original STFT grid, refines them along frequency, and decodes complex masks with a frequency-shared head. DBS improved separation over the corresponding static models on DnR v2, MUSDB18-HQ, and EchoSet, with DBS-BSRNN achieving relative gain of 29.0% in average SI-SDR on DnR v2. These results and boundary analyses on DnR v2 show that content-adaptive frequency partitioning benefits multiple separator backbones under a fixed band-token budget. Code and audio demos are available at https://cslikai.cn/Dynamic-Band-Splitting

The performance of music source separation (MSS) models has been greatly improved in recent years thanks to the development of novel neural network architectures and training pipelines. However, recent model designs for MSS were mainly motivated by other audio processing tasks or other research fields, while the intrinsic characteristics and patterns of the music signals were not fully discovered. In this paper, we propose band-split RNN (BSRNN), a frequency-domain model that explictly splits the spectrogram of the mixture into subbands and perform interleaved band-level and sequence-level modeling. The choices of the bandwidths of the subbands can be determined by a priori knowledge or expert knowledge on the characteristics of the target source in order to optimize the performance on a certain type of target musical instrument. To better make use of unlabeled data, we also describe a semi-supervised model finetuning pipeline that can further improve the performance of the model. Experiment results show that BSRNN trained only on MUSDB18-HQ dataset significantly outperforms several top-ranking models in Music Demixing (MDX) Challenge 2021, and the semi-supervised finetuning stage further improves the performance on all four instrument tracks.

Recently, multi-band spectrogram-based approaches such as Band-Split RNN (BSRNN) have demonstrated promising results for music source separation. In our recent work, we introduce the BS-RoFormer model which inherits the idea of band-split scheme in BSRNN at the front-end, and then uses the hierarchical Transformer with Rotary Position Embedding (RoPE) to model the inner-band and inter-band sequences for multi-band mask estimation. This model has achieved state-of-the-art performance, but the band-split scheme is defined empirically, without analytic supports from the literature. In this paper, we propose Mel-RoFormer, which adopts the Mel-band scheme that maps the frequency bins into overlapped subbands according to the mel scale. In contract, the band-split mapping in BSRNN and BS-RoFormer is non-overlapping and designed based on heuristics. Using the MUSDB18HQ dataset for experiments, we demonstrate that Mel-RoFormer outperforms BS-RoFormer in the separation tasks of vocals, drums, and other stems.

Despite significant recent progress across multiple subtasks of audio source separation, few music source separation systems support separation beyond the four-stem vocals, drums, bass, and other (VDBO) setup. Of the very few current systems that support source separation beyond this setup, most continue to rely on an inflexible decoder setup that can only support a fixed pre-defined set of stems. Increasing stem support in these inflexible systems correspondingly requires increasing computational complexity, rendering extensions of these systems computationally infeasible for long-tail instruments. In this work, we propose Banquet, a system that allows source separation of multiple stems using just one decoder. A bandsplit source separation model is extended to work in a query-based setup in tandem with a music instrument recognition PaSST model. On the MoisesDB dataset, Banquet, at only 24.9 M trainable parameters, approached the performance level of the significantly more complex 6-stem Hybrid Transformer Demucs on VDBO stems and outperformed it on guitar and piano. The query-based setup allows for the separation of narrow instrument classes such as clean acoustic guitars, and can be successfully applied to the extraction of less common stems such as reeds and organs. Implementation is available at https://github.com/kwatcharasupat/query-bandit.

Music source separation (MSS) aims to separate a music recording into multiple musically distinct stems, such as vocals, bass, drums, and more. Recently, deep learning approaches such as convolutional neural networks (CNNs) and recurrent neural networks (RNNs) have been used, but the improvement is still limited. In this paper, we propose a novel frequency-domain approach based on a Band-Split RoPE Transformer (called BS-RoFormer). BS-RoFormer relies on a band-split module to project the input complex spectrogram into subband-level representations, and then arranges a stack of hierarchical Transformers to model the inner-band as well as inter-band sequences for multi-band mask estimation. To facilitate training the model for MSS, we propose to use the Rotary Position Embedding (RoPE). The BS-RoFormer system trained on MUSDB18HQ and 500 extra songs ranked the first place in the MSS track of Sound Demixing Challenge (SDX23). Benchmarking a smaller version of BS-RoFormer on MUSDB18HQ, we achieve state-of-the-art result without extra training data, with 9.80 dB of average SDR.

Deep learning-based methods have made significant achievements in music source separation. However, obtaining good results while maintaining a low model complexity remains challenging in super wide-band music source separation. Previous works either overlook the differences in subbands or inadequately address the problem of information loss when generating subband features. In this paper, we propose SCNet, a novel frequency-domain network to explicitly split the spectrogram of the mixture into several subbands and introduce a sparsity-based encoder to model different frequency bands. We use a higher compression ratio on subbands with less information to improve the information density and focus on modeling subbands with more information. In this way, the separation performance can be significantly improved using lower computational consumption. Experiment results show that the proposed model achieves a signal to distortion ratio (SDR) of 9.0 dB on the MUSDB18-HQ dataset without using extra data, which outperforms state-of-the-art methods. Specifically, SCNet's CPU inference time is only 48% of HT Demucs, one of the previous state-of-the-art models.

Neural audio codecs with residual vector quantization (RVQ) normally treat all frequencies uniformly, so their codebooks become spectrally entangled. Truncating stages then removes an unpredictable mix of frequencies. Parallel band decomposition addresses this by splitting audio into independent bands, but fragments the latent space and loses cross-frequency coherence. We introduce HARP (Harmonic-Aware Residual Partitioning), a training strategy that partitions RVQ stages into frequency-ordered groups where each group refines its target band while the decoder retains access to all lower frequencies. Overtones are reconstructed in the context of their fundamentals, preserving coherence that parallel methods lose. HARP requires no architectural changes; it only modifies the training loss, leaving inference identical to standard RVQ. On speech, music, and general audio, HARP outperforms both standard RVQ and parallel decomposition. MUSHRA listening tests also show perceptual improvements.

Recently, many methods based on deep learning have been proposed for music source separation. Some state-of-the-art methods have shown that stacking many layers with many skip connections improve the SDR performance. Although such a deep and complex architecture shows outstanding performance, it usually requires numerous computing resources and time for training and evaluation. This paper proposes a two-stream neural network for music demixing, called KUIELab-MDX-Net, which shows a good balance of performance and required resources. The proposed model has a time-frequency branch and a time-domain branch, where each branch separates stems, respectively. It blends results from two streams to generate the final estimation. KUIELab-MDX-Net took second place on leaderboard A and third place on leaderboard B in the Music Demixing Challenge at ISMIR 2021. This paper also summarizes experimental results on another benchmark, MUSDB18. Our source code is available online.

Cinematic audio source separation is a relatively new subtask of audio source separation, with the aim of extracting the dialogue, music, and effects stems from their mixture. In this work, we developed a model generalizing the Bandsplit RNN for any complete or overcomplete partitions of the frequency axis. Psychoacoustically motivated frequency scales were used to inform the band definitions which are now defined with redundancy for more reliable feature extraction. A loss function motivated by the signal-to-noise ratio and the sparsity-promoting property of the 1-norm was proposed. We additionally exploit the information-sharing property of a common-encoder setup to reduce computational complexity during both training and inference, improve separation performance for hard-to-generalize classes of sounds, and allow flexibility during inference time with detachable decoders. Our best model sets the state of the art on the Divide and Remaster dataset with performance above the ideal ratio mask for the dialogue stem.

In music source separation (MSS), obtaining isolated sources or stems is highly costly, making pre-training on unlabeled data a promising approach. Although source-agnostic unsupervised learning like mixture-invariant training (MixIT) has been explored in general sound separation, they have been largely overlooked in MSS due to its implicit assumption of source independence. We hypothesize, however, that the difficulty of applying MixIT to MSS arises from the ill-posed nature of MSS itself, where stem definitions are application-dependent and models lack explicit knowledge of what should or should not be separated, rather than from high inter-source correlation. While MixIT does not assume any source model and struggles with such ambiguities, our preliminary experiments show that it can still separate instruments to some extent, suggesting its potential for unsupervised pre-training. Motivated by these insights, this study investigates MixIT-based pre-training for MSS. We first pre-train a model on in-the-wild, unlabeled data from the Free Music Archive using MixIT, and then fine-tune it on MUSDB18 with supervision. Using the band-split TF-Locoformer, one of the state-of-the-art MSS models, we demonstrate that MixIT-based pre-training improves the performance over training from scratch.

We audit frequency and decoder-depth claims for AdvWave-P, an additive audio jailbreak, on Qwen2-Audio. The protocol masks frequency components of the perturbation in the short-time Fourier transform (STFT) domain and measures attack success and audio-span representations. On 520 AdvBench prompts, the primary judge labels 76.7% of adversarial inputs as jailbreaks. A condition-blind, single-annotator validation yields a Rogan-Gladen sensitivity estimate of 0.87 for this condition (about 0.83-0.95 with validation-rate uncertainty); this correction is not applied to masked conditions. The apparent frequency ranking depends on the partition: energy share alone predicts the standard eight-band ranking (Spearman's rho = 0.95), and equal-Hz and equal-energy partitions show that masking any tested band can sharply reduce attack success. At a finer 16-band equal-energy resolution, however, masking the narrow 7520-7960 Hz band leaves ASR at 0.10, which remains unresolved without a matched control. Matched-energy scattered-removal tests show that contiguous removal is more damaging in lower bands, while both forms approach the floor in upper bands. Global rescaling leaves ASR near baseline but tests amplitude sensitivity rather than frequency location. In a re-optimization pilot (n = 20), tested single- and two-band supports reach ASRs of 0.00, 0.25, and 0.40, while random supports covering about half the STFT bins reach a mean of 0.86. In a prompt- and energy-adjusted model, audio-span divergence is associated with band necessity, with the coefficient rising from +0.63 at the projector output to +0.93 at layer 30 (contrast +0.293, 95% CI [0.11, 0.51]). This association is not a causal localization, and single-layer patching does not establish a causal layer. The results support partition-aware auditing of frequency claims, leaving the fine-resolution top-band result and broader generality open.

This paper presents a configurable version of Extreme Bandwidth Extension Network (EBEN), a Generative Adversarial Network (GAN) designed to improve audio captured with body-conduction microphones. We show that although these microphones significantly reduce environmental noise, this insensitivity to ambient noise happens at the expense of the bandwidth of the speech signal acquired by the wearer of the devices. The obtained captured signals therefore require the use of signal enhancement techniques to recover the full-bandwidth speech. EBEN leverages a configurable multiband decomposition of the raw captured signal. This decomposition allows the data time domain dimensions to be reduced and the full band signal to be better controlled. The multiband representation of the captured signal is processed through a U-Net-like model, which combines feature and adversarial losses to generate an enhanced speech signal. We also benefit from this original representation in the proposed configurable discriminators architecture. The configurable EBEN approach can achieve state-of-the-art enhancement results on synthetic data with a lightweight generator that allows real-time processing.

Music source separation (MSS) aims to extract 'vocals', 'drums', 'bass' and 'other' tracks from a piece of mixed music. While deep learning methods have shown impressive results, there is a trend toward larger models. In our paper, we introduce a novel and lightweight architecture called DTTNet, which is based on Dual-Path Module and Time-Frequency Convolutions Time-Distributed Fully-connected UNet (TFC-TDF UNet). DTTNet achieves 10.12 dB cSDR on 'vocals' compared to 10.01 dB reported for Bandsplit RNN (BSRNN) but with 86.7% fewer parameters. We also assess pattern-specific performance and model generalization for intricate audio patterns.

Dynamic Mode Decomposition (DMD) is an equation-free method that aims at reconstructing the best linear fit from temporal datasets. In this paper, we show that DMD does not provide accurate approximation for datasets describing oscillatory dynamics, like spiral waves and relaxation oscillations, or spatio-temporal Turing instability. Inspired from the classical "divide and conquer" approach, we propose a piecewise version of DMD (pDMD) to overcome this problem. The main idea is to split the original dataset in N submatrices and then apply the exact (randomized) DMD method in each subset of the obtained partition. We describe the pDMD algorithm in detail and we introduce some error indicators to evaluate its performance when N is increased. Numerical experiments show that very accurate reconstructions are obtained by pDMD for datasets arising from time snapshots of some reaction-diffusion PDE systems, like the FitzHugh-Nagumo model, the lambda-omega system and the DIB morpho-chemical system for battery modeling.

Deep learning-based music source separation has gained a lot of interest in the last decades. Most of the existing methods operate with either spectrograms or waveforms. Spectrogram based models learn suitable masks for separating magnitude spectrogram into different sources, and waveform-based models directly generate waveforms of individual sources. The two types of models have complementary strengths; the former is superior given harmonic sources such as vocals, while the latter demonstrates better results for percussion and bass instruments. In this work, we improved upon the state-of-the-art (SoTA) models and successfully combined the best of both worlds. The backbones of the proposed framework, dubbed Danna-Sep, are two spectrogram-based models including a modified X-UMX and U-Net, and an enhanced Demucs as the waveform-based model. Given an input of mixture, we linearly combined respective outputs from the three models to obtain the final result. We showed in the experiments that, despite its simplicity, Danna-Sep surpassed the SoTA models by a large margin in terms of Source-to-Distortion Ratio.

Time-series forecasting is crucial for numerous real-world applications including weather prediction and financial market modeling. While temporal-domain methods remain prevalent, frequency-domain approaches can effectively capture multi-scale periodic patterns, reduce sequence dependencies, and naturally denoise signals. However, existing approaches typically train model components for all frequencies under a unified training objective, often leading to mismatched learning speeds: high-frequency components converge faster and risk overfitting, while low-frequency components underfit due to insufficient training time. To deal with this challenge, we propose BEAT (Balanced frEquency Adaptive Tuning), a novel framework that dynamically monitors the training status for each frequency and adaptively adjusts their gradient updates. By recognizing convergence, overfitting, or underfitting for each frequency, BEAT dynamically reallocates learning priorities, moderating gradients for rapid learners and increasing those for slower ones, alleviating the tension between competing objectives across frequencies and synchronizing the overall learning process. Extensive experiments on seven real-world datasets demonstrate that BEAT consistently outperforms state-of-the-art approaches.

There have been significant advances in deep learning for music demixing in recent years. However, there has been little attention given to how these neural networks can be adapted for real-time low-latency applications, which could be helpful for hearing aids, remixing audio streams and live shows. In this paper, we investigate the various challenges involved in adapting current demixing models in the literature for this use case. Subsequently, inspired by the Hybrid Demucs architecture, we propose the Hybrid Spectrogram Time-domain Audio Separation Network HS-TasNet, which utilises the advantages of spectral and waveform domains. For a latency of 23 ms, the HS-TasNet obtains an overall signal-to-distortion ratio (SDR) of 4.65 on the MusDB test set, and increases to 5.55 with additional training data. These results demonstrate the potential of efficient demixing for real-time low-latency music applications.

This letter introduces a novel partitioning scheme for reconfigurable intelligent surfaces (RISs) that simultaneously consider RIS identification and beamforming. The proposed scheme dynamicly and efficiently allocates RIS elements between identification and beamforming users, considering the different performance metrics associated with each of them. By employing a dynamic partitioning algorithm that efficiently manage the RIS resources (elements), the scheme significantly enhances the signal-to-noise ratio (SNR) while maintaining reliable identification performance. Finally, theoretical analysis and computer simulations are provided to demonstrate the validity of the proposed scheme.

Models for audio source separation usually operate on the magnitude spectrum, which ignores phase information and makes separation performance dependant on hyper-parameters for the spectral front-end. Therefore, we investigate end-to-end source separation in the time-domain, which allows modelling phase information and avoids fixed spectral transformations. Due to high sampling rates for audio, employing a long temporal input context on the sample level is difficult, but required for high quality separation results because of long-range temporal correlations. In this context, we propose the Wave-U-Net, an adaptation of the U-Net to the one-dimensional time domain, which repeatedly resamples feature maps to compute and combine features at different time scales. We introduce further architectural improvements, including an output layer that enforces source additivity, an upsampling technique and a context-aware prediction framework to reduce output artifacts. Experiments for singing voice separation indicate that our architecture yields a performance comparable to a state-of-the-art spectrogram-based U-Net architecture, given the same data. Finally, we reveal a problem with outliers in the currently used SDR evaluation metrics and suggest reporting rank-based statistics to alleviate this problem.

Source separation models either work on the spectrogram or waveform domain. In this work, we show how to perform end-to-end hybrid source separation, letting the model decide which domain is best suited for each source, and even combining both. The proposed hybrid version of the Demucs architecture won the Music Demixing Challenge 2021 organized by Sony. This architecture also comes with additional improvements, such as compressed residual branches, local attention or singular value regularization. Overall, a 1.4 dB improvement of the Signal-To-Distortion (SDR) was observed across all sources as measured on the MusDB HQ dataset, an improvement confirmed by human subjective evaluation, with an overall quality rated at 2.83 out of 5 (2.36 for the non hybrid Demucs), and absence of contamination at 3.04 (against 2.37 for the non hybrid Demucs and 2.44 for the second ranking model submitted at the competition).

Source separation for music is the task of isolating contributions, or stems, from different instruments recorded individually and arranged together to form a song. Such components include voice, bass, drums and any other accompaniments.Contrarily to many audio synthesis tasks where the best performances are achieved by models that directly generate the waveform, the state-of-the-art in source separation for music is to compute masks on the magnitude spectrum. In this paper, we compare two waveform domain architectures. We first adapt Conv-Tasnet, initially developed for speech source separation,to the task of music source separation. While Conv-Tasnet beats many existing spectrogram-domain methods, it suffersfrom significant artifacts, as shown by human evaluations. We propose instead Demucs, a novel waveform-to-waveform model,with a U-Net structure and bidirectional LSTM.Experiments on the MusDB dataset show that, with proper data augmentation, Demucs beats allexisting state-of-the-art architectures, including Conv-Tasnet, with 6.3 SDR on average, (and up to 6.8 with 150 extra training songs, even surpassing the IRM oracle for the bass source).Using recent development in model quantization, Demucs can be compressed down to 120MBwithout any loss of accuracy.We also provide human evaluations, showing that Demucs benefit from a large advantagein terms of the naturalness of the audio. However, it suffers from some bleeding,especially between the vocals and other source.

Image Signal Processors (ISPs) play important roles in image recognition tasks as well as in the perceptual quality of captured images. In most cases, experts make a lot of effort to manually tune many parameters of ISPs, but the parameters are sub-optimal. In the literature, two types of techniques have been actively studied: a machine learning-based parameter tuning technique and a DNN-based ISP technique. The former is lightweight but lacks expressive power. The latter has expressive power, but the computational cost is too heavy on edge devices. To solve these problems, we propose "DynamicISP," which consists of multiple classical ISP functions and dynamically controls the parameters of each frame according to the recognition result of the previous frame. We show our method successfully controls the parameters of multiple ISP functions and achieves state-of-the-art accuracy with low computational cost in single and multi-category object detection tasks.

Spectral band replication (SBR) enables bit-efficient coding by generating high-frequency bands from the low-frequency ones. However, it only utilizes coarse spectral features upon a subband-wise signal replication, limiting adaptability to diverse acoustic signals. In this paper, we explore the efficacy of a deep neural network (DNN)-based generative approach for coding the high-frequency bands, which we call neural spectral band generation (n-SBG). Specifically, we propose a DNN-based encoder-decoder structure to extract and quantize the side information related to the high-frequency components and generate the components given both the side information and the decoded core-band signals. The whole coding pipeline is optimized with generative adversarial criteria to enable the generation of perceptually plausible sound. From experiments using AAC as the core codec, we show that the proposed method achieves a better perceptual quality than HE-AAC-v1 with much less side information.

Image dehazing aims to restore image clarity and visual quality by reducing atmospheric scattering and absorption effects. While deep learning has made significant strides in this area, more and more methods are constrained by network depth. Consequently, lots of approaches have adopted parallel branching strategies. however, they often prioritize aspects such as resolution, receptive field, or frequency domain segmentation without dynamically partitioning branches based on the distribution of input features. Inspired by dynamic filtering, we propose using cascaded dynamic filters to create a multi-branch network by dynamically generating filter kernels based on feature map distribution. To better handle branch features, we propose a residual multiscale block (RMB), combining different receptive fields. Furthermore, we also introduce a dynamic convolution-based local fusion method to merge features from adjacent branches. Experiments on RESIDE, Haze4K, and O-Haze datasets validate our method's effectiveness, with our model achieving a PSNR of 43.21dB on the RESIDE-Indoor dataset. The code is available at https://github.com/dauing/CasDyF-Net.

In this paper, we present Extreme Bandwidth Extension Network (EBEN), a Generative Adversarial network (GAN) that enhances audio measured with body-conduction microphones. This type of capture equipment suppresses ambient noise at the expense of speech bandwidth, thereby requiring signal enhancement techniques to recover the wideband speech signal. EBEN leverages a multiband decomposition of the raw captured speech to decrease the data time-domain dimensions, and give better control over the full-band signal. This multiband representation is fed to a U-Net-like model, which adopts a combination of feature and adversarial losses to recover an enhanced audio signal. We also benefit from this original representation in the proposed discriminator architecture. Our approach can achieve state-of-the-art results with a lightweight generator and real-time compatible operation.

Magnetic resonance imaging (MRI) provides high spatial resolution and excellent soft-tissue contrast without using harmful ionising radiation. Dynamic MRI is an essential tool for interventions to visualise movements or changes of the target organ. However, such MRI acquisition with high temporal resolution suffers from limited spatial resolution - also known as the spatio-temporal trade-off of dynamic MRI. Several approaches, including deep learning based super-resolution approaches, have been proposed to mitigate this trade-off. Nevertheless, such an approach typically aims to super-resolve each time-point separately, treating them as individual volumes. This research addresses the problem by creating a deep learning model which attempts to learn both spatial and temporal relationships. A modified 3D UNet model, DDoS-UNet, is proposed - which takes the low-resolution volume of the current time-point along with a prior image volume. Initially, the network is supplied with a static high-resolution planning scan as the prior image along with the low-resolution input to super-resolve the first time-point. Then it continues step-wise by using the super-resolved time-points as the prior image while super-resolving the subsequent time-points. The model performance was tested with 3D dynamic data that was undersampled to different in-plane levels. The proposed network achieved an average SSIM value of 0.951pm0.017 while reconstructing the lowest resolution data (i.e. only 4\% of the k-space acquired) - which could result in a theoretical acceleration factor of 25. The proposed approach can be used to reduce the required scan-time while achieving high spatial resolution.

We investigate a dynamically adapting tuning scheme for microtonal tuning of musical instruments, allowing the performer to play music in just intonation in any key. Unlike other methods, which are based on a procedural analysis of the chordal structure, the tuning scheme continually solves a system of linear equations without making explicit decisions. In complex situations, where not all intervals of a chord can be tuned according to just frequency ratios, the method automatically yields a tempered compromise. We outline the implementation of the algorithm in an open-source software project that we have provided in order to demonstrate the feasibility of the tuning method.

Conventional acoustic beamformers assume that noise is stationary within short time frames. This assumption prevents them from exploiting correlations between frequencies in almost-periodic noise sources such as musical instruments, fans, and engines. These signals exhibit periodically varying statistics and are better modeled as cyclostationary processes. This paper introduces the cyclic MVDR (cMVDR) beamformer, an extension of the conventional MVDR that leverages both spatial and spectral correlations to improve noise reduction, particularly in low-SNR scenarios. The method builds on frequency-shifted (FRESH) filtering, where shifted versions of the input are combined to attenuate or amplify components that are coherent across frequency. To address inharmonicity, where harmonic partials deviate from exact integer multiples of the fundamental frequency, we propose a data-driven strategy that estimates resonant frequencies via periodogram analysis and computes the frequency shifts from their spacing. Analytical and experimental results demonstrate that performance improves with increasing spectral correlation. On real recordings, the cMVDR achieves up to 5 dB gain in scale-invariant signal-to-distortion ratio (SI-SDR) over the MVDR and remains effective even with a single microphone. Code is available at https://github.com/Screeen/cMVDR.

The coexistence of heterogeneous cellular standards (2G-5G) in shared spectrum demands sophisticated RF source separation techniques, yet no public dataset exists for data-driven research on this problem. We present RFSS (RF Signal Source Separation), an open-source dataset of 100,000 multi-source RF signal samples generated with full 3GPP standards compliance. The dataset covers GSM (TS 45.004), UMTS (TS 25.211), LTE (TS 36.211), and 5G NR (TS 38.211), with 2-4 simultaneous sources per sample plus 4,000 single-source reference samples, at 30.72 MHz sample rate. Each sample passes through independent 3GPP TDL multipath fading channels and realistic hardware impairments: carrier frequency offset, I/Q imbalance, phase noise, DC offset, and PA nonlinearity (Rapp model). Two mixing modes are provided: co-channel (all sources at baseband) and adjacent-channel (each source frequency-shifted to its standard-specific carrier). The dataset totals 103 GB in HDF5 format with a 70/15/15 train/validation/test split. We benchmark five methods: FastICA, Frobenius-norm NMF, Conv-TasNet, DPRNN, and a CNN-LSTM baseline, evaluated using permutation-invariant SI-SINR (PI-SI-SINR). Conv-TasNet achieves -21.18 dB PI-SI-SINR on 2-source mixtures versus -34.91 dB for ICA, a 13.7 dB improvement. On co-channel mixtures, Conv-TasNet reaches -12.34 dB versus -28.04 dB for ICA and -16.19 dB for NMF. The dataset and evaluation code are publicly released at submission time.

Controllable music generation promotes the interaction between humans and composition systems by projecting the users' intent on their desired music. The challenge of introducing controllability is an increasingly important issue in the symbolic music generation field. When building controllable generative popular multi-instrument music systems, two main challenges typically present themselves, namely weak controllability and poor music quality. To address these issues, we first propose spatiotemporal features as powerful and fine-grained controls to enhance the controllability of the generative model. In addition, an efficient music representation called REMI_Track is designed to convert multitrack music into multiple parallel music sequences and shorten the sequence length of each track with Byte Pair Encoding (BPE) techniques. Subsequently, we release BandControlNet, a conditional model based on parallel Transformers, to tackle the multiple music sequences and generate high-quality music samples that are conditioned to the given spatiotemporal control features. More concretely, the two specially designed modules of BandControlNet, namely structure-enhanced self-attention (SE-SA) and Cross-Track Transformer (CTT), are utilized to strengthen the resulting musical structure and inter-track harmony modeling respectively. Experimental results tested on two popular music datasets of different lengths demonstrate that the proposed BandControlNet outperforms other conditional music generation models on most objective metrics in terms of fidelity and inference speed and shows great robustness in generating long music samples. The subjective evaluations show BandControlNet trained on short datasets can generate music with comparable quality to state-of-the-art models, while outperforming them significantly using longer datasets.

Smoke segmentation is critical for wildfire management and industrial safety applications. Traditional visible-light-based methods face limitations due to insufficient spectral information, particularly struggling with cloud interference and semi-transparent smoke regions. To address these challenges, we introduce hyperspectral imaging for smoke segmentation and present the first hyperspectral smoke segmentation dataset (HSSDataset) with carefully annotated samples collected from over 18,000 frames across 20 real-world scenarios using a Many-to-One annotations protocol. However, different spectral bands exhibit varying discriminative capabilities across spatial regions, necessitating adaptive band weighting strategies. We decompose this into three technical challenges: spectral interaction contamination, limited spectral pattern modeling, and complex weighting router problems. We propose a mixture of prototypes (MoP) network with: (1) Band split for spectral isolation, (2) Prototype-based spectral representation for diverse patterns, and (3) Dual-level router for adaptive spatial-aware band weighting. We further construct a multispectral dataset (MSSDataset) with RGB-infrared images. Extensive experiments validate superior performance across both hyperspectral and multispectral modalities, establishing a new paradigm for spectral-based smoke segmentation.

Music source separation in the time-frequency domain is commonly achieved by applying a soft or binary mask to the magnitude component of (complex) spectrograms. The phase component is usually not estimated, but instead copied from the mixture and applied to the magnitudes of the estimated isolated sources. While this method has several practical advantages, it imposes an upper bound on the performance of the system, where the estimated isolated sources inherently exhibit audible "phase artifacts". In this paper we address these shortcomings by directly estimating masks in the complex domain, extending recent work from the speech enhancement literature. The method is particularly well suited for multi-instrument musical source separation since residual phase artifacts are more pronounced for spectrally overlapping instrument sources, a common scenario in music. We show that complex masks result in better separation than masks that operate solely on the magnitude component.

Dynamic Music Emotion Recognition (DMER) aims to predict the emotion of different moments in music, playing a crucial role in music information retrieval. The existing DMER methods struggle to capture long-term dependencies when dealing with sequence data, which limits their performance. Furthermore, these methods often overlook the influence of individual differences on emotion perception, even though everyone has their own personalized emotional perception in the real world. Motivated by these issues, we explore more effective sequence processing methods and introduce the Personalized DMER (PDMER) problem, which requires models to predict emotions that align with personalized perception. Specifically, we propose a Dual-Scale Attention-Based Meta-Learning (DSAML) method. This method fuses features from a dual-scale feature extractor and captures both short and long-term dependencies using a dual-scale attention transformer, improving the performance in traditional DMER. To achieve PDMER, we design a novel task construction strategy that divides tasks by annotators. Samples in a task are annotated by the same annotator, ensuring consistent perception. Leveraging this strategy alongside meta-learning, DSAML can predict personalized perception of emotions with just one personalized annotation sample. Our objective and subjective experiments demonstrate that our method can achieve state-of-the-art performance in both traditional DMER and PDMER.

Prevailing quantization techniques in Learned Image Compression (LIC) typically employ a static, uniform bit-width across all layers, failing to adapt to the highly diverse data distributions and sensitivity characteristics inherent in LIC models. This leads to a suboptimal trade-off between performance and efficiency. In this paper, we introduce DynaQuant, a novel framework for dynamic mixed-precision quantization that operates on two complementary levels. First, we propose content-aware quantization, where learnable scaling and offset parameters dynamically adapt to the statistical variations of latent features. This fine-grained adaptation is trained end-to-end using a novel Distance-aware Gradient Modulator (DGM), which provides a more informative learning signal than the standard Straight-Through Estimator. Second, we introduce a data-driven, dynamic bit-width selector that learns to assign an optimal bit precision to each layer, dynamically reconfiguring the network's precision profile based on the input data. Our fully dynamic approach offers substantial flexibility in balancing rate-distortion (R-D) performance and computational cost. Experiments demonstrate that DynaQuant achieves rd performance comparable to full-precision models while significantly reducing computational and storage requirements, thereby enabling the practical deployment of advanced LIC on diverse hardware platforms.

Hyperspectral pansharpening has received much attention in recent years due to technological and methodological advances that open the door to new application scenarios. However, research on this topic is only now gaining momentum. The most popular methods are still borrowed from the more mature field of multispectral pansharpening and often overlook the unique challenges posed by hyperspectral data fusion, such as i) the very large number of bands, ii) the overwhelming noise in selected spectral ranges, iii) the significant spectral mismatch between panchromatic and hyperspectral components, iv) a typically high resolution ratio. Imprecise data modeling especially affects spectral fidelity. Even state-of-the-art methods perform well in certain spectral ranges and much worse in others, failing to ensure consistent quality across all bands, with the risk of generating unreliable results. Here, we propose a hyperspectral pansharpening method that explicitly addresses this problem and ensures uniform spectral quality. To this end, a single lightweight neural network is used, with weights that adapt on the fly to each band. During fine-tuning, the spatial loss is turned on and off to ensure a fast convergence of the spectral loss to the desired level, according to a hysteresis-like dynamic. Furthermore, the spatial loss itself is appropriately redefined to account for nonlinear dependencies between panchromatic and spectral bands. Overall, the proposed method is fully unsupervised, with no prior training on external data, flexible, and low-complexity. Experiments on a recently published benchmarking toolbox show that it ensures excellent sharpening quality, competitive with the state-of-the-art, consistently across all bands. The software code and the full set of results are shared online on https://github.com/giu-guarino/rho-PNN.

We present LiveBand, a real-time system that generates high-fidelity music accompaniments to live audio input, respecting strict causal constraints. Our method trains a causal transformer generator in the continuous latent space of a pre-trained causal audio autoencoder, using adversarial sequence-level supervision from a discriminator. At each timestep, the generator receives only the causally available mix context and Gaussian noise, and predicts accompaniment latents without access to future mix frames or ground-truth target latents. Training is performed in a single parallel forward pass under causal masking, while streaming inference proceeds autoregressively with a rolling attention state. The model's training and inference computations are matched by design, eliminating teacher forcing and the associated exposure bias. On a multi-instrument music accompaniment benchmark, LiveBand improves over prior work on objective measures of audio quality, beat alignment, and mix adherence, while enabling real-time streaming generation without lookahead into the future on consumer hardware.

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).

Separation of multiple singing voices into each voice is a rarely studied area in music source separation research. The absence of a benchmark dataset has hindered its progress. In this paper, we present an evaluation dataset and provide baseline studies for multiple singing voices separation. First, we introduce MedleyVox, an evaluation dataset for multiple singing voices separation. We specify the problem definition in this dataset by categorizing it into i) unison, ii) duet, iii) main vs. rest, and iv) N-singing separation. Second, to overcome the absence of existing multi-singing datasets for a training purpose, we present a strategy for construction of multiple singing mixtures using various single-singing datasets. Third, we propose the improved super-resolution network (iSRNet), which greatly enhances initial estimates of separation networks. Jointly trained with the Conv-TasNet and the multi-singing mixture construction strategy, the proposed iSRNet achieved comparable performance to ideal time-frequency masks on duet and unison subsets of MedleyVox. Audio samples, the dataset, and codes are available on our website (https://github.com/jeonchangbin49/MedleyVox).

Given the recent advances in music source separation and automatic mixing, removing audio effects in music tracks is a meaningful step toward developing an automated remixing system. This paper focuses on removing distortion audio effects applied to guitar tracks in music production. We explore whether effect removal can be solved by neural networks designed for source separation and audio effect modeling. Our approach proves particularly effective for effects that mix the processed and clean signals. The models achieve better quality and significantly faster inference compared to state-of-the-art solutions based on sparse optimization. We demonstrate that the models are suitable not only for declipping but also for other types of distortion effects. By discussing the results, we stress the usefulness of multiple evaluation metrics to assess different aspects of reconstruction in distortion effect removal.

Music source separation demixes a piece of music into its individual sound sources (vocals, percussion, melodic instruments, etc.), a task with no simple mathematical solution. It requires deep learning methods involving training on large datasets of isolated music stems. The most commonly available datasets are made from commercial Western music, limiting the models' applications to non-Western genres like Carnatic music. Carnatic music is a live tradition, with the available multi-track recordings containing overlapping sounds and bleeds between the sources. This poses a challenge to commercially available source separation models like Spleeter and Hybrid Demucs. In this work, we introduce 'Sanidha', the first open-source novel dataset for Carnatic music, offering studio-quality, multi-track recordings with minimal to no overlap or bleed. Along with the audio files, we provide high-definition videos of the artists' performances. Additionally, we fine-tuned Spleeter, one of the most commonly used source separation models, on our dataset and observed improved SDR performance compared to fine-tuning on a pre-existing Carnatic multi-track dataset. The outputs of the fine-tuned model with 'Sanidha' are evaluated through a listening study.

Nonreciprocal circuit elements form an integral part of modern measurement and communication systems. Mathematically they require breaking of time-reversal symmetry, typically achieved using magnetic materials and more recently using the quantum Hall effect, parametric permittivity modulation or Josephson nonlinearities. Here, we demonstrate an on-chip magnetic-free circulator based on reservoir engineered optomechanical interactions. Directional circulation is achieved with controlled phase-sensitive interference of six distinct electro-mechanical signal conversion paths. The presented circulator is compact, its silicon-on-insulator platform is compatible with both superconducting qubits and silicon photonics, and its noise performance is close to the quantum limit. With a high dynamic range, a tunable bandwidth of up to 30 MHz and an in-situ reconfigurability as beam splitter or wavelength converter, it could pave the way for superconducting qubit processors with integrated and multiplexed on-chip signal processing and readout.

Dynamic imaging addresses the recovery of a time-varying 2D or 3D object at each time instant using its undersampled measurements. In particular, in the case of dynamic tomography, only a single projection at a single view angle may be available at a time, making the problem severely ill-posed. In this work, we propose an approach, RED-PSM, which combines for the first time two powerful techniques to address this challenging imaging problem. The first, are partially separable models, which have been used to efficiently introduce a low-rank prior for the spatio-temporal object. The second is the recent Regularization by Denoising (RED), which provides a flexible framework to exploit the impressive performance of state-of-the-art image denoising algorithms, for various inverse problems. We propose a partially separable objective with RED and a computationally efficient and scalable optimization scheme with variable splitting and ADMM. Theoretical analysis proves the convergence of our objective to a value corresponding to a stationary point satisfying the first-order optimality conditions. Convergence is accelerated by a particular projection-domain-based initialization. We demonstrate the performance and computational improvements of our proposed RED-PSM with a learned image denoiser by comparing it to a recent deep-prior-based method known as TD-DIP. Although the main focus is on dynamic tomography, we also show the performance advantages of RED-PSM in a cardiac dynamic MRI setting.

In this paper, we propose a dual-stage architecture for bandwidth extension (BWE) increasing the effective sampling rate of speech signals from 8 kHz to 48 kHz. Unlike existing end-to-end deep learning models, our proposed method explicitly models BWE using excitation and linear time-varying (LTV) filter stages. The excitation stage broadens the spectrum of the input, while the filtering stage properly shapes it based on outputs from an acoustic feature predictor. To this end, an acoustic feature loss term can implicitly promote the excitation subnetwork to produce white spectra in the upper frequency band to be synthesized. Experimental results demonstrate that the added inductive bias provided by our approach can improve upon BWE results using the generators from both SEANet or HiFi-GAN as exciters, and that our means of adapting processing with acoustic feature predictions is more effective than that used in HiFi-GAN-2. Secondary contributions include extensions of the SEANet model to accommodate local conditioning information, as well as the application of HiFi-GAN-2 for the BWE problem.

Elastic distances like dynamic time warping (DTW) are central to time series machine learning because they compare sequences under local temporal misalignment. Soft-DTW is an adaptation of DTW that can be used as a gradient-based loss by replacing the hard minimum in its dynamic-programming recursion with a smooth relaxation. However, this approach does not directly extend to elastic distances whose transition costs depend on the local alignment context. Move-Split-Merge (MSM) is one such distance: it uses context-aware split and merge penalties and has often outperformed DTW in supervised and unsupervised time series machine learning tasks such as classification and clustering. We introduce Soft-MSM, a smooth relaxation of MSM and an elastic alignment loss with context-aware transition costs. Central to the formulation is a smooth gated surrogate for MSM's piecewise split/merge cost, which enables gradients through both the dynamic-programming recursion and the local transition structure. We derive the forward recursion, backward recursion, soft alignment matrix, closed-form gradient, limiting behaviour, and divergence-corrected formulation. Experiments on 112 UCR datasets show that Soft-MSM gives lower MSM barycentre loss than existing MSM barycentre methods, and yields significantly better clustering and nearest-centroid classification performance than Soft-DTW-based alternatives. An implementation is available in the open-source aeon toolkit.

Song generation focuses on producing controllable high-quality songs based on various prompts. However, existing methods struggle to generate vocals and accompaniments with prompt-based control and proper alignment. Additionally, they fall short in supporting various tasks. To address these challenges, we introduce VersBand, a multi-task song generation framework for synthesizing high-quality, aligned songs with prompt-based control. VersBand comprises these primary models: 1) VocalBand, a decoupled model, leverages the flow-matching method for generating singing styles, pitches, and mel-spectrograms, allowing fast, high-quality vocal generation with style control. 2) AccompBand, a flow-based transformer model, incorporates the Band-MOE, selecting suitable experts for enhanced quality, alignment, and control. This model allows for generating controllable, high-quality accompaniments aligned with vocals. 3) Two generation models, LyricBand for lyrics and MelodyBand for melodies, contribute to the comprehensive multi-task song generation system, allowing for extensive control based on multiple prompts. Experimental results demonstrate that VersBand performs better over baseline models across multiple song generation tasks using objective and subjective metrics. Audio samples are available at https://VersBand.github.io.

We propose DAVIS, a Diffusion-based Audio-VIsual Separation framework that solves the audio-visual sound source separation task through generative learning. Existing methods typically frame sound separation as a mask-based regression problem, achieving significant progress. However, they face limitations in capturing the complex data distribution required for high-quality separation of sounds from diverse categories. In contrast, DAVIS circumvents these issues by leveraging potent generative modeling paradigms, specifically Denoising Diffusion Probabilistic Models (DDPM) and the more recent Flow Matching (FM), integrated within a specialized Separation U-Net architecture. Our framework operates by synthesizing the desired separated sound spectrograms directly from a noise distribution, conditioned concurrently on the mixed audio input and associated visual information. The inherent nature of its generative objective makes DAVIS particularly adept at producing high-quality sound separations for diverse sound categories. We present comparative evaluations of DAVIS, encompassing both its DDPM and Flow Matching variants, against leading methods on the standard AVE and MUSIC datasets. The results affirm that both variants surpass existing approaches in separation quality, highlighting the efficacy of our generative framework for tackling the audio-visual source separation task.

The cocktail party problem aims at isolating any source of interest within a complex acoustic scene, and has long inspired audio source separation research. Recent efforts have mainly focused on separating speech from noise, speech from speech, musical instruments from each other, or sound events from each other. However, separating an audio mixture (e.g., movie soundtrack) into the three broad categories of speech, music, and sound effects (understood to include ambient noise and natural sound events) has been left largely unexplored, despite a wide range of potential applications. This paper formalizes this task as the cocktail fork problem, and presents the Divide and Remaster (DnR) dataset to foster research on this topic. DnR is built from three well-established audio datasets (LibriSpeech, FMA, FSD50k), taking care to reproduce conditions similar to professionally produced content in terms of source overlap and relative loudness, and made available at CD quality. We benchmark standard source separation algorithms on DnR, and further introduce a new multi-resolution model to better address the variety of acoustic characteristics of the three source types. Our best model produces SI-SDR improvements over the mixture of 11.0 dB for music, 11.2 dB for speech, and 10.8 dB for sound effects.

Dynamic model pruning is a recent direction that allows for the inference of a different sub-network for each input sample during deployment. However, current dynamic methods rely on learning a continuous channel gating through regularization by inducing sparsity loss. This formulation introduces complexity in balancing different losses (e.g task loss, regularization loss). In addition, regularization based methods lack transparent tradeoff hyperparameter selection to realize a computational budget. Our contribution is two-fold: 1) decoupled task and pruning losses. 2) Simple hyperparameter selection that enables FLOPs reduction estimation before training. Inspired by the Hebbian theory in Neuroscience: "neurons that fire together wire together", we propose to predict a mask to process k filters in a layer based on the activation of its previous layer. We pose the problem as a self-supervised binary classification problem. Each mask predictor module is trained to predict if the log-likelihood for each filter in the current layer belongs to the top-k activated filters. The value k is dynamically estimated for each input based on a novel criterion using the mass of heatmaps. We show experiments on several neural architectures, such as VGG, ResNet and MobileNet on CIFAR and ImageNet datasets. On CIFAR, we reach similar accuracy to SOTA methods with 15% and 24% higher FLOPs reduction. Similarly in ImageNet, we achieve lower drop in accuracy with up to 13% improvement in FLOPs reduction.

Virtual Analog (VA) modeling aims to simulate the behavior of hardware circuits via algorithms to replicate their tone digitally. Dynamic Range Compressor (DRC) is an audio processing module that controls the dynamics of a track by reducing and amplifying the volumes of loud and quiet sounds, which is essential in music production. In recent years, neural-network-based VA modeling has shown great potential in producing high-fidelity models. However, due to the lack of data quantity and diversity, their generalization ability in different parameter settings and input sounds is still limited. To tackle this problem, we present Diff-SSL-G-Comp, the first large-scale and diverse dataset for modeling the SSL 500 G-Bus Compressor. Specifically, we manually collected 175 unmastered songs from the Cambridge Multitrack Library. We recorded the compressed audio in 220 parameter combinations, resulting in an extensive 2528-hour dataset with diverse genres, instruments, tempos, and keys. Moreover, to facilitate the use of our proposed dataset, we conducted benchmark experiments in various open-sourced black-box and grey-box models, as well as white-box plugins. We also conducted ablation studies in different data subsets to illustrate the effectiveness of improved data diversity and quantity. The dataset and demos are on our project page: http://www.yichenggu.com/DiffSSLGComp/.

Learned image compression (LIC) is bottlenecked by the need to store independent models for each rate-distortion operating point. Existing variable bit-rate (VBR) methods aim to reduce this overhead via dense parameter modulation, but forcing a shared backbone to approximate divergent mappings causes severe feature entanglement. Specifically, low-rate smoothing gradients inherently conflict with the preservation of high-frequency textural details, leading to sub-optimal performance. To resolve this, we propose MixCompress, a unified VBR framework based on sparse structural specialization. While sparsely gated Mixture-of-Experts (MoE) routing successfully mitigates gradient conflict, it operates on a fixed computational budget. To address the increased representational demands of higher bit-rates we introduce a Mixture-of-Depths (MoD) extension to dynamically scale model capacity. Combined with Conditional Auxiliary Transforms (CAT) for dynamic sub-band energy modulation, our hierarchical framework effectively dynamically scales capacity. Extensive evaluations demonstrate that MixCompress not only matches individually optimized single-rate baselines but can even surpass them, establishing a new Pareto frontier for computationally efficient image coding.

In this work, we study the task of multi-singer separation in a cappella music, where the number of active singers varies across mixtures. To address this, we use a power set-based data augmentation strategy that expands limited multi-singer datasets into exponentially more training samples. To separate singers, we introduce SepACap, an adaptation of SepReformer, a state-of-the-art speaker separation model architecture. We adapt the model with periodic activations and a composite loss function that remains effective when stems are silent, enabling robust detection and separation. Experiments on the JaCappella dataset demonstrate that our approach achieves state-of-the-art performance in both full-ensemble and subset singer separation scenarios, outperforming spectrogram-based baselines while generalizing to realistic mixtures with varying numbers of singers.

Music generation models can produce high-fidelity coherent accompaniment given complete audio input, but are limited to editing and loop-based workflows. We study real-time audio-to-audio accompaniment: as a model hears an input audio stream (e.g., a singer singing), it has to also simultaneously generate in real-time a coherent accompanying stream (e.g., a guitar accompaniment). In this work, we propose a model design considering inevitable system delays in practical deployment with two design variables: future visibility t_f, the offset between the output playback time and the latest input time used for conditioning, and output chunk duration k, the number of frames emitted per call. We train Transformer decoders across a grid of (t_f,k) and show two consistent trade-offs: increasing effective t_f improves coherence by reducing the recency gap, but requires faster inference to stay within the latency budget; increasing k improves throughput but results in degraded accompaniment due to a reduced update rate. Finally, we observe that naive maximum-likelihood streaming training is insufficient for coherent accompaniment where future context is not available, motivating advanced anticipatory and agentic objectives for live jamming.

Dynamic Algorithm Configuration (DAC) aims to dynamically control a target algorithm's hyperparameters in order to improve its performance. Several theoretical and empirical results have demonstrated the benefits of dynamically controlling hyperparameters in domains like evolutionary computation, AI Planning or deep learning. Replicating these results, as well as studying new methods for DAC, however, is difficult since existing benchmarks are often specialized and incompatible with the same interfaces. To facilitate benchmarking and thus research on DAC, we propose DACBench, a benchmark library that seeks to collect and standardize existing DAC benchmarks from different AI domains, as well as provide a template for new ones. For the design of DACBench, we focused on important desiderata, such as (i) flexibility, (ii) reproducibility, (iii) extensibility and (iv) automatic documentation and visualization. To show the potential, broad applicability and challenges of DAC, we explore how a set of six initial benchmarks compare in several dimensions of difficulty.

Dynamic MRI is a technique of acquiring a series of images continuously to follow the physiological changes over time. However, such fast imaging results in low resolution images. In this work, abdominal deformation model computed from dynamic low resolution images have been applied to high resolution image, acquired previously, to generate dynamic high resolution MRI. Dynamic low resolution images were simulated into different breathing phases (inhale and exhale). Then, the image registration between breathing time points was performed using the B-spline SyN deformable model and using cross-correlation as a similarity metric. The deformation model between different breathing phases were estimated from highly undersampled data. This deformation model was then applied to the high resolution images to obtain high resolution images of different breathing phases. The results indicated that the deformation model could be computed from relatively very low resolution images.

While Dynamic Convolution (DY-Conv) has shown promising performance by enabling adaptive weight selection through multiple parallel weights combined with an attention mechanism, the frequency response of these weights tends to exhibit high similarity, resulting in high parameter costs but limited adaptability. In this work, we introduce Frequency Dynamic Convolution (FDConv), a novel approach that mitigates these limitations by learning a fixed parameter budget in the Fourier domain. FDConv divides this budget into frequency-based groups with disjoint Fourier indices, enabling the construction of frequency-diverse weights without increasing the parameter cost. To further enhance adaptability, we propose Kernel Spatial Modulation (KSM) and Frequency Band Modulation (FBM). KSM dynamically adjusts the frequency response of each filter at the spatial level, while FBM decomposes weights into distinct frequency bands in the frequency domain and modulates them dynamically based on local content. Extensive experiments on object detection, segmentation, and classification validate the effectiveness of FDConv. We demonstrate that when applied to ResNet-50, FDConv achieves superior performance with a modest increase of +3.6M parameters, outperforming previous methods that require substantial increases in parameter budgets (e.g., CondConv +90M, KW +76.5M). Moreover, FDConv seamlessly integrates into a variety of architectures, including ConvNeXt, Swin-Transformer, offering a flexible and efficient solution for modern vision tasks. The code is made publicly available at https://github.com/Linwei-Chen/FDConv.

Low frequency oscillator (LFO) driven audio effects such as phaser, flanger, and chorus, modify an input signal using time-varying filters and delays, resulting in characteristic sweeping or widening effects. It has been shown that these effects can be modeled using neural networks when conditioned with the ground truth LFO signal. However, in most cases, the LFO signal is not accessible and measurement from the audio signal is nontrivial, hindering the modeling process. To address this, we propose a framework capable of extracting arbitrary LFO signals from processed audio across multiple digital audio effects, parameter settings, and instrument configurations. Since our system imposes no restrictions on the LFO signal shape, we demonstrate its ability to extract quasiperiodic, combined, and distorted modulation signals that are relevant to effect modeling. Furthermore, we show how coupling the extraction model with a simple processing network enables training of end-to-end black-box models of unseen analog or digital LFO-driven audio effects using only dry and wet audio pairs, overcoming the need to access the audio effect or internal LFO signal. We make our code available and provide the trained audio effect models in a real-time VST plugin.

Inferring music time structures has a broad range of applications in music production, processing and analysis. Scholars have proposed various methods to analyze different aspects of time structures, such as beat, downbeat, tempo and meter. Many state-of-the-art (SOFA) methods, however, are computationally expensive. This makes them inapplicable in real-world industrial settings where the scale of the music collections can be millions. This paper proposes a new state space and a semi-Markov model for music time structure analysis. The proposed approach turns the commonly used 2D state spaces into a 1D model through a jump-back reward strategy. It reduces the state spaces size drastically. We then utilize the proposed method for causal, joint beat, downbeat, tempo, and meter tracking, and compare it against several previous methods. The proposed method delivers similar performance with the SOFA joint causal models with a much smaller state space and a more than 30 times speedup.

Deep neural network based methods have been successfully applied to music source separation. They typically learn a mapping from a mixture spectrogram to a set of source spectrograms, all with magnitudes only. This approach has several limitations: 1) its incorrect phase reconstruction degrades the performance, 2) it limits the magnitude of masks between 0 and 1 while we observe that 22% of time-frequency bins have ideal ratio mask values of over~1 in a popular dataset, MUSDB18, 3) its potential on very deep architectures is under-explored. Our proposed system is designed to overcome these. First, we propose to estimate phases by estimating complex ideal ratio masks (cIRMs) where we decouple the estimation of cIRMs into magnitude and phase estimations. Second, we extend the separation method to effectively allow the magnitude of the mask to be larger than 1. Finally, we propose a residual UNet architecture with up to 143 layers. Our proposed system achieves a state-of-the-art MSS result on the MUSDB18 dataset, especially, a SDR of 8.98~dB on vocals, outperforming the previous best performance of 7.24~dB. The source code is available at: https://github.com/bytedance/music_source_separation

Pinching-antenna systems attach dielectric pinches to a waveguide, creating line-of-sight radiation points within a few meters of any user. The pinches on one waveguide, however, radiate the same signal, unlike a conventional array, where each element transmits a dedicated signal. Separating the signals of multiple users therefore becomes challenging and requires a new perspective on multiple access. Most existing studies rest on an idealized model, and no survey examines the access schemes under realistic impairments. This article surveys multiple access in pinching-antenna systems and organizes fifty-six works into a unified taxonomy by spatial degrees of freedom. The users of one waveguide can be separated only in time, frequency, power, or guided mode, while multiple waveguides add the space domain. The article then identifies the impairments critical to this separation, which perturb the effective channel, leak interference across orthogonal resources, or couple the pinches on the uplink, and summarizes them in an impairment-versus-method map. A unified evaluation of time-, frequency-, power-, and space-domain access under identical channel and impairment models reveals that the degradation is method specific. The analytical and numerical results give insight into multiple access in these systems and provide a basis for its impairment-aware design, a necessary step toward their adoption in practical networks.

Reverse engineering of music mixes aims to uncover how dry source signals are processed and combined to produce a final mix. We extend the prior works to reflect the compositional nature of mixing and search for a graph of audio processors. First, we construct a mixing console, applying all available processors to every track and subgroup. With differentiable processor implementations, we optimize their parameters with gradient descent. Then, we repeat the process of removing negligible processors and fine-tuning the remaining ones. This way, the quality of the full mixing console can be preserved while removing approximately two-thirds of the processors. The proposed method can be used not only to analyze individual music mixes but also to collect large-scale graph data that can be used for downstream tasks, e.g., automatic mixing. Especially for the latter purpose, efficient implementation of the search is crucial. To this end, we present an efficient batch-processing method that computes multiple processors in parallel. We also exploit the "dry/wet" parameter of the processors to accelerate the search. Extensive quantitative and qualitative analyses are conducted to evaluate the proposed method's performance, behavior, and computational cost.

Diffusion models have recently shown strong potential in both music generation and music source separation tasks. Although in early stages, a trend is emerging towards integrating these tasks into a single framework, as both involve generating musically aligned parts and can be seen as facets of the same generative process. In this work, we introduce a latent diffusion-based multi-track generation model capable of both source separation and multi-track music synthesis by learning the joint probability distribution of tracks sharing a musical context. Our model also enables arrangement generation by creating any subset of tracks given the others. We trained our model on the Slakh2100 dataset, compared it with an existing simultaneous generation and separation model, and observed significant improvements across objective metrics for source separation, music, and arrangement generation tasks. Sound examples are available at https://msg-ld.github.io/.

Given a factorization of an image into a sum of linear components, we present a zero-shot method to control each individual component through diffusion model sampling. For example, we can decompose an image into low and high spatial frequencies and condition these components on different text prompts. This produces hybrid images, which change appearance depending on viewing distance. By decomposing an image into three frequency subbands, we can generate hybrid images with three prompts. We also use a decomposition into grayscale and color components to produce images whose appearance changes when they are viewed in grayscale, a phenomena that naturally occurs under dim lighting. And we explore a decomposition by a motion blur kernel, which produces images that change appearance under motion blurring. Our method works by denoising with a composite noise estimate, built from the components of noise estimates conditioned on different prompts. We also show that for certain decompositions, our method recovers prior approaches to compositional generation and spatial control. Finally, we show that we can extend our approach to generate hybrid images from real images. We do this by holding one component fixed and generating the remaining components, effectively solving an inverse problem.

Dynamic graph clustering aims to detect and track time-varying clusters in dynamic graphs, revealing the evolutionary mechanisms of complex real-world dynamic systems. Matrix factorization-based methods are promising approaches for this task; however, these methods often struggle with scalability and can be time-consuming when applied to large-scale dynamic graphs. Moreover, they tend to lack robustness and are vulnerable to real-world noisy data. To address these issues, we make three key contributions. First, to improve scalability, we propose temporal separated matrix factorization, where a single matrix is divided into multiple smaller matrices for independent factorization, resulting in faster computation. Second, to improve robustness, we introduce bi-clustering regularization, which jointly optimizes graph embedding and clustering, thereby filtering out noisy features from the graph embeddings. Third, to further enhance effectiveness and efficiency, we propose selective embedding updating, where we update only the embeddings of dynamic nodes while the embeddings of static nodes are fixed among different timestamps. Experimental results on six synthetic and five real-world benchmarks demonstrate the scalability, robustness and effectiveness of our proposed method. Source code is available at https://github.com/Clearloveyuan/DyG-MF.

Hearables are becoming ubiquitous, yet their sound controls remain blunt: users can either enable global noise suppression or focus on a single target sound. Real-world acoustic scenes, however, contain many simultaneous sources that users may want to adjust independently. We introduce Aurchestra, the first system to provide fine-grained, real-time soundscape control on resource-constrained hearables. Our system has two key components: (1) a dynamic interface that surfaces only active sound classes and (2) a real-time, on-device multi-output extraction network that generates separate streams for each selected class, achieving robust performance for upto 5 overlapping target sounds, and letting users mix their environment by customizing per-class volumes, much like an audio engineer mixes tracks. We optimize the model architecture for multiple compute-limited platforms and demonstrate real-time performance on 6 ms streaming audio chunks. Across real-world environments in previously unseen indoor and outdoor scenarios, our system enables expressive per-class sound control and achieves substantial improvements in target-class enhancement and interference suppression. Our results show that the world need not be heard as a single, undifferentiated stream: with Aurchestra, the soundscape becomes truly programmable.

We present a unified network for voice separation of an unknown number of speakers. The proposed approach is composed of several separation heads optimized together with a speaker classification branch. The separation is carried out in the time domain, together with parameter sharing between all separation heads. The classification branch estimates the number of speakers while each head is specialized in separating a different number of speakers. We evaluate the proposed model under both clean and noisy reverberant set-tings. Results suggest that the proposed approach is superior to the baseline model by a significant margin. Additionally, we present a new noisy and reverberant dataset of up to five different speakers speaking simultaneously.

We study the algorithm configuration (AC) problem, in which one seeks to find an optimal parameter configuration of a given target algorithm in an automated way. Recently, there has been significant progress in designing AC approaches that satisfy strong theoretical guarantees. However, a significant gap still remains between the practical performance of these approaches and state-of-the-art heuristic methods. To this end, we introduce AC-Band, a general approach for the AC problem based on multi-armed bandits that provides theoretical guarantees while exhibiting strong practical performance. We show that AC-Band requires significantly less computation time than other AC approaches providing theoretical guarantees while still yielding high-quality configurations.

In this paper, we introduce Jointist, an instrument-aware multi-instrument framework that is capable of transcribing, recognizing, and separating multiple musical instruments from an audio clip. Jointist consists of the instrument recognition module that conditions the other modules: the transcription module that outputs instrument-specific piano rolls, and the source separation module that utilizes instrument information and transcription results. The instrument conditioning is designed for an explicit multi-instrument functionality while the connection between the transcription and source separation modules is for better transcription performance. Our challenging problem formulation makes the model highly useful in the real world given that modern popular music typically consists of multiple instruments. However, its novelty necessitates a new perspective on how to evaluate such a model. During the experiment, we assess the model from various aspects, providing a new evaluation perspective for multi-instrument transcription. We also argue that transcription models can be utilized as a preprocessing module for other music analysis tasks. In the experiment on several downstream tasks, the symbolic representation provided by our transcription model turned out to be helpful to spectrograms in solving downbeat detection, chord recognition, and key estimation.

We introduce Wavesplit, an end-to-end source separation system. From a single mixture, the model infers a representation for each source and then estimates each source signal given the inferred representations. The model is trained to jointly perform both tasks from the raw waveform. Wavesplit infers a set of source representations via clustering, which addresses the fundamental permutation problem of separation. For speech separation, our sequence-wide speaker representations provide a more robust separation of long, challenging recordings compared to prior work. Wavesplit redefines the state-of-the-art on clean mixtures of 2 or 3 speakers (WSJ0-2/3mix), as well as in noisy and reverberated settings (WHAM/WHAMR). We also set a new benchmark on the recent LibriMix dataset. Finally, we show that Wavesplit is also applicable to other domains, by separating fetal and maternal heart rates from a single abdominal electrocardiogram.

Music demixing is the task of separating different tracks from the given single audio signal into components, such as drums, bass, and vocals from the rest of the accompaniment. Separation of sources is useful for a range of areas, including entertainment and hearing aids. In this paper, we introduce two new benchmarks for the sound source separation tasks and compare popular models for sound demixing, as well as their ensembles, on these benchmarks. For the models' assessments, we provide the leaderboard at https://mvsep.com/quality_checker/, giving a comparison for a range of models. The new benchmark datasets are available for download. We also develop a novel approach for audio separation, based on the ensembling of different models that are suited best for the particular stem. The proposed solution was evaluated in the context of the Music Demixing Challenge 2023 and achieved top results in different tracks of the challenge. The code and the approach are open-sourced on GitHub.

Music stem generation, the task of producing musically-synchronized and isolated instrument audio clips, offers the potential of greater user control and better alignment with musician workflows compared to conventional text-to-music models. Existing stem generation approaches, however, either rely on fixed architectures that output a predefined set of stems in parallel, or generate only one stem at a time, resulting in slow inference despite flexibility in stem combination. We propose Stemphonic, a diffusion-/flow-based framework that overcomes this trade-off and generates a variable set of synchronized stems in one inference pass. During training, we treat each stem as a batch element, group synchronized stems in a batch, and apply a shared noise latent to each group. At inference-time, we use a shared initial noise latent and stem-specific text inputs to generate synchronized multi-stem outputs in one pass. We further expand our approach to enable one-pass conditional multi-stem generation and stem-wise activity controls to empower users to iteratively generate and orchestrate the temporal layering of a mix. We benchmark our results on multiple open-source stem evaluation sets and show that Stemphonic produces higher-quality outputs while accelerating the full mix generation process by 25 to 50%. Demos at: https://stemphonic-demo.vercel.app.

Dynamic adaptation has become an essential technique in accelerating distributed machine learning (ML) training. Recent studies have shown that dynamically adjusting model structure (e.g., lottery ticket hypothesis) or hyperparameters (e.g., batch size) can significantly accelerate training without sacrificing accuracy. However, existing ML cluster schedulers are not designed to handle dynamic adaptation. We show that existing schemes fail to provide fairness and degrade system efficiency when the training throughput changes over time under dynamic adaptation. We design Shockwave, a scheduler with future planning that builds on two key ideas. First, Shockwave extends classic market theory from static settings to dynamic settings to co-optimize efficiency and fairness. Second, Shockwave utilizes stochastic dynamic programming to handle dynamic changes. We build a system for Shockwave and validate its performance with both trace-driven simulation and cluster experiments. Results show that for traces of ML jobs with dynamic adaptation, Shockwave improves makespan by 1.3X and fairness by 2X when compared with existing fair scheduling schemes.

In the past, the field of drum source separation faced significant challenges due to limited data availability, hindering the adoption of cutting-edge deep learning methods that have found success in other related audio applications. In this manuscript, we introduce StemGMD, a large-scale audio dataset of isolated single-instrument drum stems. Each audio clip is synthesized from MIDI recordings of expressive drums performances using ten real-sounding acoustic drum kits. Totaling 1224 hours, StemGMD is the largest audio dataset of drums to date and the first to comprise isolated audio clips for every instrument in a canonical nine-piece drum kit. We leverage StemGMD to develop LarsNet, a novel deep drum source separation model. Through a bank of dedicated U-Nets, LarsNet can separate five stems from a stereo drum mixture faster than real-time and is shown to significantly outperform state-of-the-art nonnegative spectro-temporal factorization methods.

Text-to-music generation models are now capable of generating high-quality music audio in broad styles. However, text control is primarily suitable for the manipulation of global musical attributes like genre, mood, and tempo, and is less suitable for precise control over time-varying attributes such as the positions of beats in time or the changing dynamics of the music. We propose Music ControlNet, a diffusion-based music generation model that offers multiple precise, time-varying controls over generated audio. To imbue text-to-music models with time-varying control, we propose an approach analogous to pixel-wise control of the image-domain ControlNet method. Specifically, we extract controls from training audio yielding paired data, and fine-tune a diffusion-based conditional generative model over audio spectrograms given melody, dynamics, and rhythm controls. While the image-domain Uni-ControlNet method already allows generation with any subset of controls, we devise a new strategy to allow creators to input controls that are only partially specified in time. We evaluate both on controls extracted from audio and controls we expect creators to provide, demonstrating that we can generate realistic music that corresponds to control inputs in both settings. While few comparable music generation models exist, we benchmark against MusicGen, a recent model that accepts text and melody input, and show that our model generates music that is 49% more faithful to input melodies despite having 35x fewer parameters, training on 11x less data, and enabling two additional forms of time-varying control. Sound examples can be found at https://MusicControlNet.github.io/web/.

We propose SpectroStream, a full-band multi-channel neural audio codec. Successor to the well-established SoundStream, SpectroStream extends its capability beyond 24 kHz monophonic audio and enables high-quality reconstruction of 48 kHz stereo music at bit rates of 4--16 kbps. This is accomplished with a new neural architecture that leverages audio representation in the time-frequency domain, which leads to better audio quality especially at higher sample rate. The model also uses a delayed-fusion strategy to handle multi-channel audio, which is crucial in balancing per-channel acoustic quality and cross-channel phase consistency.

Previous studies on music style transfer have mainly focused on one-to-one style conversion, which is relatively limited. When considering the conversion between multiple styles, previous methods required designing multiple modes to disentangle the complex style of the music, resulting in large computational costs and slow audio generation. The existing music style transfer methods generate spectrograms with artifacts, leading to significant noise in the generated audio. To address these issues, this study proposes a music style transfer framework based on diffusion models (DM) and uses spectrogram-based methods to achieve multi-to-multi music style transfer. The GuideDiff method is used to restore spectrograms to high-fidelity audio, accelerating audio generation speed and reducing noise in the generated audio. Experimental results show that our model has good performance in multi-mode music style transfer compared to the baseline and can generate high-quality audio in real-time on consumer-grade GPUs.

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.

Earth observation is a fundamental tool for monitoring the evolution of land use in specific areas of interest. Observing and precisely defining change, in this context, requires both time-series data and pixel-wise segmentations. To that end, we propose the DynamicEarthNet dataset that consists of daily, multi-spectral satellite observations of 75 selected areas of interest distributed over the globe with imagery from Planet Labs. These observations are paired with pixel-wise monthly semantic segmentation labels of 7 land use and land cover (LULC) classes. DynamicEarthNet is the first dataset that provides this unique combination of daily measurements and high-quality labels. In our experiments, we compare several established baselines that either utilize the daily observations as additional training data (semi-supervised learning) or multiple observations at once (spatio-temporal learning) as a point of reference for future research. Finally, we propose a new evaluation metric SCS that addresses the specific challenges associated with time-series semantic change segmentation. The data is available at: https://mediatum.ub.tum.de/1650201.

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

The ever-increasing sensor service, though opening a precious path and providing a deluge of earth system data for deep-learning-oriented earth science, sadly introduce a daunting obstacle to their industrial level deployment. Concretely, earth science systems rely heavily on the extensive deployment of sensors, however, the data collection from sensors is constrained by complex geographical and social factors, making it challenging to achieve comprehensive coverage and uniform deployment. To alleviate the obstacle, traditional approaches to sensor deployment utilize specific algorithms to design and deploy sensors. These methods dynamically adjust the activation times of sensors to optimize the detection process across each sub-region. Regrettably, formulating an activation strategy generally based on historical observations and geographic characteristics, which make the methods and resultant models were neither simple nor practical. Worse still, the complex technical design may ultimately lead to a model with weak generalizability. In this paper, we introduce for the first time the concept of spatio-temporal data dynamic sparse training and are committed to adaptively, dynamically filtering important sensor distributions. To our knowledge, this is the first proposal (termed DynST) of an industry-level deployment optimization concept at the data level. However, due to the existence of the temporal dimension, pruning of spatio-temporal data may lead to conflicts at different timestamps. To achieve this goal, we employ dynamic merge technology, along with ingenious dimensional mapping to mitigate potential impacts caused by the temporal aspect. During the training process, DynST utilize iterative pruning and sparse training, repeatedly identifying and dynamically removing sensor perception areas that contribute the least to future predictions.

Developing a versatile deep neural network to model music audio is crucial in MIR. This task is challenging due to the intricate spectral variations inherent in music signals, which convey melody, harmonics, and timbres of diverse instruments. In this paper, we introduce Mel-RoFormer, a spectrogram-based model featuring two key designs: a novel Mel-band Projection module at the front-end to enhance the model's capability to capture informative features across multiple frequency bands, and interleaved RoPE Transformers to explicitly model the frequency and time dimensions as two separate sequences. We apply Mel-RoFormer to tackle two essential MIR tasks: vocal separation and vocal melody transcription, aimed at isolating singing voices from audio mixtures and transcribing their lead melodies, respectively. Despite their shared focus on singing signals, these tasks possess distinct optimization objectives. Instead of training a unified model, we adopt a two-step approach. Initially, we train a vocal separation model, which subsequently serves as a foundation model for fine-tuning for vocal melody transcription. Through extensive experiments conducted on benchmark datasets, we showcase that our models achieve state-of-the-art performance in both vocal separation and melody transcription tasks, underscoring the efficacy and versatility of Mel-RoFormer in modeling complex music audio signals.

This paper proposes several improvements for music separation with deep neural networks (DNNs), namely a multi-domain loss (MDL) and two combination schemes. First, by using MDL we take advantage of the frequency and time domain representation of audio signals. Next, we utilize the relationship among instruments by jointly considering them. We do this on the one hand by modifying the network architecture and introducing a CrossNet structure. On the other hand, we consider combinations of instrument estimates by using a new combination loss (CL). MDL and CL can easily be applied to many existing DNN-based separation methods as they are merely loss functions which are only used during training and which do not affect the inference step. Experimental results show that the performance of Open-Unmix (UMX), a well-known and state-of-the-art open source library for music separation, can be improved by utilizing our above schemes. Our modifications of UMX are open-sourced together with this paper.

Musical expression requires control of both what notes are played, and how they are performed. Conventional audio synthesizers provide detailed expressive controls, but at the cost of realism. Black-box neural audio synthesis and concatenative samplers can produce realistic audio, but have few mechanisms for control. In this work, we introduce MIDI-DDSP a hierarchical model of musical instruments that enables both realistic neural audio synthesis and detailed user control. Starting from interpretable Differentiable Digital Signal Processing (DDSP) synthesis parameters, we infer musical notes and high-level properties of their expressive performance (such as timbre, vibrato, dynamics, and articulation). This creates a 3-level hierarchy (notes, performance, synthesis) that affords individuals the option to intervene at each level, or utilize trained priors (performance given notes, synthesis given performance) for creative assistance. Through quantitative experiments and listening tests, we demonstrate that this hierarchy can reconstruct high-fidelity audio, accurately predict performance attributes for a note sequence, independently manipulate the attributes of a given performance, and as a complete system, generate realistic audio from a novel note sequence. By utilizing an interpretable hierarchy, with multiple levels of granularity, MIDI-DDSP opens the door to assistive tools to empower individuals across a diverse range of musical experience.

Mixture of Experts (MoE) models scale capacity but often suffer from representation collapse and gradient instability. We propose Dynamic Subspace Composition (DSC), a framework that approximates context-dependent weights via a state-dependent, sparse expansion of a shared basis bank. Formally, DSC models the weight update as a residual trajectory within a Star- Shaped Domain, employing a Magnitude-Gated Simplex Interpolation to ensure continuity at the identity. Unlike standard Mixture-of-LoRAs, which incurs O(M rd) parameter complexity by retrieving independent rank-r matrices, DSC constructs a compositional rank-K approximation from decoupled unit-norm basis vectors. This reduces parameter complexity to O(M d) and memory traffic to O(Kd), while Frame-Theoretic regularization and spectral constraints provide rigorous worst-case bounds on the dynamic update. The code is available at https://github. com/VladimerKhasia/DSC

Hyperparameter optimization (HPO) is concerned with the automated search for the most appropriate hyperparameter configuration (HPC) of a parameterized machine learning algorithm. A state-of-the-art HPO method is Hyperband, which, however, has its own parameters that influence its performance. One of these parameters, the maximal budget, is especially problematic: If chosen too small, the budget needs to be increased in hindsight and, as Hyperband is not incremental by design, the entire algorithm must be re-run. This is not only costly but also comes with a loss of valuable knowledge already accumulated. In this paper, we propose incremental variants of Hyperband that eliminate these drawbacks, and show that these variants satisfy theoretical guarantees qualitatively similar to those for the original Hyperband with the "right" budget. Moreover, we demonstrate their practical utility in experiments with benchmark data sets.

Text and lyrics specify broad musical characteristics and sung content but offer limited control over musical timing, melody, and reference-based style. We introduce DiffSynth-Music (https://modelscope.cn/models/DiffSynth-Studio/DiffSynth-Music), a framework that adds composable audio conditioning to a music synthesis backbone through layer-wise key-value injection. The three template models, Control, Prosody, and Reference, are initialized from the backbone diffusion transformer and trained with conditional flow matching. They support five control types: beats, vocals, accompaniment, prosody, and reference audio. A shared variational autoencoder maps conditioning waveforms into a common latent space, enabling their attention memories to be combined. With the template timestep fixed at the clean-data endpoint and other inputs held constant, each control cache is computed once and reused throughout sampling. Training pairs are derived from music recordings using beat extraction, source separation, vocal resynthesis, and reference-excerpt selection. Single-control evaluations on Mandarin and English songs demonstrate improved adherence across all five control types and better lyric fidelity under vocal conditioning relative to the backbone. Automatic music-quality and instruction-following scores remain broadly comparable to those of the evaluated base models, with metric-specific trade-offs. We release the three template models to support research and creative applications in controllable music generation.

Spatial audio quality is a highly multifaceted concept, with many interactions between environmental, geometrical, anatomical, psychological, and contextual considerations. Methods for characterization or evaluation of the geometrical components of spatial audio quality, however, remain scarce, despite being perhaps the least subjective aspect of spatial audio quality to quantify. By considering interchannel time and level differences relative to a reference signal, it is possible to construct a signal model to isolate some of the spatial distortion. By using a combination of least-square optimization and heuristics, we propose a signal decomposition method to isolate the spatial error from a processed signal, in terms of interchannel gain leakages and changes in relative delays. This allows the computation of simple energy-ratio metrics, providing objective measures of spatial and non-spatial signal qualities, with minimal assumptions and no dataset dependency. Experiments demonstrate the robustness of the method against common spatial signal degradation introduced by, e.g., audio compression and music source separation. Implementation is available at https://github.com/karnwatcharasupat/spauq.

Dynamic MRI enables a range of clinical applications, including cardiac function assessment, organ motion tracking, and radiotherapy guidance. However, fully sampling the dynamic k-space data is often infeasible due to time constraints and physiological motion such as respiratory and cardiac motion. This necessitates undersampling, which degrades the quality of reconstructed images. Poor image quality not only hinders visualization but also impairs the estimation of deformation fields, crucial for registering dynamic (moving) images to a static reference image. This registration enables tasks such as motion correction, treatment planning, and quantitative analysis in applications like cardiac imaging and MR-guided radiotherapy. To overcome the challenges posed by undersampling and motion, we introduce an end-to-end deep learning (DL) framework that integrates adaptive dynamic k-space sampling, reconstruction, and registration. Our approach begins with a DL-based adaptive sampling strategy, optimizing dynamic k-space acquisition to capture the most relevant data for each specific case. This is followed by a DL-based reconstruction module that produces images optimized for accurate deformation field estimation from the undersampled moving data. Finally, a registration module estimates the deformation fields aligning the reconstructed dynamic images with a static reference. The proposed framework is independent of specific reconstruction and registration modules allowing for plug-and-play integration of these components. The entire framework is jointly trained using a combination of supervised and unsupervised loss functions, enabling end-to-end optimization for improved performance across all components. Through controlled experiments and ablation studies, we validate each component, demonstrating that each choice contributes to robust motion estimation from undersampled dynamic data.

The rapid evolution of wireless communication systems has created complex electromagnetic environments where multiple cellular standards (2G/3G/4G/5G) coexist, necessitating advanced signal source separation techniques. We present RFSS (RF Signal Source Separation), a comprehensive open-source dataset containing 52,847 realistic multi-standard RF signal samples with complete 3GPP standards compliance. Our framework generates authentic baseband signals for GSM, UMTS, LTE, and 5G NR with advanced channel modeling including multipath fading, MIMO processing up to 8 by 8 antennas, and realistic interference scenarios. Experimental validation demonstrates superior performance of CNN-LSTM architectures achieving 26.7 dB SINR improvement in source separation tasks, significantly outperforming traditional ICA (15.2 dB) and NMF (18.3 dB) approaches. The RFSS dataset enables reproducible research in RF source separation, cognitive radio, and machine learning applications while maintaining complete open-source accessibility

Music source separation (MSS) methods aim to extract stems from music mixtures, which is important, for example, in karaoke, music remixing, and pedagogical applications. While earlier research on MSS systems has been dominated by models targeting narrow sets of general stems, there have recently been attempts to support broader source definitions. One of these methods uses audio queries to provide direct and descriptive control over the desired separation targets based on the sound itself. However, query-based separation remains cumbersome due to the need to provide audio examples with features matching the sources contained within mixtures. This paper proposes Music Source Separation via Stem Discovery (MuS3D), a query-based source separation framework that iteratively discovers active sources from the mixture. On correctly detected sources, our model matches manually queried baselines and surpasses state-of-the-art text-based models. Subjective evaluation indicates encoding artifacts as the limiting factor in current generative separation. The findings suggest that audio-based query representations offer an effective and automatable interface for source separation.

We present DEMON, a real-time diffusion engine that makes the denoising process playable as a live musical instrument: a control surface both broad (many parameters shaped per-frame across the output) and responsive (each control taking effect as fast as its place in the denoising loop allows). Built on ACE-Step 1.5 and StreamDiffusion's ring-buffer architecture with TensorRT acceleration, it sustains up to 12.3 decoder completions per second for 60-second music on a single consumer GPU (RTX 5090), or 11.3 generations per second at our production ring-depth of 4. At these rates denoising parameters become viable as live performance controls, but the ring buffer propagates per-request changes only at its drain rate, a floor of S denoising steps. We contribute four mechanisms. (1) Per-slot heterogeneous denoise scheduling: each ring-buffer slot owns its timestep schedule, so a moving denoise slider is tracked without wiping the in-flight queue, where the upstream global-schedule design must rebuild and discard it. (2) Shared mutable per-step state, giving any parameter consulted at every solver step next-tick effect, bypassing ring-buffer drain. (3) Per-frame source blending: a sampling-time control on the standard SDE re-noise step, giving a framewise transformation-strength axis that complements scalar denoise scheduling. (4) Windowed VAE decode exploiting receptive-field analysis for an 8.0x decode speedup. Together these separate streaming-diffusion parameters into four propagation classes, by onset and convergence latency.

Multivariate long-term and efficient time series forecasting is a key requirement for a variety of practical applications, and there are complex interleaving time dynamics in time series data that require decomposition modeling. Traditional time series decomposition methods are single and rely on fixed rules, which are insufficient for mining the potential information of the series and adapting to the dynamic characteristics of complex series. On the other hand, the Transformer-based models for time series forecasting struggle to effectively model long sequences and intricate dynamic relationships due to their high computational complexity. To overcome these limitations, we introduce KARMA, with an Adaptive Time Channel Decomposition module (ATCD) to dynamically extract trend and seasonal components. It further integrates a Hybrid Frequency-Time Decomposition module (HFTD) to further decompose Series into frequency-domain and time-domain. These components are coupled with multi-scale Mamba-based KarmaBlock to efficiently process global and local information in a coordinated manner. Experiments on eight real-world datasets from diverse domains well demonstrated that KARMA significantly outperforms mainstream baseline methods in both predictive accuracy and computational efficiency. Code and full results are available at this repository: https://github.com/yedadasd/KARMA

Standard continuous-time generative models rely on monolithic architectures that must navigate vastly different signal regimes, from isotropic noise to intricate data distributions. While scaling model capacity improves performance, deploying a massive network uniformly across the entire generative timeline is inherently inefficient. In this work, we propose Complexity-Balanced Splitting (CBS), a principled framework for temporal capacity allocation that distributes the generative workload across multiple specialized sub-networks. Grounded in function approximation theory and de Boor's equidistribution principle, CBS partitions the diffusion timeline into segments of equal approximation burden, allocating more representational capacity to regions where the generative dynamics are more difficult to model. To estimate this local complexity, we introduce two complementary and tractable monitor functions: a spatial measure based on the flow's Dirichlet energy, and a geometric measure based on the acceleration of the sampling trajectories. Using a lightweight auxiliary model to estimate these complexity profiles, our approach eliminates the need for heuristic temporal splits or computationally expensive search procedures. Extensive evaluation across multiple architectures (SiT, JiT, and UNet) and datasets demonstrates that CBS consistently improves synthesis quality without increasing per-step inference cost. In particular, CBS improves FID by ~35% on SiT-XL with CFG relative to naive temporal partitioning. Project page is available at https://noamissachar.github.io/CBS/.

Split computing (neq split learning) is a promising approach to deep learning models for resource-constrained edge computing systems, where weak sensor (mobile) devices are wirelessly connected to stronger edge servers through channels with limited communication capacity. State-of-theart work on split computing presents methods for single tasks such as image classification, object detection, or semantic segmentation. The application of existing methods to multitask problems degrades model accuracy and/or significantly increase runtime latency. In this study, we propose Ladon, the first multi-task-head supervised compression model for multi-task split computing. Experimental results show that the multi-task supervised compression model either outperformed or rivaled strong lightweight baseline models in terms of predictive performance for ILSVRC 2012, COCO 2017, and PASCAL VOC 2012 datasets while learning compressed representations at its early layers. Furthermore, our models reduced end-to-end latency (by up to 95.4%) and energy consumption of mobile devices (by up to 88.2%) in multi-task split computing scenarios.

Most music source separation systems require large collections of isolated sources for training, which can be difficult to obtain. In this work, we use musical scores, which are comparatively easy to obtain, as a weak label for training a source separation system. In contrast with previous score-informed separation approaches, our system does not require isolated sources, and score is used only as a training target, not required for inference. Our model consists of a separator that outputs a time-frequency mask for each instrument, and a transcriptor that acts as a critic, providing both temporal and frequency supervision to guide the learning of the separator. A harmonic mask constraint is introduced as another way of leveraging score information during training, and we propose two novel adversarial losses for additional fine-tuning of both the transcriptor and the separator. Results demonstrate that using score information outperforms temporal weak-labels, and adversarial structures lead to further improvements in both separation and transcription performance.

In this paper, we introduce the MoisesDB dataset for musical source separation. It consists of 240 tracks from 45 artists, covering twelve musical genres. For each song, we provide its individual audio sources, organized in a two-level hierarchical taxonomy of stems. This will facilitate building and evaluating fine-grained source separation systems that go beyond the limitation of using four stems (drums, bass, other, and vocals) due to lack of data. To facilitate the adoption of this dataset, we publish an easy-to-use Python library to download, process and use MoisesDB. Alongside a thorough documentation and analysis of the dataset contents, this work provides baseline results for open-source separation models for varying separation granularities (four, five, and six stems), and discuss their results.

End-to-end learning models have demonstrated a remarkable capability in performing speech segregation. Despite their wide-scope of real-world applications, little is known about the mechanisms they employ to group and consequently segregate individual speakers. Knowing that harmonicity is a critical cue for these networks to group sources, in this work, we perform a thorough investigation on ConvTasnet and DPT-Net to analyze how they perform a harmonic analysis of the input mixture. We perform ablation studies where we apply low-pass, high-pass, and band-stop filters of varying pass-bands to empirically analyze the harmonics most critical for segregation. We also investigate how these networks decide which output channel to assign to an estimated source by introducing discontinuities in synthetic mixtures. We find that end-to-end networks are highly unstable, and perform poorly when confronted with deformations which are imperceptible to humans. Replacing the encoder in these networks with a spectrogram leads to lower overall performance, but much higher stability. This work helps us to understand what information these network rely on for speech segregation, and exposes two sources of generalization-errors. It also pinpoints the encoder as the part of the network responsible for these errors, allowing for a redesign with expert knowledge or transfer learning.

Consistency models have exhibited remarkable capabilities in facilitating efficient image/video generation, enabling synthesis with minimal sampling steps. It has proven to be advantageous in mitigating the computational burdens associated with diffusion models. Nevertheless, the application of consistency models in music generation remains largely unexplored. To address this gap, we present Music Consistency Models (MusicCM), which leverages the concept of consistency models to efficiently synthesize mel-spectrogram for music clips, maintaining high quality while minimizing the number of sampling steps. Building upon existing text-to-music diffusion models, the MusicCM model incorporates consistency distillation and adversarial discriminator training. Moreover, we find it beneficial to generate extended coherent music by incorporating multiple diffusion processes with shared constraints. Experimental results reveal the effectiveness of our model in terms of computational efficiency, fidelity, and naturalness. Notable, MusicCM achieves seamless music synthesis with a mere four sampling steps, e.g., only one second per minute of the music clip, showcasing the potential for real-time application.

Most Music Source Separation (MSS) models do not generalize well to live music recordings because they are trained on studio recordings alone, disregarding the venue acoustics, the speaker system's response and audience noise. We propose to bridge this gap by providing and training a model on two novel datasets. First, we present CrowdioSet: a noise dataset comprising 4800 real ambience tracks from Freesound and synthetic sing-alongs for the vocals in MUSDB18 and MOISESDB datasets, generated from zero-shot singing voice conversions. CrowdioSet enables effective audio denoising for live recordings, resulting in superior separation both in objective and subjective evaluations. Second, we introduce PaRIRset, a stereo impulse response dataset captured across 40 professional concert venues using a microphone array. Our results show that adding PaRIRset RIRs increases the performance of a MSS model compared to using real RIRs from Speech Enhancement tasks alone. We make the examples, code, model weights, PaRIRset, and CrowdioSet freely available to the public.

Periodic signals play an important role in daily lives. Although conventional sequential models have shown remarkable success in various fields, they still come short in modeling periodicity; they either collapse, diverge or ignore details. In this paper, we introduce a novel framework inspired by Fourier series to generate periodic signals. We first decompose the given signals into multiple sines and cosines and then conditionally generate periodic signals with the output components. We have shown our model efficacy on three tasks: reconstruction, imputation and conditional generation. Our model outperforms baselines in all tasks and shows more stable and refined results.

Estimating piano dynamic from audio recordings is a fundamental challenge in computational music analysis. In this paper, we propose an efficient multi-task network that jointly predicts dynamic levels, change points, beats, and downbeats from a shared latent representation. These four targets form the metrical structure of dynamics in the music score. Inspired by recent vocal dynamic research, we use a multi-scale network as the backbone, which takes Bark-scale specific loudness as the input feature. Compared to log-Mel as input, this reduces model size from 14.7 M to 0.5 M, enabling long sequential input. We use a 60-second audio length in audio segmentation, which doubled the length of beat tracking commonly used. Evaluated on the public MazurkaBL dataset, our model achieves state-of-the-art results across all tasks. This work sets a new benchmark for piano dynamic estimation and delivers a powerful and compact tool, paving the way for large-scale, resource-efficient analysis of musical expression.

Interactive streaming music generation promises the use of generative models for live performance and co-creation that is impossible with offline models. However, SOTA models exist in the discrete-AR regime, requiring industrial levels of compute for both training and inference. In this work, we investigate whether audio diffusion models, with their wide support in the open-source community but non-streaming bidirectional nature, can be repurposed efficiently into interactive models accessible on consumer hardware. By taking a critical look at the modern pipeline for block-wise outpainting diffusion, we identify critical inefficiencies during inference that result in strictly worse computational efficiency than their discrete-AR counterparts. We propose Live Music Diffusion Models (LMDMs), a simple modification of the generative diffusion process that recovers, and then outperforms, the inference complexity of the discrete Live Music Models (LMMs) through block-wise KV Caching. Unlike LMMs, LMDMs further enable stable post-training alignment through our novel ARC-Forcing paradigm, reducing error accumulation without any explicit RL or reward models. We demonstrate the application of LMDMs in a number of creative domains, including text-conditioned generation, sketch-based music synthesis, and jamming. We finally show how LMDMs can be used as a generative instrument in a real artist-AI collaboration, utilizing LMDMs as a "generative delay" to transform musicians' improvisation live for variable timbral effects while running locally on a consumer gaming laptop.

Music is characterized by complex hierarchical structures. Developing a comprehensive model to capture these structures has been a significant challenge in the field of Music Information Retrieval (MIR). Prior research has mainly focused on addressing individual tasks for specific hierarchical levels, rather than providing a unified approach. In this paper, we introduce a versatile, all-in-one model that jointly performs beat and downbeat tracking as well as functional structure segmentation and labeling. The model leverages source-separated spectrograms as inputs and employs dilated neighborhood attentions to capture temporal long-term dependencies, along with non-dilated attentions for local instrumental dependencies. Consequently, the proposed model achieves state-of-the-art performance in all four tasks on the Harmonix Set while maintaining a relatively lower number of parameters compared to recent state-of-the-art models. Furthermore, our ablation study demonstrates that the concurrent learning of beats, downbeats, and segments can lead to enhanced performance, with each task mutually benefiting from the others.

The advancement of remote sensing technology has improved the spatial resolution of satellite imagery, facilitating more detailed visual representations for diverse interpretations. However, existing methods exhibit limited generalization capabilities across varied applications. While some contemporary foundation models demonstrate potential, they are hindered by insufficient cross-task adaptability and primarily process low-resolution imagery of restricted sizes, thus failing to fully exploit high-resolution data or leverage comprehensive large-scene semantics. Crucially, remote sensing imagery differs fundamentally from natural images, as key foreground targets (eg., maritime objects, artificial structures) often occupy minimal spatial proportions (~1%) and exhibit sparse distributions. Efficiently modeling cross-task generalizable knowledge from lengthy 2D tokens (~100,000) poses a significant challenge yet remains critical for remote sensing image understanding. Motivated by the selective attention mechanisms inherent to the human visual system, we propose DynamicVis, a dynamic visual perception foundation model for remote sensing imagery. The framework integrates a novel dynamic region perception backbone based on the selective state space model, which strategically balances localized detail extraction with global contextual integration, enabling computationally efficient encoding of large-scale data while maintaining architectural scalability. To enhance cross-task knowledge transferring, we introduce a multi-instance learning paradigm utilizing meta-embedding representations, trained on million-scale region-level annotations. Evaluations across nine downstream tasks demonstrate the model's versatility. DynamicVis achieves multi-level feature modeling with exceptional efficiency, processing (2048x2048) pixels with 97 ms latency (6% of ViT's) and 833 MB GPU memory (3% of ViT's).

The out-of-band energy loss caused by in-built color filters significantly degrades the signal-to-noise ratio and the dynamic range of conventional image sensors, which has restricted the attempt to develop ultrahigh-density imaging devices by merely shrinking the pixel size. This issue will be more serious for security cameras which need to collect visible (VIS) light and near-infrared (NIR) photons as well. The existing solutions mostly explore complex photonic nanostructures, which are often too complicated for production. In this work, we demonstrate a pixel-scale spectral router utilizing two-dimensional (2D) Si3N4 Mie scattering metagratings that can spatially divide NIR (850 nm) and VIS (400-700 nm) light to different pixels at high efficiencies. It has a minimum feature size larger than 360 nm, highly promising for massive production. Compared with the traditional filter design, our router can gain about 42% and 30% signal enhancement for NIR and VIS band, respectively. We show that it also has good polarization insensitivity and incident angle tolerance. The NIR-VIS simultaneous imaging is inspected without any complex reconstruction algorithm. Mode analysis indicates that the multipolar scattering of our Mie-type metagratings provides the necessary degrees of freedom to spatially optimize the routing functions for broadband photons.

Electronic synthesizer sounds are controlled by presets, parameters settings that yield complex timbral characteristics and ADSR envelopes, making preset conversion particularly challenging. Recent approaches to timbre transfer often rely on spectral objectives or implicit style matching, offering limited control over envelope shaping. Moreover, public synthesizer datasets rarely provide diverse coverage of timbres and ADSR envelopes. To address these gaps, we present SynthCloner, a factorized codec model that disentangles audio into three attributes: ADSR envelope, timbre, and content. This separation enables expressive synthesizer preset conversion with independent control over these three attributes. Additionally, we introduce SynthCAT, a new synthesizer dataset with a task-specific rendering pipeline covering 250 timbres, 120 ADSR envelopes, and 100 MIDI sequences. Experiments show that SynthCloner outperforms baselines on both objective and subjective metrics, while enabling independent attribute control. The code, model checkpoint, and audio examples are available at https://buffett0323.github.io/synthcloner/.

Recently, MLP-based vision backbones have achieved promising performance in several visual recognition tasks. However, the existing MLP-based methods directly aggregate tokens with static weights, leaving the adaptability to different images untouched. Moreover, Recent research demonstrates that MLP-Transformer is great at creating long-range dependencies but ineffective at catching high frequencies that primarily transmit local information, which prevents it from applying to the downstream dense prediction tasks, such as semantic segmentation. To address these challenges, we propose a content-adaptive yet computationally efficient structure, dubbed Dynamic Spectrum Mixer (DSM). The DSM represents token interactions in the frequency domain by employing the Discrete Cosine Transform, which can learn long-term spatial dependencies with log-linear complexity. Furthermore, a dynamic spectrum weight generation layer is proposed as the spectrum bands selector, which could emphasize the informative frequency bands while diminishing others. To this end, the technique can efficiently learn detailed features from visual input that contains both high- and low-frequency information. Extensive experiments show that DSM is a powerful and adaptable backbone for a range of visual recognition tasks. Particularly, DSM outperforms previous transformer-based and MLP-based models, on image classification, object detection, and semantic segmentation tasks, such as 83.8 \% top-1 accuracy on ImageNet, and 49.9 \% mIoU on ADE20K.

This paper is an extended and reworked version of a short course given by the author at ''Uzbekistan-Ukrainian readings in stochastic processes'', Tashkent-Kyiv, 2022, and was prepared for a special issue of ''Theory of stochastic processes'', devoted to publishing lecture notes from the aforementioned workshop. The survey is devoted to operator splitting methods in the abstract formulation and their applications in probability. While the survey is focused on multiplicative methods, the BCH formula is used to discuss exponential splitting methods and a short informal introduction to additive splitting is presented. We introduce frameworks and available deterministic and probabilistic results and concentrate on constructing a wide picture of the field of operator splitting methods, providing a rigorous description in the setting of abstract Cauchy problems and an informal discussion for further and parallel advances. Some limitations and common difficulties are listed, as well as examples of works that provide solutions or hints. No new results are given. The bibliography contains illustrative deterministic examples and a selection of probability-related works.

Separating a singing voice from its music accompaniment remains an important challenge in the field of music information retrieval. We present a unique neural network approach inspired by a technique that has revolutionized the field of vision: pixel-wise image classification, which we combine with cross entropy loss and pretraining of the CNN as an autoencoder on singing voice spectrograms. The pixel-wise classification technique directly estimates the sound source label for each time-frequency (T-F) bin in our spectrogram image, thus eliminating common pre- and postprocessing tasks. The proposed network is trained by using the Ideal Binary Mask (IBM) as the target output label. The IBM identifies the dominant sound source in each T-F bin of the magnitude spectrogram of a mixture signal, by considering each T-F bin as a pixel with a multi-label (for each sound source). Cross entropy is used as the training objective, so as to minimize the average probability error between the target and predicted label for each pixel. By treating the singing voice separation problem as a pixel-wise classification task, we additionally eliminate one of the commonly used, yet not easy to comprehend, postprocessing steps: the Wiener filter postprocessing. The proposed CNN outperforms the first runner up in the Music Information Retrieval Evaluation eXchange (MIREX) 2016 and the winner of MIREX 2014 with a gain of 2.2702 ~ 5.9563 dB global normalized source to distortion ratio (GNSDR) when applied to the iKala dataset. An experiment with the DSD100 dataset on the full-tracks song evaluation task also shows that our model is able to compete with cutting-edge singing voice separation systems which use multi-channel modeling, data augmentation, and model blending.

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.

The spectral smoothness properties of the low-frequency array of the Square Kilometer Array (SKA), namely SKA-Low, are an important issue for its scientific objectives to be attainable. A large array of 256 log-periodic dipole antennas, installed on top of a 42~m circular ground plane, will work as an SKA-Low station in the frequency range 50-350 MHz. In this article, the ground plane induced effects are examined in terms of antenna beam spectral characteristics, while different antenna placements are considered. Results are produced both at isolated antenna and at array level in the band 50-100 MHz, by employing an approximate method for the speeding-up of array simulations. We attempt to distinguish the ground plane effect from that of mutual coupling among antennas, which appears to be more severe at specific frequencies, using 2 figures of merit. The Discrete Fourier Transform (DFT) components of gain pattern ratios identify the fundamental spatial components of the ripple, while the Envelope Correlation Coefficient quantifies the penalty to considering an infinite ground plane.

Single-channel audio separation aims to separate individual sources from a single-channel mixture. Most existing methods rely on supervised learning with synthetically generated paired data. However, obtaining high-quality paired data in real-world scenarios is often difficult. This data scarcity can degrade model performance under unseen conditions and limit generalization ability. To this end, in this work, we approach this problem from an unsupervised perspective, framing it as a probabilistic inverse problem. Our method requires only diffusion priors trained on individual sources. Separation is then achieved by iteratively guiding an initial state toward the solution through reconstruction guidance. Importantly, we introduce an advanced inverse problem solver specifically designed for separation, which mitigates gradient conflicts caused by interference between the diffusion prior and reconstruction guidance during inverse denoising. This design ensures high-quality and balanced separation performance across individual sources. Additionally, we find that initializing the denoising process with an augmented mixture instead of pure Gaussian noise provides an informative starting point that significantly improves the final performance. To further enhance audio prior modeling, we design a novel time-frequency attention-based network architecture that demonstrates strong audio modeling capability. Collectively, these improvements lead to significant performance gains, as validated across speech-sound event, sound event, and speech separation tasks.

Dynamic treatment regimes (DTRs) are personalized, adaptive, multi-stage treatment plans that adapt treatment decisions both to an individual's initial features and to intermediate outcomes and features at each subsequent stage, which are affected by decisions in prior stages. Examples include personalized first- and second-line treatments of chronic conditions like diabetes, cancer, and depression, which adapt to patient response to first-line treatment, disease progression, and individual characteristics. While existing literature mostly focuses on estimating the optimal DTR from offline data such as from sequentially randomized trials, we study the problem of developing the optimal DTR in an online manner, where the interaction with each individual affect both our cumulative reward and our data collection for future learning. We term this the DTR bandit problem. We propose a novel algorithm that, by carefully balancing exploration and exploitation, is guaranteed to achieve rate-optimal regret when the transition and reward models are linear. We demonstrate our algorithm and its benefits both in synthetic experiments and in a case study of adaptive treatment of major depressive disorder using real-world data.

With the rapid deployment of SCADA systems, how to effectively analyze industrial signals and detect abnormal states is an urgent need for the industry. Due to the significant heterogeneity of these signals, which we summarize as the M5 problem, previous works only focus on small sub-problems and employ specialized models, failing to utilize the synergies between modalities and the powerful scaling law. However, we argue that the M5 signals can be modeled in a unified manner due to the intrinsic similarity. As a result, we propose FISHER, a Foundation model for multi-modal Industrial Signal compreHEnsive Representation. To support arbitrary sampling rates, FISHER considers the increment of sampling rate as the concatenation of sub-band information. Specifically, FISHER takes the STFT sub-band as the modeling unit and adopts a teacher student SSL framework for pre-training. We also develop the RMIS benchmark, which evaluates the representations of M5 industrial signals on multiple health management tasks. Compared with top SSL models, FISHER showcases versatile and outstanding capabilities with a general performance gain up to 5.03%, along with much more efficient scaling curves. We also investigate the scaling law on downstream tasks and derive potential avenues for future works. FISHER is now open-sourced on https://github.com/jianganbai/FISHER

3D Gaussian Splatting (3D-GS) enables real-time rendering but struggles with fast motion due to low temporal resolution of RGB cameras. To address this, we introduce the first approach combining event cameras, which capture high-temporal-resolution, continuous motion data, with deformable 3D-GS for fast dynamic scene reconstruction. We observe that threshold modeling for events plays a crucial role in achieving high-quality reconstruction. Therefore, we propose a GS-Threshold Joint Modeling (GTJM) strategy, creating a mutually reinforcing process that greatly improves both 3D reconstruction and threshold modeling. Moreover, we introduce a Dynamic-Static Decomposition (DSD) strategy that first identifies dynamic areas by exploiting the inability of static Gaussians to represent motions, then applies a buffer-based soft decomposition to separate dynamic and static areas. This strategy accelerates rendering by avoiding unnecessary deformation in static areas, and focuses on dynamic areas to enhance fidelity. Our approach achieves high-fidelity dynamic reconstruction at 156 FPS with a 400times400 resolution on an RTX 3090 GPU.

Reconstructing dynamic 3D scenes from monocular video remains fundamentally challenging due to the need to jointly infer motion, structure, and appearance from limited observations. Existing dynamic scene reconstruction methods based on Gaussian Splatting often entangle static and dynamic elements in a shared representation, leading to motion leakage, geometric distortions, and temporal flickering. We identify that the root cause lies in the coupled modeling of geometry and appearance across time, which hampers both stability and interpretability. To address this, we propose SplitGaussian, a novel framework that explicitly decomposes scene representations into static and dynamic components. By decoupling motion modeling from background geometry and allowing only the dynamic branch to deform over time, our method prevents motion artifacts in static regions while supporting view- and time-dependent appearance refinement. This disentangled design not only enhances temporal consistency and reconstruction fidelity but also accelerates convergence. Extensive experiments demonstrate that SplitGaussian outperforms prior state-of-the-art methods in rendering quality, geometric stability, and motion separation.

FullSubNet is our recently proposed real-time single-channel speech enhancement network that achieves outstanding performance on the Deep Noise Suppression (DNS) Challenge dataset. A number of variants of FullSubNet have been proposed, but they all focus on the structure design towards better performance and are rarely concerned with computational efficiency. For many speech enhancement applications, a key feature is that system runs on a real-time, latency-sensitive, battery-powered platform, which strictly limits the algorithm latency and computational complexity. In this work, we propose a new architecture named Fast FullSubNet dedicated to accelerating the computation of FullSubNet. Specifically, Fast FullSubNet processes sub-band speech spectra in the mel-frequency domain by using cascaded linear-to-mel full-band, sub-band, and mel-to-linear full-band models such that frequencies involved in the sub-band computation are vastly reduced. After that, a down-sampling operation is proposed for the sub-band input sequence to further reduce the computational complexity along the time axis. Experimental results show that, compared to FullSubNet, Fast FullSubNet has only 13\% computational complexity and 16\% processing time, and achieves comparable or even better performance. Code and audio samples are available at https://github.com/Audio-WestlakeU/FullSubNet.

TFDWT is an open-source Python library that allows the construction of TensorFlow Layers for Fast Discrete Wavelet Transform (DWT) and Inverse Discrete Wavelet Transform (IDWT) in end-to-end backpropagation learning networks. By definition, a multiresolution signal representation using a multi-rate discrete wavelet system creates enriched joint natural-frequency representations. These layers facilitate the construction of multilevel DWT filter banks and Wavelet Packet Transform (WPT) filter banks for a spatial-frequency representation of the inputs and features in shallow or deep networks. The discrete wavelet system partitions the frequency plane into subbands using orthogonal dilated and translated lowpass scaling and highpass wavelet function. The realization of a fast discrete wavelet system is a two-band perfect reconstruction multi-rate filter bank with FIR filters corresponding to the impulse responses of the scaling and wavelet function with downsampling and upsampling operations. A filter bank for a higher dimensional input is a seamless extension by successive separable circular convolutions across each independent axis. The command `pip install TFDWT' installs the latest version of the package.

With the advent of surveys like Euclid and Vera C. Rubin, astrophysicists will have access to both deep, high-resolution images and multiband images. However, these two types are not simultaneously available in any single dataset. It is therefore vital to devise image deconvolution algorithms that exploit the best of both worlds and that can jointly analyze datasets spanning a range of resolutions and wavelengths. In this work we introduce a novel multiband deconvolution technique aimed at improving the resolution of ground-based astronomical images by leveraging higher-resolution space-based observations. The method capitalizes on the fortunate fact that the Rubin r, i, and z bands lie within the Euclid VIS band. The algorithm jointly de-convolves all the data to convert the r-, i-, and z-band Rubin images to the resolution of Euclid by leveraging the correlations between the different bands. We also investigate the performance of deep-learning-based denoising with DRUNet to further improve the results. We illustrate the effectiveness of our method in terms of resolution and morphology recovery, flux preservation, and generalization to different noise levels. This approach extends beyond the specific Euclid-Rubin combination, offering a versatile solution to improving the resolution of ground-based images in multiple photometric bands by jointly using any space-based images with overlapping filters.

We propose a transformer-based rhythm quantization model that incorporates beat and downbeat information to quantize MIDI performances into metrically-aligned, human-readable scores. We propose a beat-based preprocessing method that transfers score and performance data into a unified token representation. We optimize our model architecture and data representation and train on piano and guitar performances. Our model exceeds state-of-the-art performance based on the MUSTER metric.

Real-time score following from sheet images remains chal- lenging because the model must process streaming au- dio while resolving highly repetitive visual patterns un- der strict latency constraints. Recent image-based meth- ods have attempted to use multi-resolution prediction by simultaneously predicting the positions of the active sys- tem, bar, and note. However, their predictions across these different levels of notation are independent, which makes the predictions unstable and introduces unnecessary ex- tra search space for bar- and note-level predictions. Most existing methods also lack mechanisms to recover from score discontinuities, such as repeats, da capo (D.C.), or coda jumps. This paper proposes CODA, to the best of our knowledge, the first real-time score following system that addresses both gaps. CODA explicitly exploits the cascaded structure of music scores: it first selects the ac- tive system, then the active bar within it, and finally the active note within the selected bar. This enforces pre- diction consistency across resolutions. A silence-driven break mode enables recovery from arbitrary score discon- tinuities without requiring knowledge of the repeat struc- ture. Evaluated on the Multimodal Sheet Music Dataset (MSMD) piano benchmarks, CODA achieves state-of-the- art tracking accuracy and discontinuity-recovery perfor- mance under real-time throughput. Code is available at https://github.com/ValleyC/CODA.