Daily Papers

This paper proposes an architecture for equipping large language models (LLMs) with audio-understanding capabilities without fine-tuning their weights. The proposed symbiotic architecture employs an injector module that writes audio-conditioned vectors directly into the target LLM's short-term memory, i.e., the key-value (KV) cache, enabling the LLM to behave as an audio language model (ALM). The architectural advantages are twofold. First, it improves the scalability of ALMs: because the proposed method bypasses the LLM during audio injection, the injection cost is governed by the injector width rather than the backbone width, and can therefore scale more slowly than the cost of full-backbone prefilling. Second, since the training scheme does not update the LLM weights, the original capabilities of the LLM are preserved without the risk of degradation from fine-tuning. The effectiveness of the proposed method is evaluated on both audio-understanding tasks (automatic speech recognition, audio question answering, and acoustic scene classification) and text-only tasks. We confirm that, while activating fewer parameters during audio prefilling, our architecture outperforms the conventional method with a frozen LLM and approaches the performance of a fine-tuned ALM, all while preserving the backbone LLM's original text-only task performance by construction.

Scaling text-to-speech (TTS) to large-scale, multi-speaker, and in-the-wild datasets is important to capture the diversity in human speech such as speaker identities, prosodies, and styles (e.g., singing). Current large TTS systems usually quantize speech into discrete tokens and use language models to generate these tokens one by one, which suffer from unstable prosody, word skipping/repeating issue, and poor voice quality. In this paper, we develop NaturalSpeech 2, a TTS system that leverages a neural audio codec with residual vector quantizers to get the quantized latent vectors and uses a diffusion model to generate these latent vectors conditioned on text input. To enhance the zero-shot capability that is important to achieve diverse speech synthesis, we design a speech prompting mechanism to facilitate in-context learning in the diffusion model and the duration/pitch predictor. We scale NaturalSpeech 2 to large-scale datasets with 44K hours of speech and singing data and evaluate its voice quality on unseen speakers. NaturalSpeech 2 outperforms previous TTS systems by a large margin in terms of prosody/timbre similarity, robustness, and voice quality in a zero-shot setting, and performs novel zero-shot singing synthesis with only a speech prompt. Audio samples are available at https://speechresearch.github.io/naturalspeech2.

Existing video-to-audio (V2A) generation methods predominantly rely on text prompts alongside visual information to synthesize audio. However, two critical bottlenecks persist: semantic granularity gaps in training data, such as conflating acoustically distinct sounds under coarse labels, and textual ambiguity in describing micro-acoustic features. These bottlenecks make it difficult to perform fine-grained sound synthesis using text-controlled modes. To address these limitations, we propose AC-Foley, an audio-conditioned V2A model that directly leverages reference audio to achieve precise and fine-grained control over generated sounds. This approach enables fine-grained sound synthesis, timbre transfer, zero-shot sound generation, and improved audio quality. By directly conditioning on audio signals, our approach bypasses the semantic ambiguities of text descriptions while enabling precise manipulation of acoustic attributes. Empirically, AC-Foley achieves state-of-the-art performance for Foley generation when conditioned on reference audio, while remaining competitive with state-of-the-art video-to-audio methods even without audio conditioning.

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

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

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

The residual vector quantization (RVQ) technique plays a central role in recent advances in neural audio codecs. These models effectively synthesize high-fidelity audio from a limited number of codes due to the hierarchical structure among quantization levels. In this paper, we propose an encoding algorithm to further enhance the synthesis quality of RVQ-based neural codecs at test-time. Firstly, we point out the suboptimal nature of quantized vectors generated by conventional methods. We demonstrate that quantization error can be mitigated by selecting a different set of codes. Subsequently, we present our encoding algorithm, designed to identify a set of discrete codes that achieve a lower quantization error. We then apply the proposed method to pre-trained models and evaluate its efficacy using diverse metrics. Our experimental findings validate that our method not only reduces quantization errors, but also improves synthesis quality.

This work introduces a new task, text-conditioned selective video-to-audio (V2A) generation, which produces only the user-intended sound from a multi-object video. This capability is especially crucial in multimedia production, where audio tracks are handled individually for each sound source for precise editing, mixing, and creative control. However, current approaches generate single source-mixed sounds at once, largely because visual features are entangled, and region cues or prompts often fail to specify the source. We propose SelVA, a novel text-conditioned V2A model that treats the text prompt as an explicit selector of target source and modulates video encoder to distinctly extract prompt-relevant video features. The proposed supplementary tokens promote cross-attention by suppressing text-irrelevant activations with efficient parameter tuning, yielding robust semantic and temporal grounding. SelVA further employs a self-augmentation scheme to overcome the lack of mono audio track supervision. We evaluate SelVA on VGG-MONOAUDIO, a curated benchmark of clean single-source videos for such a task. Extensive experiments and ablations consistently verify its effectiveness across audio quality, semantic alignment, and temporal synchronization. Code and demo are available at https://jnwnlee.github.io/selva-demo/.

The audio research community depends on open generative models as foundational tools for building novel approaches and establishing baselines. In this report, we present Woosh, Sony AI's publicly released sound effect foundation model, detailing its architecture, training process, and an evaluation against other popular open models. Being optimized for sound effects, we provide (1) a high-quality audio encoder/decoder model and (2) a text-audio alignment model for conditioning, together with (3) text-to-audio and (4) video-to-audio generative models. Distilled text-to-audio and video-to-audio models are also included in the release, allowing for low-resource operation and fast inference. Our evaluation on both public and private data shows competitive or better performance for each module when compared to existing open alternatives like StableAudio-Open and TangoFlux. Inference code and model weights are available at https://github.com/SonyResearch/Woosh. Demo samples can be found at https://sonyresearch.github.io/Woosh/.

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

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

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

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

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

Recent advances in video generation have achieved remarkable improvements in visual content fidelity. However, the absence of synchronized audio severely undermines immersive experience and restricts practical applications of these technologies. To address this challenge, several pioneering works have explored diffusion transformer architectures for generating plausible video-synchronized audio, including Kling-foley, HunyuanVideo-foley and Thinksound. Distinct from existing works, we introduce an autoregressive audio generation architecture (DreamFoley) that harnesses the capabilities of large vision-language models (VLMs) to jointly model sequential interactions among video, audio, and text modalities. Our approach features a dual-visual encoder module that effectively captures both audio-aligned and text-aligned visual features. Additionally, we employ a Residual Vector Quantization audio tokenizer with a delay-pattern generation scheme to balance the trade-off between training efficiency and audio quality. Moreover, we introduce the classifier-free guidance strategy into VLMs to bootstrap generated audio quality. Furthermore, we establish an efficient data production pipeline to scale audio-video-text triple collection. Finally, extensive experiments are conducted to validate the effectiveness of our model, achieving promising performance across popular benchmarks. We hope that the findings in this study provide a strong foundation for future video-to-audio generation research. We also release the previously missing audio-visual textual descriptions from the public benchmark, aiming to facilitate subsequent researchers in conducting more convenient and effective evaluations and comparisons.

Current audio-visual large language models (AV-LLMs) are predominantly restricted to 2D perception, relying on RGB video and monaural audio. This design choice introduces a fundamental dimensionality mismatch that precludes reliable source localization and spatial reasoning in complex 3D environments. We address this limitation by presenting JAEGER, a framework that extends AV-LLMs to 3D space, to enable joint spatial grounding and reasoning through the integration of RGB-D observations and multi-channel first-order ambisonics. A core contribution of our work is the neural intensity vector (Neural IV), a learned spatial audio representation that encodes robust directional cues to enhance direction-of-arrival estimation, even in adverse acoustic scenarios with overlapping sources. To facilitate large-scale training and systematic evaluation, we propose SpatialSceneQA, a benchmark of 61k instruction-tuning samples curated from simulated physical environments. Extensive experiments demonstrate that our approach consistently surpasses 2D-centric baselines across diverse spatial perception and reasoning tasks, underscoring the necessity of explicit 3D modelling for advancing AI in physical environments. Our source code, pre-trained model checkpoints and datasets will be released upon acceptance.

Text-to-video retrieval systems have recently made significant progress by utilizing pre-trained models trained on large-scale image-text pairs. However, most of the latest methods primarily focus on the video modality while disregarding the audio signal for this task. Nevertheless, a recent advancement by ECLIPSE has improved long-range text-to-video retrieval by developing an audiovisual video representation. Nonetheless, the objective of the text-to-video retrieval task is to capture the complementary audio and video information that is pertinent to the text query rather than simply achieving better audio and video alignment. To address this issue, we introduce TEFAL, a TExt-conditioned Feature ALignment method that produces both audio and video representations conditioned on the text query. Instead of using only an audiovisual attention block, which could suppress the audio information relevant to the text query, our approach employs two independent cross-modal attention blocks that enable the text to attend to the audio and video representations separately. Our proposed method's efficacy is demonstrated on four benchmark datasets that include audio: MSR-VTT, LSMDC, VATEX, and Charades, and achieves better than state-of-the-art performance consistently across the four datasets. This is attributed to the additional text-query-conditioned audio representation and the complementary information it adds to the text-query-conditioned video representation.

While most music generation models use textual or parametric conditioning (e.g. tempo, harmony, musical genre), we propose to condition a language model based music generation system with audio input. Our exploration involves two distinct strategies. The first strategy, termed textual inversion, leverages a pre-trained text-to-music model to map audio input to corresponding "pseudowords" in the textual embedding space. For the second model we train a music language model from scratch jointly with a text conditioner and a quantized audio feature extractor. At inference time, we can mix textual and audio conditioning and balance them thanks to a novel double classifier free guidance method. We conduct automatic and human studies that validates our approach. We will release the code and we provide music samples on https://musicgenstyle.github.io in order to show the quality of our model.

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

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

Neural audio codecs have recently gained popularity because they can represent audio signals with high fidelity at very low bitrates, making it feasible to use language modeling approaches for audio generation and understanding. Residual Vector Quantization (RVQ) has become the standard technique for neural audio compression using a cascade of VQ codebooks. This paper proposes the Multi-Scale Neural Audio Codec, a simple extension of RVQ where the quantizers can operate at different temporal resolutions. By applying a hierarchy of quantizers at variable frame rates, the codec adapts to the audio structure across multiple timescales. This leads to more efficient compression, as demonstrated by extensive objective and subjective evaluations. The code and model weights are open-sourced at https://github.com/hubertsiuzdak/snac.

We consider the task of generating diverse and realistic videos guided by natural audio samples from a wide variety of semantic classes. For this task, the videos are required to be aligned both globally and temporally with the input audio: globally, the input audio is semantically associated with the entire output video, and temporally, each segment of the input audio is associated with a corresponding segment of that video. We utilize an existing text-conditioned video generation model and a pre-trained audio encoder model. The proposed method is based on a lightweight adaptor network, which learns to map the audio-based representation to the input representation expected by the text-to-video generation model. As such, it also enables video generation conditioned on text, audio, and, for the first time as far as we can ascertain, on both text and audio. We validate our method extensively on three datasets demonstrating significant semantic diversity of audio-video samples and further propose a novel evaluation metric (AV-Align) to assess the alignment of generated videos with input audio samples. AV-Align is based on the detection and comparison of energy peaks in both modalities. In comparison to recent state-of-the-art approaches, our method generates videos that are better aligned with the input sound, both with respect to content and temporal axis. We also show that videos produced by our method present higher visual quality and are more diverse.

We present VCNAC, a variable channel neural audio codec. Our approach features a single encoder and decoder parametrization that enables native inference for different channel setups, from mono speech to cinematic 5.1 channel surround audio. Channel compatibility objectives ensure that multi-channel content maintains perceptual quality when decoded to fewer channels. The shared representation enables training of generative language models on a single set of codebooks while supporting inference-time scalability across modalities and channel configurations. Evaluation using objective spatial audio metrics and subjective listening tests demonstrates that our unified approach maintains high reconstruction quality across mono, stereo, and surround audio configurations.

We demonstrate that a single 3x3 convolutional kernel can produce emergent audio effects when trained on 200 samples from a personalized corpus. We achieve this through two key techniques: (1) Conditioning Aware Kernels (CAK), where output = input + (learned_pattern x control), with a soft-gate mechanism supporting identity preservation at zero control; and (2) AuGAN (Audit GAN), which reframes adversarial training from "is this real?" to "did you apply the requested value?" Rather than learning to generate or detect forgeries, our networks cooperate to verify control application, discovering unique transformations. The learned kernel exhibits a diagonal structure creating frequency-dependent temporal shifts that are capable of producing musical effects based on input characteristics. Our results show the potential of adversarial training to discover audio transformations from minimal data, enabling new approaches to effect design.

We introduce EgoSonics, a method to generate semantically meaningful and synchronized audio tracks conditioned on silent egocentric videos. Generating audio for silent egocentric videos could open new applications in virtual reality, assistive technologies, or for augmenting existing datasets. Existing work has been limited to domains like speech, music, or impact sounds and cannot easily capture the broad range of audio frequencies found in egocentric videos. EgoSonics addresses these limitations by building on the strength of latent diffusion models for conditioned audio synthesis. We first encode and process audio and video data into a form that is suitable for generation. The encoded data is used to train our model to generate audio tracks that capture the semantics of the input video. Our proposed SyncroNet builds on top of ControlNet to provide control signals that enables temporal synchronization to the synthesized audio. Extensive evaluations show that our model outperforms existing work in audio quality, and in our newly proposed synchronization evaluation method. Furthermore, we demonstrate downstream applications of our model in improving video summarization.

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

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

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

Recent advances in interactive technologies have highlighted the prominence of audio signals for semantic encoding. This paper explores a new task, where audio signals are used as conditioning inputs to generate motions that align with the semantics of the audio. Unlike text-based interactions, audio provides a more natural and intuitive communication method. However, existing methods typically focus on matching motions with music or speech rhythms, which often results in a weak connection between the semantics of the audio and generated motions. We propose an end-to-end framework using a masked generative transformer, enhanced by a memory-retrieval attention module to handle sparse and lengthy audio inputs. Additionally, we enrich existing datasets by converting descriptions into conversational style and generating corresponding audio with varied speaker identities. Experiments demonstrate the effectiveness and efficiency of the proposed framework, demonstrating that audio instructions can convey semantics similar to text while providing more practical and user-friendly interactions.

Generating sound effects for videos often requires creating artistic sound effects that diverge significantly from real-life sources and flexible control in the sound design. To address this problem, we introduce MultiFoley, a model designed for video-guided sound generation that supports multimodal conditioning through text, audio, and video. Given a silent video and a text prompt, MultiFoley allows users to create clean sounds (e.g., skateboard wheels spinning without wind noise) or more whimsical sounds (e.g., making a lion's roar sound like a cat's meow). MultiFoley also allows users to choose reference audio from sound effects (SFX) libraries or partial videos for conditioning. A key novelty of our model lies in its joint training on both internet video datasets with low-quality audio and professional SFX recordings, enabling high-quality, full-bandwidth (48kHz) audio generation. Through automated evaluations and human studies, we demonstrate that MultiFoley successfully generates synchronized high-quality sounds across varied conditional inputs and outperforms existing methods. Please see our project page for video results: https://ificl.github.io/MultiFoley/

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

Recent advancements in audio language models have underscored the pivotal role of audio tokenization, which converts audio signals into discrete tokens, thereby facilitating the application of language model architectures to the audio domain. In this study, we introduce ALMTokenizer, a novel low-bitrate and semantically rich audio codec tokenizer for audio language models. Prior methods, such as Encodec, typically encode individual audio frames into discrete tokens without considering the use of context information across frames. Unlike these methods, we introduce a novel query-based compression strategy to capture holistic information with a set of learnable query tokens by explicitly modeling the context information across frames. This design not only enables the codec model to capture more semantic information but also encodes the audio signal with fewer token sequences. Additionally, to enhance the semantic information in audio codec models, we introduce the following: (1) A masked autoencoder (MAE) loss, (2) Vector quantization based on semantic priors, and (3) An autoregressive (AR) prediction loss. As a result, ALMTokenizer achieves competitive reconstruction performance relative to state-of-the-art approaches while operating at a lower bitrate. Within the same audio language model framework, ALMTokenizer outperforms previous tokenizers in audio understanding and generation tasks.

Building on the Joint-Embedding Predictive Architecture (JEPA) paradigm, a recent self-supervised learning framework that predicts latent representations of masked regions in high-level feature spaces, we propose Audio-JEPA (Audio Joint-Embedding Predictive Architecture), tailored specifically for audio data. Audio-JEPA uses a simple Vision Transformer backbone to predict latent representations of masked spectrogram patches rather than reconstructing raw audio. We pre-train on unlabeled AudioSet clips (10s, 32kHz) with random patch masking on mel-spectrograms. We evaluate on the X-ARES suite covering speech, music, and environmental sound tasks. Although our implementation is a straightforward translation of the original model to audio, the results still show comparable performance to wav2vec 2.0 and data2vec while using less than one-fifth of their training data and with no hyper-parameter tuning. All code and pretrained checkpoints will be released on GitHub.

Pretrained spatial audio encoders are increasingly used as general-purpose representations for perceptual tasks, yet their spatial encoding capabilities remain poorly understood. We introduce the Spatial Audio Representation Learning (SARL) benchmark, a controlled framework for evaluating spatial information in pretrained audio models. SARL probes source-level factors (azimuth, elevation, distance, class) and room-level factors (RT60, volume, shape). Experiments across diverse encoders reveal three patterns: input configuration and training paradigm shape spatial encoding; source factors are consistently easier to decode than room factors; and sensitivity analysis under controlled perturbations shows heterogeneous responses to source and room variation. These results reveal systematic biases in current pretrained audio representations. SARL is released as an open-source benchmark for reproducible evaluation of spatial audio representations.

We propose AV-Link, a unified framework for Video-to-Audio and Audio-to-Video generation that leverages the activations of frozen video and audio diffusion models for temporally-aligned cross-modal conditioning. The key to our framework is a Fusion Block that enables bidirectional information exchange between our backbone video and audio diffusion models through a temporally-aligned self attention operation. Unlike prior work that uses feature extractors pretrained for other tasks for the conditioning signal, AV-Link can directly leverage features obtained by the complementary modality in a single framework i.e. video features to generate audio, or audio features to generate video. We extensively evaluate our design choices and demonstrate the ability of our method to achieve synchronized and high-quality audiovisual content, showcasing its potential for applications in immersive media generation. Project Page: snap-research.github.io/AVLink/

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

Reconstructing continuous speech from scalp electroencephalography (EEG) remains fundamentally challenging. EEG provides a weak, spatially diffuse, and highly variable measurement of distributed cortical activity, whereas speech is organized as a coherent acoustic trajectory with strong harmonic and temporal structure. The resulting mismatch makes waveform regression unstable and causes stochastic multi-step generation to be sensitive to artifact-dependent conditioning and subject variability. We introduce NeuroSonic, a conditional flow-matching framework for EEG-to-speech reconstruction. Instead of predicting waveforms directly or refining them through stochastic denoising, NeuroSonic learns a deterministic probability-flow velocity field that transports a noise-corrupted acoustic state toward clean speech under EEG conditioning. EEG and audio are embedded into a shared token space and processed by a time-conditioned gated Transformer that parameterizes the transport ordinary differential equation. This formulation models trajectory evolution explicitly while avoiding iterative stochastic sampling. We evaluate NeuroSonic on the CineBrain and EAV benchmarks under cross-subject evaluation. Across both datasets, the proposed method improves distributional realism, spectral fidelity, and perceptual quality over representative GAN-, diffusion-, and mean-flow baselines, with up to a 26.3\% gain in overall perceptual quality. The performance gap is most evident in artifact-heavy segments, where conditioning variability is strongest. These findings indicate that deterministic conditional transport provides a stable and effective formulation for EEG-driven speech reconstruction. Code is available at https://github.com/Y-Research-SBU/NeuroSonic/ .

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

We propose a learnable content adaptive front end for audio signal processing. Before the modern advent of deep learning, we used fixed representation non-learnable front-ends like spectrogram or mel-spectrogram with/without neural architectures. With convolutional architectures supporting various applications such as ASR and acoustic scene understanding, a shift to a learnable front ends occurred in which both the type of basis functions and the weight were learned from scratch and optimized for the particular task of interest. With the shift to transformer-based architectures with no convolutional blocks present, a linear layer projects small waveform patches onto a small latent dimension before feeding them to a transformer architecture. In this work, we propose a way of computing a content-adaptive learnable time-frequency representation. We pass each audio signal through a bank of convolutional filters, each giving a fixed-dimensional vector. It is akin to learning a bank of finite impulse-response filterbanks and passing the input signal through the optimum filter bank depending on the content of the input signal. A content-adaptive learnable time-frequency representation may be more broadly applicable, beyond the experiments in this paper.

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

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

Audio-conditioned generators now produce synthetic sound effects from real recordings, so the real and synthetic versions of an event increasingly coexist in sound libraries and in the corpora used to train audio models -- yet no benchmark measures whether a representation can match a synthetic clip to the specific real recording it was generated from. I introduce Doppelganger, a benchmark for matching sound effects across the synthetic-real boundary, pairing 10,420 real clips across 34 everyday sound events each with an audio-conditioned synthetic twin, alongside a controlled 7-class corpus. Off-the-shelf audio encoders do not cross the boundary cleanly. Making the embedding ignore the boundary the standard way -- training it on sound-event labels -- works on familiar sounds but backfires on new ones, dropping below the untrained encoder. Training on the pairs instead -- a clip and its own synthetic twin -- generalizes. On sound events held out of training, it recovers the exact real source about 80% of the time (up from 61% untrained; chance 0.03%), whereas no objective meaningfully improves category-level recognition on those unseen events. The learned matching is specific to one generator -- it survives changes to that generator's settings but not a switch to a different generator, and collapses for the text-only generators tested. A human annotation baseline (49 listeners) lands well above chance but below the models on the same trials. Synthetic twins fool people into calling them real about 29% of the time, yet a generator-specific detector separates these audio-conditioned twins from real recordings perfectly.

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

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

Recent advances in language--audio retrieval have been largely driven by contrastive dual-encoder architectures that align audio and text in a shared embedding space. While effective, existing retrieval embeddings are primarily optimized for audio--caption matching, limiting their ability to support diverse retrieval objectives and controllable retrieval behaviors. We present ALM2Vec, a universal audio embedding framework derived from pretrained large audio--language models (LALMs). By transferring the audio understanding, instruction-following, and reasoning capabilities acquired through large-scale multimodal training, ALM2Vec learns a unified embedding space for retrieval across audio domains and task types. Beyond conventional text--audio retrieval, ALM2Vec incorporates natural-language instructions into the embedding process, enabling instruction-aware retrieval for scenarios such as audio question answering and aspect-conditioned retrieval. Experimental results show that ALM2Vec achieves competitive performance on standard audio and speech retrieval benchmarks while exhibiting promising compositional and controllable retrieval capabilities, highlighting its potential as a unified audio embedding model for retrieval across domains, tasks, and user intents.

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

Reasoning about spatial audio with large language models requires a spatial audio encoder as an acoustic front-end to obtain audio embeddings for further processing. Such an encoder needs to capture all information required to detect the type of sound events, as well as the direction and distance of their corresponding sources. Accomplishing this with a single audio encoder is demanding as the information required for each of these tasks is mostly independent of each other. As a result, the performance obtained with a single encoder is often worse than when using task-specific audio encoders. In this work, we present DSpAST, a novel audio encoder based on SpatialAST that learns disentangled representations of spatial audio while having only 0.2% additional parameters. Experiments on SpatialSoundQA with the spatial audio reasoning system BAT demonstrate that DSpAST significantly outperforms SpatialAST.

Generative models have shown significant achievements in audio generation tasks. However, existing models struggle with complex and detailed prompts, leading to potential performance degradation. We hypothesize that this problem stems from the simplicity and scarcity of the training data. This work aims to create a large-scale audio dataset with rich captions for improving audio generation models. We first develop an automated pipeline to generate detailed captions by transforming predicted visual captions, audio captions, and tagging labels into comprehensive descriptions using a Large Language Model (LLM). The resulting dataset, Sound-VECaps, comprises 1.66M high-quality audio-caption pairs with enriched details including audio event orders, occurred places and environment information. We then demonstrate that training the text-to-audio generation models with Sound-VECaps significantly improves the performance on complex prompts. Furthermore, we conduct ablation studies of the models on several downstream audio-language tasks, showing the potential of Sound-VECaps in advancing audio-text representation learning. Our dataset and models are available online from here https://yyua8222.github.io/Sound-VECaps-demo/.

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

Recent neural audio codecs have achieved impressive reconstruction quality, typically relying on quantization methods such as Residual Vector Quantization (RVQ), Vector Quantization (VQ) and Finite Scalar Quantization (FSQ). However, these quantization techniques limit the geometric structure of the latent space, make it harder to capture correlations between features leading to inefficiency in representation learning, codebook utilization and token rate. In this paper we introduce Two-Dimensional Quantization (Q2D2), a quantization scheme in which feature pairs are projected onto structured 2D grids, such as hexagonal, rhombic, or rectangular tiling and quantized to the nearest grid values, yielding an implicit codebook defined by the product of grid levels, with codebook sizes comparable to conventional methods. Despite its simple geometric formulation, Q2D2 improves audio compression efficiency, with low token rates and high codebook utilization while maintaining state of the art reconstruction quality. Specifically, Q2D2 achieves competitive to superior performance in various objective and subjective reconstruction metrics, across extensive experiments in speech, audio and music domains compared to state of the art models. Comprehensive ablation studies further confirm the effectiveness of our design choices.

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

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

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

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

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

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

We introduce LMCodec, a causal neural speech codec that provides high quality audio at very low bitrates. The backbone of the system is a causal convolutional codec that encodes audio into a hierarchy of coarse-to-fine tokens using residual vector quantization. LMCodec trains a Transformer language model to predict the fine tokens from the coarse ones in a generative fashion, allowing for the transmission of fewer codes. A second Transformer predicts the uncertainty of the next codes given the past transmitted codes, and is used to perform conditional entropy coding. A MUSHRA subjective test was conducted and shows that the quality is comparable to reference codecs at higher bitrates. Example audio is available at https://mjenrungrot.github.io/chrome-media-audio-papers/publications/lmcodec.

Neural audio codecs have been widely adopted in audio-generative tasks because their compact and discrete representations are suitable for both large-language-model-style and regression-based generative models. However, most neural codecs struggle to model out-of-domain audio, resulting in error propagations to downstream generative tasks. In this paper, we first argue that information loss from codec compression degrades out-of-domain robustness. Then, we propose full-band 48~kHz ComplexDec with complex spectral input and output to ease the information loss while adopting the same 24~kbps bitrate as the baseline AuidoDec and ScoreDec. Objective and subjective evaluations demonstrate the out-of-domain robustness of ComplexDec trained using only the 30-hour VCTK corpus.

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

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

We present AdVerb, a novel audio-visual dereverberation framework that uses visual cues in addition to the reverberant sound to estimate clean audio. Although audio-only dereverberation is a well-studied problem, our approach incorporates the complementary visual modality to perform audio dereverberation. Given an image of the environment where the reverberated sound signal has been recorded, AdVerb employs a novel geometry-aware cross-modal transformer architecture that captures scene geometry and audio-visual cross-modal relationship to generate a complex ideal ratio mask, which, when applied to the reverberant audio predicts the clean sound. The effectiveness of our method is demonstrated through extensive quantitative and qualitative evaluations. Our approach significantly outperforms traditional audio-only and audio-visual baselines on three downstream tasks: speech enhancement, speech recognition, and speaker verification, with relative improvements in the range of 18% - 82% on the LibriSpeech test-clean set. We also achieve highly satisfactory RT60 error scores on the AVSpeech dataset.

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

We present JASCO, a temporally controlled text-to-music generation model utilizing both symbolic and audio-based conditions. JASCO can generate high-quality music samples conditioned on global text descriptions along with fine-grained local controls. JASCO is based on the Flow Matching modeling paradigm together with a novel conditioning method. This allows music generation controlled both locally (e.g., chords) and globally (text description). Specifically, we apply information bottleneck layers in conjunction with temporal blurring to extract relevant information with respect to specific controls. This allows the incorporation of both symbolic and audio-based conditions in the same text-to-music model. We experiment with various symbolic control signals (e.g., chords, melody), as well as with audio representations (e.g., separated drum tracks, full-mix). We evaluate JASCO considering both generation quality and condition adherence, using both objective metrics and human studies. Results suggest that JASCO is comparable to the evaluated baselines considering generation quality while allowing significantly better and more versatile controls over the generated music. Samples are available on our demo page https://pages.cs.huji.ac.il/adiyoss-lab/JASCO.

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

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

Discrete audio representations have become increasingly popular for building multimodal text-audio systems and integrating audio capabilities into Large Language Models (LLMs). However, numerous studies report performance degradation on various downstream tasks due to information loss during discretization. To address this, we propose a novel approach combining temporally compressed discrete tokens with dimensionality-reduced continuous residuals. Our framework consists of a hybridized discrete-continuous focal modulation codec and a hybrid Transformer. This architecture performs autoregressive inference in the discrete domain, coupled with non-autoregressive prediction and continuous residual upsampling. Experimental results show that our approach significantly improves the retention of speaker characteristics compared to discrete-only methods, while simultaneously reducing the number of required autoregressive steps.

The auditory system plays a substantial role in shaping the overall human perceptual experience. While prevailing large language models (LLMs) and visual language models (VLMs) have shown their promise in solving a wide variety of vision and language understanding tasks, only a few of them can be generalised to the audio domain without compromising their domain-specific capacity. In this work, we introduce Acoustic Prompt Turning (APT), a new adapter extending LLMs and VLMs to the audio domain by soft prompting only. Specifically, APT applies an instruction-aware audio aligner to generate soft prompts, conditioned on both input text and sounds, as language model inputs. To mitigate the data scarcity in the audio domain, a multi-task learning strategy is proposed by formulating diverse audio tasks in a sequence-to-sequence manner. Moreover, we improve the framework of audio language model by using interleaved audio-text embeddings as the input sequence. This improved framework imposes zero constraints on the input format and thus is capable of tackling more understanding tasks, such as few-shot audio classification and audio reasoning. To further evaluate the reasoning ability of audio networks, we propose natural language audio reasoning (NLAR), a new task that analyses across two audio clips by comparison and summarization. Experiments show that APT-enhanced LLMs (namely APT-LLMs) achieve competitive results compared to the expert models (i.e., the networks trained on the targeted datasets) across various tasks. We finally demonstrate the APT's ability in extending frozen VLMs to the audio domain without finetuning, achieving promising results in the audio-visual question and answering task. Our code and model weights are released at https://github.com/JinhuaLiang/APT.

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

We present a framework that can impose the audio effects and production style from one recording to another by example with the goal of simplifying the audio production process. We train a deep neural network to analyze an input recording and a style reference recording, and predict the control parameters of audio effects used to render the output. In contrast to past work, we integrate audio effects as differentiable operators in our framework, perform backpropagation through audio effects, and optimize end-to-end using an audio-domain loss. We use a self-supervised training strategy enabling automatic control of audio effects without the use of any labeled or paired training data. We survey a range of existing and new approaches for differentiable signal processing, showing how each can be integrated into our framework while discussing their trade-offs. We evaluate our approach on both speech and music tasks, demonstrating that our approach generalizes both to unseen recordings and even to sample rates different than those seen during training. Our approach produces convincing production style transfer results with the ability to transform input recordings to produced recordings, yielding audio effect control parameters that enable interpretability and user interaction.

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

Multimodal generative models have shown remarkable progress in single-modality video and audio synthesis, yet truly joint audio-video generation remains an open challenge. In this paper, I explore four key contributions to advance this field. First, I release two high-quality, paired audio-video datasets. The datasets consisting on 13 hours of video-game clips and 64 hours of concert performances, each segmented into consistent 34-second samples to facilitate reproducible research. Second, I train the MM-Diffusion architecture from scratch on our datasets, demonstrating its ability to produce semantically coherent audio-video pairs and quantitatively evaluating alignment on rapid actions and musical cues. Third, I investigate joint latent diffusion by leveraging pretrained video and audio encoder-decoders, uncovering challenges and inconsistencies in the multimodal decoding stage. Finally, I propose a sequential two-step text-to-audio-video generation pipeline: first generating video, then conditioning on both the video output and the original prompt to synthesize temporally synchronized audio. My experiments show that this modular approach yields high-fidelity generations of audio video generation.

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

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

Mel-filterbanks are fixed, engineered audio features which emulate human perception and have been used through the history of audio understanding up to today. However, their undeniable qualities are counterbalanced by the fundamental limitations of handmade representations. In this work we show that we can train a single learnable frontend that outperforms mel-filterbanks on a wide range of audio signals, including speech, music, audio events and animal sounds, providing a general-purpose learned frontend for audio classification. To do so, we introduce a new principled, lightweight, fully learnable architecture that can be used as a drop-in replacement of mel-filterbanks. Our system learns all operations of audio features extraction, from filtering to pooling, compression and normalization, and can be integrated into any neural network at a negligible parameter cost. We perform multi-task training on eight diverse audio classification tasks, and show consistent improvements of our model over mel-filterbanks and previous learnable alternatives. Moreover, our system outperforms the current state-of-the-art learnable frontend on Audioset, with orders of magnitude fewer parameters.

We introduce MAGNeT, a masked generative sequence modeling method that operates directly over several streams of audio tokens. Unlike prior work, MAGNeT is comprised of a single-stage, non-autoregressive transformer. During training, we predict spans of masked tokens obtained from a masking scheduler, while during inference we gradually construct the output sequence using several decoding steps. To further enhance the quality of the generated audio, we introduce a novel rescoring method in which, we leverage an external pre-trained model to rescore and rank predictions from MAGNeT, which will be then used for later decoding steps. Lastly, we explore a hybrid version of MAGNeT, in which we fuse between autoregressive and non-autoregressive models to generate the first few seconds in an autoregressive manner while the rest of the sequence is being decoded in parallel. We demonstrate the efficiency of MAGNeT for the task of text-to-music and text-to-audio generation and conduct an extensive empirical evaluation, considering both objective metrics and human studies. The proposed approach is comparable to the evaluated baselines, while being significantly faster (x7 faster than the autoregressive baseline). Through ablation studies and analysis, we shed light on the importance of each of the components comprising MAGNeT, together with pointing to the trade-offs between autoregressive and non-autoregressive modeling, considering latency, throughput, and generation quality. Samples are available on our demo page https://pages.cs.huji.ac.il/adiyoss-lab/MAGNeT.

Video-to-audio (V2A) generation leverages visual-only video features to render plausible sounds that match the scene. Importantly, the generated sound onsets should match the visual actions that are aligned with them, otherwise unnatural synchronization artifacts arise. Recent works have explored the progression of conditioning sound generators on still images and then video features, focusing on quality and semantic matching while ignoring synchronization, or by sacrificing some amount of quality to focus on improving synchronization only. In this work, we propose a V2A generative model, named MaskVAT, that interconnects a full-band high-quality general audio codec with a sequence-to-sequence masked generative model. This combination allows modeling both high audio quality, semantic matching, and temporal synchronicity at the same time. Our results show that, by combining a high-quality codec with the proper pre-trained audio-visual features and a sequence-to-sequence parallel structure, we are able to yield highly synchronized results on one hand, whilst being competitive with the state of the art of non-codec generative audio models. Sample videos and generated audios are available at https://maskvat.github.io .

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

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

Music performance synthesis aims to synthesize a musical score into a natural performance. In this paper, we borrow recent advances in text-to-speech synthesis and present the Deep Performer -- a novel system for score-to-audio music performance synthesis. Unlike speech, music often contains polyphony and long notes. Hence, we propose two new techniques for handling polyphonic inputs and providing a fine-grained conditioning in a transformer encoder-decoder model. To train our proposed system, we present a new violin dataset consisting of paired recordings and scores along with estimated alignments between them. We show that our proposed model can synthesize music with clear polyphony and harmonic structures. In a listening test, we achieve competitive quality against the baseline model, a conditional generative audio model, in terms of pitch accuracy, timbre and noise level. Moreover, our proposed model significantly outperforms the baseline on an existing piano dataset in overall quality.

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

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

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

Joint audio-video generation aims to synthesize synchronized multisensory content, yet current unified models struggle with fine-grained acoustic control, particularly for identity-preserving speech. Existing approaches either suffer from temporal misalignment due to cascaded generation or lack the capability to perform zero-shot voice cloning within a joint synthesis framework. In this work, we present MM-Sonate, a multimodal flow-matching framework that unifies controllable audio-video joint generation with zero-shot voice cloning capabilities. Unlike prior works that rely on coarse semantic descriptions, MM-Sonate utilizes a unified instruction-phoneme input to enforce strict linguistic and temporal alignment. To enable zero-shot voice cloning, we introduce a timbre injection mechanism that effectively decouples speaker identity from linguistic content. Furthermore, addressing the limitations of standard classifier-free guidance in multimodal settings, we propose a noise-based negative conditioning strategy that utilizes natural noise priors to significantly enhance acoustic fidelity. Empirical evaluations demonstrate that MM-Sonate establishes new state-of-the-art performance in joint generation benchmarks, significantly outperforming baselines in lip synchronization and speech intelligibility, while achieving voice cloning fidelity comparable to specialized Text-to-Speech systems.

We present a neural network architecture designed to naturally learn a positional embedding and overcome the spectral bias towards lower frequencies faced by conventional implicit neural representation networks. Our proposed architecture, SPDER, is a simple MLP that uses an activation function composed of a sinusoidal multiplied by a sublinear function, called the damping function. The sinusoidal enables the network to automatically learn the positional embedding of an input coordinate while the damping passes on the actual coordinate value by preventing it from being projected down to within a finite range of values. Our results indicate that SPDERs speed up training by 10x and converge to losses 1,500-50,000x lower than that of the state-of-the-art for image representation. SPDER is also state-of-the-art in audio representation. The superior representation capability allows SPDER to also excel on multiple downstream tasks such as image super-resolution and video frame interpolation. We provide intuition as to why SPDER significantly improves fitting compared to that of other INR methods while requiring no hyperparameter tuning or preprocessing.

Generative modeling has recently achieved remarkable success across text, image, and audio domains, demonstrating powerful capabilities for unified representation learning. However, audio generation models still face challenges in terms of audio quality and generalization ability across tasks. This fragmentation results in redundant development efforts, inconsistent performance, and limited extensibility. To address these issues, we propose UniTok-Audio, a scalable and extensible framework for unified audio generation tasks. Specifically, 1) UniTok-Audio extracts continuous feature of conditions to generates discrete tokens of target audio in an autoregressive manner; 2) a special task identifier token unifies different learning patterns of multiple tasks in a single framework; 3) a dual-stream audio codec involving acoustic and semantic branch is developed for high-fidelity waveform reconstruction. Experimental results demonstrate that UniTok-Audio achieves competitive performance in comparation with state-of-the-art task-specific or multi-task systems across five time-aligned tasks: speech restoration, target speaker extraction, speech separation, voice conversion, and language-queried audio source separation. To foster future research, we will open-source our codebase. The demo page of our work can be found here: https://alibaba.github.io/unified-audio.

We introduce C3LLM (Conditioned-on-Three-Modalities Large Language Models), a novel framework combining three tasks of video-to-audio, audio-to-text, and text-to-audio together. C3LLM adapts the Large Language Model (LLM) structure as a bridge for aligning different modalities, synthesizing the given conditional information, and making multimodal generation in a discrete manner. Our contributions are as follows. First, we adapt a hierarchical structure for audio generation tasks with pre-trained audio codebooks. Specifically, we train the LLM to generate audio semantic tokens from the given conditions, and further use a non-autoregressive transformer to generate different levels of acoustic tokens in layers to better enhance the fidelity of the generated audio. Second, based on the intuition that LLMs were originally designed for discrete tasks with the next-word prediction method, we use the discrete representation for audio generation and compress their semantic meanings into acoustic tokens, similar to adding "acoustic vocabulary" to LLM. Third, our method combines the previous tasks of audio understanding, video-to-audio generation, and text-to-audio generation together into one unified model, providing more versatility in an end-to-end fashion. Our C3LLM achieves improved results through various automated evaluation metrics, providing better semantic alignment compared to previous methods.

Existing single-domain and multi-task audio systems remain limited in directly organizing heterogeneous audio components, ambience, and multiple roles into long-form temporal scenes. We present Qwen-Audio-3.0-Gen-Preview, a unified non-autoregressive framework that uses a Diffusion Transformer (DiT) and a shared variational autoencoder (VAE) to generate the complete mixed waveform. Prompt enhancement converts free-form requests into structured temporal records that are rendered as textual conditions, while a two-stage data curriculum and semantic conditional views train the proposed model to use these conditions across standalone and mixed-scene audio. A shared continuous VAE compresses 48kHz stereo waveforms into 25Hz latent sequences and incorporates semantic supervision, providing one representation for heterogeneous audio. On the public reference-conditioned benchmark, speaker similarity is the proposed model's clearest strength across all three subsets. Across the multi-speaker and rich-timeline benchmarks, its clearest comparative strengths are cross-turn consistency in both languages and temporal localization, respectively. On AudioCaps, its advantages are concentrated in evaluations using large audio-language models and AudioBox. These results demonstrate the potential of unified generation for temporally structured audio without task-specific branches.

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

Generating audio from a video's visual context has multiple practical applications in improving how we interact with audio-visual media - for example, enhancing CCTV footage analysis, restoring historical videos (e.g., silent movies), and improving video generation models. We propose a novel method to generate audio from video using a sequence-to-sequence model, improving on prior work that used CNNs and WaveNet and faced sound diversity and generalization challenges. Our approach employs a 3D Vector Quantized Variational Autoencoder (VQ-VAE) to capture the video's spatial and temporal structures, decoding with a custom audio decoder for a broader range of sounds. Trained on the Youtube8M dataset segment, focusing on specific domains, our model aims to enhance applications like CCTV footage analysis, silent movie restoration, and video generation models.

In recent years, image generation has shown a great leap in performance, where diffusion models play a central role. Although generating high-quality images, such models are mainly conditioned on textual descriptions. This begs the question: "how can we adopt such models to be conditioned on other modalities?". In this paper, we propose a novel method utilizing latent diffusion models trained for text-to-image-generation to generate images conditioned on audio recordings. Using a pre-trained audio encoding model, the proposed method encodes audio into a new token, which can be considered as an adaptation layer between the audio and text representations. Such a modeling paradigm requires a small number of trainable parameters, making the proposed approach appealing for lightweight optimization. Results suggest the proposed method is superior to the evaluated baseline methods, considering objective and subjective metrics. Code and samples are available at: https://pages.cs.huji.ac.il/adiyoss-lab/AudioToken.

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

The emergence of multi-codebook neutral audio codecs such as Residual Vector Quantization (RVQ) and Group Vector Quantization (GVQ) has significantly advanced Large-Language-Model (LLM) based Text-to-Speech (TTS) systems. These codecs are crucial in separating semantic and acoustic information while efficiently harnessing semantic priors. However, since semantic and acoustic information cannot be fully aligned, a significant drawback of these methods when applied to LLM-based TTS is that large language models may have limited access to comprehensive audio information. To address this limitation, we propose DistilCodec and UniTTS, which collectively offer the following advantages: 1) This method can distill a multi-codebook audio codec into a single-codebook audio codec with 32,768 codes while achieving a near 100\% utilization. 2) As DistilCodec does not employ a semantic alignment scheme, a large amount of high-quality unlabeled audio (such as audiobooks with sound effects, songs, etc.) can be incorporated during training, further expanding data diversity and broadening its applicability. 3) Leveraging the comprehensive audio information modeling of DistilCodec, we integrated three key tasks into UniTTS's pre-training framework: audio modality autoregression, text modality autoregression, and speech-text cross-modal autoregression. This allows UniTTS to accept interleaved text and speech/audio prompts while substantially preserving LLM's text capabilities. 4) UniTTS employs a three-stage training process: Pre-Training, Supervised Fine-Tuning (SFT), and Alignment. Source code and model checkpoints are publicly available at https://github.com/IDEA-Emdoor-Lab/UniTTS and https://github.com/IDEA-Emdoor-Lab/DistilCodec.

Some text-to-speech systems ship a synthesis model and preset style vectors but withhold the reference encoder that turns a recording into a style vector, so a user cannot obtain a style for a new voice. We recover that vector without the encoder by inverting the released pipeline with gradient descent: all weights stay frozen and only the style vector is optimized, against time-pooled WavLM statistics of one recording of the target. The objective discards the time axis, so no transcript is needed. Two constraints from the release make the result a drop-in style: every row of the timbre style stays on the unit sphere where the presets lie, and the small duration style, which a time-pooled loss cannot see, is fitted to the recording's speaking rate. On SupertonicTTS, over 147 speakers and 100 held-out sentences each, ECAPA-TDNN similarity rises from 0.129 to 0.419, every recovered style starts from a preset and ends closer to its target than that preset was, and the pooled word error rate stays below that of the presets. A verifier at its equal-error point accepts 52% of the recovered voices as the target speaker, against 1% of the presets.

The attention-based Transformers have been increasingly applied to audio classification because of their global receptive field and ability to handle long-term dependency. However, the existing frameworks which are mainly extended from the Vision Transformers are not perfectly compatible with audio signals. In this paper, we introduce a Causal Audio Transformer (CAT) consisting of a Multi-Resolution Multi-Feature (MRMF) feature extraction with an acoustic attention block for more optimized audio modeling. In addition, we propose a causal module that alleviates over-fitting, helps with knowledge transfer, and improves interpretability. CAT obtains higher or comparable state-of-the-art classification performance on ESC50, AudioSet and UrbanSound8K datasets, and can be easily generalized to other Transformer-based models.

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

Attention-based Transformer models have been increasingly employed for automatic music generation. To condition the generation process of such a model with a user-specified sequence, a popular approach is to take that conditioning sequence as a priming sequence and ask a Transformer decoder to generate a continuation. However, this prompt-based conditioning cannot guarantee that the conditioning sequence would develop or even simply repeat itself in the generated continuation. In this paper, we propose an alternative conditioning approach, called theme-based conditioning, that explicitly trains the Transformer to treat the conditioning sequence as a thematic material that has to manifest itself multiple times in its generation result. This is achieved with two main technical contributions. First, we propose a deep learning-based approach that uses contrastive representation learning and clustering to automatically retrieve thematic materials from music pieces in the training data. Second, we propose a novel gated parallel attention module to be used in a sequence-to-sequence (seq2seq) encoder/decoder architecture to more effectively account for a given conditioning thematic material in the generation process of the Transformer decoder. We report on objective and subjective evaluations of variants of the proposed Theme Transformer and the conventional prompt-based baseline, showing that our best model can generate, to some extent, polyphonic pop piano music with repetition and plausible variations of a given condition.

Audio large language models (Audio LLMs) demonstrate strong performance on speech understanding tasks, yet their ability to understand paralinguistic information remains limited. To systematically quantify this issue, we introduce VoxParadox, an adversarial benchmark with 2,000 verified examples, spanning 10 paralinguistic tasks, created with controlled speech synthesis to intentionally mismatch transcript claims and speaking style, enabling direct measurement of speech paralinguistic understanding. Evaluation of a diverse set of Audio LLMs reveals consistently low accuracy on acoustic ground truth and a strong tendency to follow language-implied (incorrect) answers. To understand the cause of this gap, we perform layer-wise probing and find that (i) paralinguistic cues can degrade in deeper encoder layers and at the encoder--LLM interface, and (ii) even when such cues are available in audio tokens, the language model frequently ignores them. To address these problems, we propose Prompt-Conditioned Layer Mixer (PCLM), which adaptively combines information from multiple audio layers based on the input prompt, and pair it with Direct Preference Optimization (DPO) to explicitly prefer acoustically supported options over language-implied alternatives. These methods substantially improve Audio LLM paralinguistic understanding, improving Audio Flamingo 3 from 17.40% to 65.20% on VoxParadox, and from 37.74% to 54.78% on MMSU paralinguistic subset. Our project page is available at https://voxparadox.github.io/.

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

Voice Activity Detection (VAD) is a fundamental preprocessing step in automatic speech recognition. This is especially true within the broadcast industry where a wide variety of audio materials and recording conditions are encountered. Based on previous studies which indicate that xvector embeddings can be applied to a diverse set of audio classification tasks, we investigate the suitability of x-vectors in discriminating speech from noise. We find that the proposed x-vector based VAD system achieves the best reported score in detecting clean speech on AVA-Speech, whilst retaining robust VAD performance in the presence of noise and music. Furthermore, we integrate the x-vector based VAD system into an existing STT pipeline and compare its performance on multiple broadcast datasets against a baseline system with WebRTC VAD. Crucially, our proposed x-vector based VAD improves the accuracy of STT transcription on real-world broadcast audio

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

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

Large Audio Language Models (LALMs) have garnered significant research interest. Despite being built upon text-based large language models (LLMs), LALMs frequently exhibit a degradation in knowledge and reasoning capabilities. We hypothesize that this limitation stems from the failure of current training paradigms to effectively bridge the acoustic-semantic gap within the feature representation space. To address this challenge, we propose CORD, a unified alignment framework that performs online cross-modal self-distillation. Specifically, it aligns audio-conditioned reasoning with its text-conditioned counterpart within a unified model. Leveraging the text modality as an internal teacher, CORD performs multi-granularity alignment throughout the audio rollout process. At the token level, it employs on-policy reverse KL divergence with importance-aware weighting to prioritize early and semantically critical tokens. At the sequence level, CORD introduces a judge-based global reward to optimize complete reasoning trajectories via Group Relative Policy Optimization (GRPO). Empirical results across multiple benchmarks demonstrate that CORD consistently enhances audio-conditioned reasoning and substantially bridges the audio-text performance gap with only 80k synthetic training samples, validating the efficacy and data efficiency of our on-policy, multi-level cross-modal alignment approach.

This work introduces audio2chart, a framework for the automatic generation of Guitar Hero style charts directly from raw audio. The task is formalized as a sequence prediction problem, where models are trained to generate discrete chart tokens aligned with the audio on discrete time steps. An unconditional baseline demonstrates strong predictive performance, while the addition of audio conditioning yields consistent improvements across accuracy based metrics. This work demonstrates that incorporating audio conditioning is both feasible and effective for improving note prediction in automatic chart generation. The complete codebase for training and inference is publicly available on GitHub supporting reproducible research on neural chart generation. A family of pretrained models is released on Hugging Face.

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

Most speech recognition tasks pertain to mapping words across two modalities: acoustic and orthographic. In this work, we suggest learning encoders that map variable-length, acoustic or phonetic, sequences that represent words into fixed-dimensional vectors in a shared latent space; such that the distance between two word vectors represents how closely the two words sound. Instead of directly learning the distances between word vectors, we employ weak supervision and model a binary classification task to predict whether two inputs, one of each modality, represent the same word given a distance threshold. We explore various deep-learning models, bimodal contrastive losses, and techniques for mining hard negative examples such as the semi-supervised technique of self-labeling. Our best model achieves an F_1 score of 0.95 for the binary classification task.

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.

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

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

In this paper our objectives are, first, networks that can embed audio and visual inputs into a common space that is suitable for cross-modal retrieval; and second, a network that can localize the object that sounds in an image, given the audio signal. We achieve both these objectives by training from unlabelled video using only audio-visual correspondence (AVC) as the objective function. This is a form of cross-modal self-supervision from video. To this end, we design new network architectures that can be trained for cross-modal retrieval and localizing the sound source in an image, by using the AVC task. We make the following contributions: (i) show that audio and visual embeddings can be learnt that enable both within-mode (e.g. audio-to-audio) and between-mode retrieval; (ii) explore various architectures for the AVC task, including those for the visual stream that ingest a single image, or multiple images, or a single image and multi-frame optical flow; (iii) show that the semantic object that sounds within an image can be localized (using only the sound, no motion or flow information); and (iv) give a cautionary tale on how to avoid undesirable shortcuts in the data preparation.

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

This article presents a review of typical techniques used in three distinct aspects of deep learning model development for audio generation. In the first part of the article, we provide an explanation of audio representations, beginning with the fundamental audio waveform. We then progress to the frequency domain, with an emphasis on the attributes of human hearing, and finally introduce a relatively recent development. The main part of the article focuses on explaining basic and extended deep learning architecture variants, along with their practical applications in the field of audio generation. The following architectures are addressed: 1) Autoencoders 2) Generative adversarial networks 3) Normalizing flows 4) Transformer networks 5) Diffusion models. Lastly, we will examine four distinct evaluation metrics that are commonly employed in audio generation. This article aims to offer novice readers and beginners in the field a comprehensive understanding of the current state of the art in audio generation methods as well as relevant studies that can be explored for future research.

We introduce Perception Encoder Audiovisual, PE-AV, a new family of encoders for audio and video understanding trained with scaled contrastive learning. Built on PE, PE-AV makes several key contributions to extend representations to audio, and natively support joint embeddings across audio-video, audio-text, and video-text modalities. PE-AV's unified cross-modal embeddings enable novel tasks such as speech retrieval, and set a new state of the art across standard audio and video benchmarks. We unlock this by building a strong audiovisual data engine that synthesizes high-quality captions for O(100M) audio-video pairs, enabling large-scale supervision consistent across modalities. Our audio data includes speech, music, and general sound effects-avoiding single-domain limitations common in prior work. We exploit ten pairwise contrastive objectives, showing that scaling cross-modality and caption-type pairs strengthens alignment and improves zero-shot performance. We further develop PE-A-Frame by fine-tuning PE-AV with frame-level contrastive objectives, enabling fine-grained audio-frame-to-text alignment for tasks such as sound event detection.

Audio-visual video segmentation~(AVVS) aims to generate pixel-level maps of sound-producing objects within image frames and ensure the maps faithfully adhere to the given audio, such as identifying and segmenting a singing person in a video. However, existing methods exhibit two limitations: 1) they address video temporal features and audio-visual interactive features separately, disregarding the inherent spatial-temporal dependence of combined audio and video, and 2) they inadequately introduce audio constraints and object-level information during the decoding stage, resulting in segmentation outcomes that fail to comply with audio directives. To tackle these issues, we propose a decoupled audio-video transformer that combines audio and video features from their respective temporal and spatial dimensions, capturing their combined dependence. To optimize memory consumption, we design a block, which, when stacked, enables capturing audio-visual fine-grained combinatorial-dependence in a memory-efficient manner. Additionally, we introduce audio-constrained queries during the decoding phase. These queries contain rich object-level information, ensuring the decoded mask adheres to the sounds. Experimental results confirm our approach's effectiveness, with our framework achieving a new SOTA performance on all three datasets using two backbones. The code is available at https://github.com/aspirinone/CATR.github.io

We present MGAudio, a novel flow-based framework for open-domain video-to-audio generation, which introduces model-guided dual-role alignment as a central design principle. Unlike prior approaches that rely on classifier-based or classifier-free guidance, MGAudio enables the generative model to guide itself through a dedicated training objective designed for video-conditioned audio generation. The framework integrates three main components: (1) a scalable flow-based Transformer model, (2) a dual-role alignment mechanism where the audio-visual encoder serves both as a conditioning module and as a feature aligner to improve generation quality, and (3) a model-guided objective that enhances cross-modal coherence and audio realism. MGAudio achieves state-of-the-art performance on VGGSound, reducing FAD to 0.40, substantially surpassing the best classifier-free guidance baselines, and consistently outperforms existing methods across FD, IS, and alignment metrics. It also generalizes well to the challenging UnAV-100 benchmark. These results highlight model-guided dual-role alignment as a powerful and scalable paradigm for conditional video-to-audio generation. Code is available at: https://github.com/pantheon5100/mgaudio

Sound Event Detection and Localization (SELD) constitutes a complex task that depends on extensive multichannel audio recordings with annotated sound events and their respective locations. In this paper, we introduce a self-supervised approach for SELD adapted from the pre-training methodology of wav2vec 2.0, which learns representations directly from raw audio data, eliminating the need for supervision. By applying this approach to SELD, we can leverage a substantial amount of unlabeled 3D audio data to learn robust representations of sound events and their locations. Our method comprises two primary stages: pre-training and fine-tuning. In the pre-training phase, unlabeled 3D audio datasets are utilized to train our w2v-SELD model, capturing intricate high-level features and contextual information inherent in audio signals. Subsequently, in the fine-tuning stage, a smaller dataset with labeled SELD data fine-tunes the pre-trained model. Experimental results on benchmark datasets demonstrate the effectiveness of the proposed self-supervised approach for SELD. The model surpasses baseline systems provided with the datasets and achieves competitive performance comparable to state-of-the-art supervised methods. The code and pre-trained parameters of our w2v-SELD model are available in this repository.

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

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

We introduce StepAudio 3 Gen, a general-purpose audio generation model that supports zero-shot text-to-speech (TTS), voice design, vocal generation, sound effects, music, vibe speech, and mixtures of multiple audio types within a unified framework. At its core, StepAudio 3 Gen is a discrete autoregressive generator that models audio directly over residual vector quantization (RVQ) tokens, departing from the diffusion Transformer-based continuous generation paradigm prevalent in recent general audio models. Its StepAudio Tokenizer represents general audio at 12.5 Hz in a shared 16 times 2048 residual code space, jointly quantizing semantic and waveform-level acoustic features so that each code layer preserves both types of information. For generation, the backbone predicts the first codebook along the time axis using autoregressive modeling, while a lightweight causal Transformer completes the remaining fifteen codebooks along the codebook axis. Our study further identifies three key design principles: (1) interference-aware progressive pretraining for acquiring audio capabilities while preserving the textual abilities of the large language model, (2) RVQ Adaptor for effectively incorporating multi-codebook acoustic representations, and (3) discrete autoregressive modeling over a shared representation across general audio domains. With progressive pretraining, multi-task instruction training, and supervised fine-tuning, StepAudio 3 Gen achieves state-of-the-art performance on both TTS and voice design, while retaining strong generation capabilities across speech, vocals, sound effects, and music. Audio samples are available at https://stepaudiollm.github.io/step-audio-3-gen/.

Whisper has become the de-facto encoder for extracting general-purpose audio features in large audio-language models, where a 30-second clip is typically represented by 1500 frame features projected into an LLM. In contrast, audio-text embedding models like CLAP-based models have largely relied on alternative audio encoders (e.g., HTS-AT, PaSST), and have not leveraged Whisper effectively. We present WavLink, a compact audio-text embedding model that augments Whisper encoder with a learnable global token, trained jointly with a text encoder. Through a systematic study of design choices, including pretrained text encoders, loss functions, training modes, and data mixtures, we identify configurations that yield state-of-the-art retrieval performance. Our two-stage training recipe across three model sizes, combined with Matryoshka-style supervision, improves scalability, enabling 8x smaller embeddings with minimal performance drop. WavLink also demonstrates competitive performance on AIR-Bench with MCQs and zero-shot classification.

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