Daily Papers

Music editing plays a vital role in modern music production, with applications in film, broadcasting, and game development. Recent advances in music editing systems have enabled diverse editing tasks such as timbre transfer, instrument substitution, and genre transformation. However, many existing works overlook evaluating their ability to preserve musical facets that should remain unchanged during editing, which we define as Music Context Preservation (MuseCP). While some studies do consider MuseCP, their evaluation protocols and metrics are not comprehensive. To address this, we introduce the first MuseCP evaluation framework, MuseCPEval, that covers four categories of music facets with fine-grained and well-tailored metrics to capture nuanced changes in music attributes. Objective validation and a human study demonstrate the effectiveness of these metrics. Moreover, the case studies on diverse music editing systems illustrate the practical utility of these metrics as a testbed and diagnostic tool, providing insights into the strengths and limitations of existing systems. We hope our metrics and findings can offer practical guidance for developing more effective and reliable music editing strategies with strong MuseCP capability

We introduce the text-to-instrument task, which aims at generating sample-based musical instruments based on textual prompts. Accordingly, we propose InstrumentGen, a model that extends a text-prompted generative audio framework to condition on instrument family, source type, pitch (across an 88-key spectrum), velocity, and a joint text/audio embedding. Furthermore, we present a differentiable loss function to evaluate the intra-instrument timbral consistency of sample-based instruments. Our results establish a foundational text-to-instrument baseline, extending research in the domain of automatic sample-based instrument generation.

We present Subtractive Training, a simple and novel method for synthesizing individual musical instrument stems given other instruments as context. This method pairs a dataset of complete music mixes with 1) a variant of the dataset lacking a specific stem, and 2) LLM-generated instructions describing how the missing stem should be reintroduced. We then fine-tune a pretrained text-to-audio diffusion model to generate the missing instrument stem, guided by both the existing stems and the text instruction. Our results demonstrate Subtractive Training's efficacy in creating authentic drum stems that seamlessly blend with the existing tracks. We also show that we can use the text instruction to control the generation of the inserted stem in terms of rhythm, dynamics, and genre, allowing us to modify the style of a single instrument in a full song while keeping the remaining instruments the same. Lastly, we extend this technique to MIDI formats, successfully generating compatible bass, drum, and guitar parts for incomplete arrangements.

Instrumental variable (IV) methods are used to estimate causal effects in settings with unobserved confounding, where we cannot directly experiment on the treatment variable. Instruments are variables which only affect the outcome indirectly via the treatment variable(s). Most IV applications focus on low-dimensional treatments and crucially require at least as many instruments as treatments. This assumption is restrictive: in the natural sciences we often seek to infer causal effects of high-dimensional treatments (e.g., the effect of gene expressions or microbiota on health and disease), but can only run few experiments with a limited number of instruments (e.g., drugs or antibiotics). In such underspecified problems, the full treatment effect is not identifiable in a single experiment even in the linear case. We show that one can still reliably recover the projection of the treatment effect onto the instrumented subspace and develop techniques to consistently combine such partial estimates from different sets of instruments. We then leverage our combined estimators in an algorithm that iteratively proposes the most informative instruments at each round of experimentation to maximize the overall information about the full causal effect.

Paper 1 of this research programme develops a resolution-aware risk-design framework for the simplest event-linked perpetual: a contract whose underlying tracks a single binary prediction-market probability through resolution. The instrument class is broader. Variants span conditional probabilities P(A|B), spreads p^A - p^B, weighted baskets sum w_i p^(i), derivatives on variance or entropy of the probability process, contracts on liquidity itself, perpetual-on-expiring-event roll structures, and funding-only derivatives with no settlement. Each variant inherits some framework components from the single-market binary case and requires its own design adaptations. This paper develops a formal taxonomy of seven pure-form canonical variants beyond the probability-index perpetual of Paper 1, organised along four orthogonal design axes: underlying geometry, temporal structure, settlement structure, and venue composition. The list is not exhaustive; combinations are not treated separately. For each variant we provide a precise payoff definition; an inheritance map identifying which Paper 1 components carry over, are modified, or fail; variant-specific design constraints; microstructure properties; empirical evaluability on the PMXT v2 archive; and limitations. Notable findings: the conditional variant admits a candidate non-portability proposition (denominator instability as the conditioning event becomes improbable); the spread variant requires a three-channel decomposition of resolution risk; the volatility/entropy variant avoids random binary terminal-collapse but introduces estimator-convention and entropy-decay issues; the basket variant requires multi-period jump-aware margin whose aggregation is correlation-dependent. The paper is theoretical primarily; it specifies how demonstrative time series can be constructed and provides evaluability criteria to guide future work.

Guitar tablature transcription consists in deducing the string and the fret number on which each note should be played to reproduce the actual musical part. This assignment should lead to playable string-fret combinations throughout the entire track and, in general, preserve parsimonious motion between successive combinations. Throughout the history of guitar playing, specific chord fingerings have been developed across different musical styles that facilitate common idiomatic voicing combinations and motion between them. This paper presents a method for assigning guitar tablature notation to a given MIDI-based musical part (possibly consisting of multiple polyphonic tracks), i.e. no information about guitar-idiomatic expressional characteristics is involved (e.g. bending etc.) The current strategy is based on machine learning and requires a basic assumption about how much fingers can stretch on a fretboard; only standard 6-string guitar tuning is examined. The proposed method also examines the transcription of music pieces that was not meant to be played or could not possibly be played by a guitar (e.g. potentially a symphonic orchestra part), employing a rudimentary method for augmenting musical information and training/testing the system with artificial data. The results present interesting aspects about what the system can achieve when trained on the initial and augmented dataset, showing that the training with augmented data improves the performance even in simple, e.g. monophonic, cases. Results also indicate weaknesses and lead to useful conclusions about possible improvements.

This paper studies the challenging problem of estimating causal effects from observational data, in the presence of unobserved confounders. The two-stage least square (TSLS) method and its variants with a standard instrumental variable (IV) are commonly used to eliminate confounding bias, including the bias caused by unobserved confounders, but they rely on the linearity assumption. Besides, the strict condition of unconfounded instruments posed on a standard IV is too strong to be practical. To address these challenging and practical problems of the standard IV method (linearity assumption and the strict condition), in this paper, we use a conditional IV (CIV) to relax the unconfounded instrument condition of standard IV and propose a non-linear CIV regression with Confounding Balancing Representation Learning, CBRL.CIV, for jointly eliminating the confounding bias from unobserved confounders and balancing the observed confounders, without the linearity assumption. We theoretically demonstrate the soundness of CBRL.CIV. Extensive experiments on synthetic and two real-world datasets show the competitive performance of CBRL.CIV against state-of-the-art IV-based estimators and superiority in dealing with the non-linear situation.

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