Daily Papers

Aligning pretrained audio encoders and Large Language Models (LLMs) offers a promising, parameter-efficient path to building powerful multimodal agents. However, existing methods often require costly full-model finetuning or rely on static adapters that may lack expressive power. Drawing inspiration from the Platonic Representation Hypothesis, we introduce SteerMoE, a novel and modular framework for audio-language alignment. SteerMoE freezes both the audio encoder and the LLM decoder, training only a lightweight steering module integrated within the encoder's layers. This module uses a Mixture-of-Experts (MoE) router to dynamically select and apply learned steering vectors, progressively transforming continuous audio representations into a space comprehensible to the LLM. By operating entirely in the continuous embedding space, our approach requires no modifications to the LLM's vocabulary and preserves its advanced reasoning and agentic capabilities. We demonstrate through experiments on ASR, audio understanding, and a qualitative function-calling task that SteerMoE achieves strong performance while remaining highly modular and computationally efficient, offering a robust new paradigm for developing sophisticated audio-language systems.

Audio-to-image retrieval offers an interpretable alternative to audio-only classification for bioacoustic species recognition, but learning aligned audio-image representations is challenging due to the scarcity of paired audio-image data. We propose a simple and data-efficient approach that enables audio-to-image retrieval without any audio-image supervision. Our proposed method uses text as a semantic intermediary: we distill the text embedding space of a pretrained image-text model (BioCLIP-2), which encodes rich visual and taxonomic structure, into a pretrained audio-text model (BioLingual) by fine-tuning its audio encoder with a contrastive objective. This distillation transfers visually grounded semantics into the audio representation, inducing emergent alignment between audio and image embeddings without using images during training. We evaluate the resulting model on multiple bioacoustic benchmarks. The distilled audio encoder preserves audio discriminative power while substantially improving audio-text alignment on focal recordings and soundscape datasets. Most importantly, on the SSW60 benchmark, the proposed approach achieves strong audio-to-image retrieval performance exceeding baselines based on zero-shot model combinations or learned mappings between text embeddings, despite not training on paired audio-image data. These results demonstrate that indirect semantic transfer through text is sufficient to induce meaningful audio-image alignment, providing a practical solution for visually grounded species recognition in data-scarce bioacoustic settings.

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

Talking face generation has gained significant attention as a core application of generative models. To enhance the expressiveness and realism of synthesized videos, emotion editing in talking face video plays a crucial role. However, existing approaches often limit expressive flexibility and struggle to generate extended emotions. Label-based methods represent emotions with discrete categories, which fail to capture a wide range of emotions. Audio-based methods can leverage emotionally rich speech signals - and even benefit from expressive text-to-speech (TTS) synthesis - but they fail to express the target emotions because emotions and linguistic contents are entangled in emotional speeches. Images-based methods, on the other hand, rely on target reference images to guide emotion transfer, yet they require high-quality frontal views and face challenges in acquiring reference data for extended emotions (e.g., sarcasm). To address these limitations, we propose Cross-Modal Emotion Transfer (C-MET), a novel approach that generates facial expressions based on speeches by modeling emotion semantic vectors between speech and visual feature spaces. C-MET leverages a large-scale pretrained audio encoder and a disentangled facial expression encoder to learn emotion semantic vectors that represent the difference between two different emotional embeddings across modalities. Extensive experiments on the MEAD and CREMA-D datasets demonstrate that our method improves emotion accuracy by 14% over state-of-the-art methods, while generating expressive talking face videos - even for unseen extended emotions. Code, checkpoint, and demo are available at https://chanhyeok-choi.github.io/C-MET/

Singing voice synthesis and conversion have emerged as significant subdomains of voice generation, leading to much demands on prompt-conditioned generation. Unlike common voice data, generating a singing voice requires an understanding of various associated vocal and musical characteristics, such as the vocal tone of the singer or emotional expressions. However, existing open-source audio-text datasets for voice generation tend to capture only a very limited range of attributes, often missing musical characteristics of the audio. To fill this gap, we introduce S2Cap, an audio-text pair dataset with a diverse set of attributes. S2Cap consists of pairs of textual prompts and music audio samples with a wide range of vocal and musical attributes, including pitch, volume, tempo, mood, singer's gender and age, and musical genre and emotional expression. Utilizing S2Cap, we suggest an effective novel baseline algorithm for singing style captioning. Singing style captioning is a relative task to voice generation that generates text descriptions of vocal characteristics, which we first suggested. First, to mitigate the misalignment between the audio encoder and the text decoder, we present a novel mechanism called CRESCENDO, which utilizes positive-pair similarity learning to synchronize the embedding spaces of a pretrained audio encoder to get similar embeddings with a text encoder. We additionally supervise the model using the singer's voice, which is demixed by the accompaniment. This supervision allows the model to more accurately capture vocal characteristics, leading to improved singing style captions that better reflect the style of the singer. The dataset and the codes are available at https://github.com/HJ-Ok/S2cap.

Automated Audio Captioning (AAC) is the task of generating natural language descriptions given an audio stream. A typical AAC system requires manually curated training data of audio segments and corresponding text caption annotations. The creation of these audio-caption pairs is costly, resulting in general data scarcity for the task. In this work, we address this major limitation and propose an approach to train AAC systems using only text. Our approach leverages the multimodal space of contrastively trained audio-text models, such as CLAP. During training, a decoder generates captions conditioned on the pretrained CLAP text encoder. During inference, the text encoder is replaced with the pretrained CLAP audio encoder. To bridge the modality gap between text and audio embeddings, we propose the use of noise injection or a learnable adapter, during training. We find that the proposed text-only framework performs competitively with state-of-the-art models trained with paired audio, showing that efficient text-to-audio transfer is possible. Finally, we showcase both stylized audio captioning and caption enrichment while training without audio or human-created text captions.

Masked token prediction has emerged as a powerful pre-training objective across language, vision, and speech, offering the potential to unify these diverse modalities through a single pre-training task. However, its application for general audio understanding remains underexplored, with BEATs being the only notable example. BEATs has seen limited modifications due to the absence of open-source pre-training code. Furthermore, BEATs was trained only on AudioSet, restricting its broader downstream applicability. To address these gaps, we present OpenBEATs, an open-source framework that extends BEATs via multi-domain audio pre-training. We conduct comprehensive evaluations across six types of tasks, twenty five datasets, and three audio domains, including audio reasoning tasks such as audio question answering, entailment, and captioning. OpenBEATs achieves state-of-the-art performance on six bioacoustics datasets, two environmental sound datasets and five reasoning datasets, performing better than models exceeding a billion parameters at one-fourth their parameter size. These results demonstrate the effectiveness of multi-domain datasets and masked token prediction task to learn general-purpose audio representations. To promote further research and reproducibility, we release all pre-training and evaluation code, pretrained and fine-tuned checkpoints, and training logs at https://shikhar-s.github.io/OpenBEATs

Despite recent progress in large-scale sound event detection (SED) systems capable of handling hundreds of sound classes, existing multi-class classification frameworks remain fundamentally limited. They cannot process free-text sound queries, which enable more flexible and user-friendly interaction, and they lack zero-shot capabilities and offer poor few-shot adaptability. Although text-query-based separation methods have been explored, they primarily focus on source separation and are ill-suited for SED tasks that require precise temporal localization and efficient detection across large and diverse sound vocabularies. In this paper, we propose FlexSED, an open-vocabulary sound event detection system. FlexSED builds on a pretrained audio SSL model and the CLAP text encoder, introducing an encoder-decoder composition and an adaptive fusion strategy to enable effective continuous training from pretrained weights. To ensure robust supervision, it also employs large language models (LLMs) to assist in event query selection during training, addressing challenges related to missing labels. As a result, FlexSED achieves superior performance compared to vanilla SED models on AudioSet-Strong, while demonstrating strong zero-shot and few-shot capabilities. We release the code and pretrained models to support future research and applications based on FlexSED.

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

Extending large language models (LLMs) to the speech domain has recently gained significant attention. A typical approach connects a pretrained LLM with an audio encoder through a projection module and trains the resulting model on large-scale, task-specific instruction-tuning datasets. However, curating such instruction-tuning data for specific requirements is time-consuming, and models trained in this manner often generalize poorly to unseen tasks. In this work, we first formulate that the strongest generalization of a speech-LLM is achieved when it is trained with Self-Generated Instruction-Free Tuning (SIFT), in which supervision signals are generated by a frozen LLM using textual representations of speech as input. Our proposed SIFT paradigm eliminates the need for collecting task-specific question-answer pairs and yields the theoretically best generalization to unseen tasks. Building upon this paradigm, we introduce AZeroS (Auden Zero-instruction-tuned Speech-LLM), which is trained on speech-text pairs derived from publicly available corpora, including approximately 25,000 hours of speech with ASR transcripts and 3,000 hours of speech with paralinguistic labels. Built upon Qwen2.5-7B-Instruct, the model updates only two lightweight projection modules (23.8 million parameters each), while keeping both the LLM and audio encoders frozen. Despite the minimal training cost and modest data scale, AZeroS achieves state-of-the-art performance on both semantic and paralinguistic benchmarks, including VoiceBench, AIR-Bench Foundation (Speech), and AIR-Bench Chat (Speech).

What happens when we push audio-visual alignment to its absolute limits? To systematically investigate this question, we needed datasets with granular alignment quality annotations, but existing datasets treat alignment as binary, either synchronized or not. To address this limitation, we developed a comprehensive dataset featuring detailed alignment scores that reveal the hidden spectrum of audio-visual perceptual correspondence. Using these precise scores, we create "superaligned" representations by training exclusively on the most perfectly matched audio-visual pairs, then conduct our systematic investigation into how this extreme alignment transforms perceptual model behavior across retrieval and generation tasks. The encoders under study fall into two main groups consisting of image-centric encoders that were pretrained using visual modalities as intermediary hubs for connecting modalities, and text-centric encoders that were pretrained with direct audio-language alignment. We first measure the baseline performance of these encoders on two key tasks, namely cross-modal retrieval and text description generation in vision-language models. Subsequently, we realign all encoders with the CLIP space using highly coherent audio-visual data and observe the performance changes. Our findings reveal that the initial architectural type of the encoder determines how it responds to the alignment process. Image-centric encoders, which are inherently designed for alignment, demonstrate exceptional performance in cross-modal retrieval, but this intensive alignment causes compression of unique linguistic information and reduces the quality of their text description generation in vision-language models. In contrast, text-centric encoders, which possess stronger linguistic authenticity, are able to maintain a better balance between the two objectives.

Historically, neuroscience has progressed by fragmenting into specialized domains, each focusing on isolated modalities, tasks, or brain regions. While fruitful, this approach hinders the development of a unified model of cognition. Here, we introduce TRIBE, the first deep neural network trained to predict brain responses to stimuli across multiple modalities, cortical areas and individuals. By combining the pretrained representations of text, audio and video foundational models and handling their time-evolving nature with a transformer, our model can precisely model the spatial and temporal fMRI responses to videos, achieving the first place in the Algonauts 2025 brain encoding competition with a significant margin over competitors. Ablations show that while unimodal models can reliably predict their corresponding cortical networks (e.g. visual or auditory networks), they are systematically outperformed by our multimodal model in high-level associative cortices. Currently applied to perception and comprehension, our approach paves the way towards building an integrative model of representations in the human brain. Our code is available at https://github.com/facebookresearch/algonauts-2025.

Accurate audio quality estimation is essential for developing and evaluating audio generation, retrieval, and enhancement systems. Existing non-intrusive assessment models predict a single Mean Opinion Score (MOS) for speech, merging diverse perceptual factors and failing to generalize beyond speech. We propose MMMOS, a no-reference, multi-domain audio quality assessment system that estimates four orthogonal axes: Production Quality, Production Complexity, Content Enjoyment, and Content Usefulness across speech, music, and environmental sounds. MMMOS fuses frame-level embeddings from three pretrained encoders (WavLM, MuQ, and M2D) and evaluates three aggregation strategies with four loss functions. By ensembling the top eight models, MMMOS shows a 20-30% reduction in mean squared error and a 4-5% increase in Kendall's {\tau} versus baseline, gains first place in six of eight Production Complexity metrics, and ranks among the top three on 17 of 32 challenge metrics.

Discrete audio tokenizers are fundamental to empowering large language models with native audio processing and generation capabilities. Despite recent progress, existing approaches often rely on pretrained encoders, semantic distillation, or heterogeneous CNN-based architectures. These designs introduce fixed inductive biases that limit reconstruction fidelity and hinder effective scaling. In this paper, we argue that discrete audio tokenization should be learned fully end-to-end using a homogeneous and scalable architecture. To this end, we first propose CAT (Causal Audio Tokenizer with Transformer), a purely Transformer-based architecture that jointly optimizes the encoder, quantizer, and decoder from scratch for high-fidelity reconstruction. Building on the CAT architecture, we develop MOSS-Audio-Tokenizer, a large-scale audio tokenizer featuring 1.6 billion parameters, pre-trained on 3 million hours of diverse, general audio data. We show that this simple, fully end-to-end approach built from homogeneous, causal Transformer blocks scales gracefully and supports high-fidelity reconstruction across diverse audio domains. Across speech, sound, and music, MOSS-Audio-Tokenizer consistently outperforms prior codecs over a wide range of bitrates, while exhibiting predictable improvements with increased scale. Notably, leveraging the discrete tokens from our model, we develop the first purely autoregressive TTS model that surpasses prior non-autoregressive and cascaded systems. Furthermore, MOSS-Audio-Tokenizer enables competitive ASR performance without auxiliary encoders. Our findings position the CAT architecture as a unified, scalable interface for the next generation of native audio foundation models.

Recent advancements in audio generation have been spurred by the evolution of large-scale deep learning models and expansive datasets. However, the task of video-to-audio (V2A) generation continues to be a challenge, principally because of the intricate relationship between the high-dimensional visual and auditory data, and the challenges associated with temporal synchronization. In this study, we introduce FoleyGen, an open-domain V2A generation system built on a language modeling paradigm. FoleyGen leverages an off-the-shelf neural audio codec for bidirectional conversion between waveforms and discrete tokens. The generation of audio tokens is facilitated by a single Transformer model, which is conditioned on visual features extracted from a visual encoder. A prevalent problem in V2A generation is the misalignment of generated audio with the visible actions in the video. To address this, we explore three novel visual attention mechanisms. We further undertake an exhaustive evaluation of multiple visual encoders, each pretrained on either single-modal or multi-modal tasks. The experimental results on VGGSound dataset show that our proposed FoleyGen outperforms previous systems across all objective metrics and human evaluations.

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.

Target audio source separation with natural language queries presents a promising paradigm for extracting arbitrary audio events through arbitrary text descriptions. Existing methods mainly face two challenges, the difficulty in jointly modeling acoustic-textual alignment and semantic-aware separation within a blindly-learned single-stage architecture, and the reliance on large-scale accurately-labeled training data to compensate for inefficient cross-modal learning and separation. To address these challenges, we propose a hierarchical decomposition framework, HSM-TSS, that decouples the task into global-local semantic-guided feature separation and structure-preserving acoustic reconstruction. Our approach introduces a dual-stage mechanism for semantic separation, operating on distinct global and local semantic feature spaces. We first perform global-semantic separation through a global semantic feature space aligned with text queries. A Q-Audio architecture is employed to align audio and text modalities, serving as pretrained global-semantic encoders. Conditioned on the predicted global feature, we then perform the second-stage local-semantic separation on AudioMAE features that preserve time-frequency structures, followed by acoustic reconstruction. We also propose an instruction processing pipeline to parse arbitrary text queries into structured operations, extraction or removal, coupled with audio descriptions, enabling flexible sound manipulation. Our method achieves state-of-the-art separation performance with data-efficient training while maintaining superior semantic consistency with queries in complex auditory scenes.

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

This paper presents JavisGPT, the first unified multimodal large language model (MLLM) for Joint Audio-Video (JAV) comprehension and generation. JavisGPT adopts a concise encoder-LLM-decoder architecture, featuring a SyncFusion module for spatio-temporal audio-video fusion and synchrony-aware learnable queries to bridge a pretrained JAV-DiT generator. This design enables temporally coherent video-audio understanding and generation from multimodal instructions. We design an effective three-stage training pipeline consisting of multimodal pretraining, audio-video fine-tuning, and large-scale instruction-tuning, to progressively build multimodal comprehension and generation from existing vision-language models. To support this, we further construct JavisInst-Omni, a high-quality instruction dataset with over 200K GPT-4o-curated audio-video-text dialogues that span diverse and multi-level comprehension and generation scenarios. Extensive experiments on JAV comprehension and generation benchmarks show that JavisGPT outperforms existing MLLMs, particularly in complex and temporally synchronized settings.

Despite recent advances in multilingual speech-to-speech translation (S2ST), several critical challenges persist: 1) achieving high-quality translation remains a major hurdle, and 2) most existing methods heavily rely on large-scale parallel speech corpora, which are costly and difficult to obtain. To address these issues, we propose S2ST-Omni, an efficient and scalable framework for multilingual S2ST. Specifically, we decompose the S2ST task into speech-to-text translation (S2TT) and text-to-speech synthesis (TTS). For S2TT, we propose an effective speech language model that integrates the pretrained Whisper encoder for robust audio understanding and Qwen 3.0 for advanced text comprehension. A lightweight speech adapter is employed to bridge the modality gap between speech and text representations. To further facilitate the multimodal knowledge learning, a two-stage fine-tuning strategy is introduced. In the TTS stage, we adopt a streaming autoregressive generation approach to produce natural and fluent target speech. Experiments on the CVSS benchmark show that S2ST-Omni consistently outperforms existing state-of-the-art S2ST systems in translation quality, highlighting its effectiveness and superiority.

Generating music that temporally aligns with video events is challenging for existing text-to-music models, which lack fine-grained temporal control. We introduce V2M-Zero, a zero-pair video-to-music generation approach that outputs time-aligned music for video. Our method is motivated by a key observation: temporal synchronization requires matching when and how much change occurs, not what changes. While musical and visual events differ semantically, they exhibit shared temporal structure that can be captured independently within each modality. We capture this structure through event curves computed from intra-modal similarity using pretrained music and video encoders. By measuring temporal change within each modality independently, these curves provide comparable representations across modalities. This enables a simple training strategy: fine-tune a text-to-music model on music-event curves, then substitute video-event curves at inference without cross-modal training or paired data. Across OES-Pub, MovieGenBench-Music, and AIST++, V2M-Zero achieves substantial gains over paired-data baselines: 5-21% higher audio quality, 13-15% better semantic alignment, 21-52% improved temporal synchronization, and 28% higher beat alignment on dance videos. We find similar results via a large crowd-source subjective listening test. Overall, our results validate that temporal alignment through within-modality features, rather than paired cross-modal supervision, is effective for video-to-music generation. Results are available at https://genjib.github.io/v2m_zero/

Expanding multimodal representations to novel modalities is constrained by reliance on large-scale paired datasets (e.g., text-image, text-audio, text-3D, text-molecule), which are costly and often infeasible in domains requiring expert annotation such as medical imaging and molecular analysis. We introduce TextME, the first text-only modality expansion framework, to the best of our knowledge, projecting diverse modalities into LLM embedding space as a unified anchor. Our approach exploits the geometric structure of pretrained contrastive encoders to enable zero-shot cross-modal transfer using only text descriptions, without paired supervision. We empirically validate that such consistent modality gaps exist across image, video, audio, 3D, X-ray, and molecular domains, demonstrating that text-only training can preserve substantial performance of pretrained encoders. We further show that our framework enables emergent cross-modal retrieval between modality pairs not explicitly aligned during training (e.g., audio-to-image, 3D-to-image). These results establish text-only training as a practical alternative to paired supervision for modality expansion.

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.

Audio language models can understand audio inputs and perform a range of audio-related tasks based on instructions, such as speech recognition and audio captioning, where the instructions are usually textual prompts. Audio language models are mostly initialized from pre-trained audio encoders and large language models (LLMs). Although these pre-trained components were developed to support multiple languages, audio-language models are trained predominantly on English data, which may limit their usability to only English instructions or English speech inputs. First, this paper examines the performance of existing audio language models in an underserved language using Thai as an example. This paper demonstrates that, despite being built on multilingual backbones, audio language models do not exhibit cross-lingual emergent abilities to low-resource languages. Second, this paper studies data mixture for developing audio language models that are optimized for a target language as well as English. In addition. this paper integrates audio comprehension and speech instruction-following capabilities into a single unified model. Our experiments provide insights into data mixture for enhancing instruction-following capabilities in both a low-resource language and English. Our model, Typhoon-Audio, outperforms existing open-source audio language models by a considerable margin, and it is comparable to state-of-the-art Gemini-1.5-Pro in both English and Thai languages.

Recent research has delved into speech enhancement (SE) approaches that leverage audio embeddings from pre-trained models, diverging from time-frequency masking or signal prediction techniques. This paper introduces an efficient and extensible SE method. Our approach involves initially extracting audio embeddings from noisy speech using a pre-trained audioencoder, which are then denoised by a compact encoder network. Subsequently, a vocoder synthesizes the clean speech from denoised embeddings. An ablation study substantiates the parameter efficiency of the denoise encoder with a pre-trained audioencoder and vocoder. Experimental results on both speech enhancement and speaker fidelity demonstrate that our generative audioencoder-based SE system outperforms models utilizing discriminative audioencoders. Furthermore, subjective listening tests validate that our proposed system surpasses an existing state-of-the-art SE model in terms of perceptual quality.

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 Video-LLaMA, a multi-modal framework that empowers Large Language Models (LLMs) with the capability of understanding both visual and auditory content in the video. Video-LLaMA bootstraps cross-modal training from the frozen pre-trained visual \& audio encoders and the frozen LLMs. Unlike previous vision- LLMs that focus on static image comprehensions such as MiniGPT-4~zhu2023minigpt and LLaVA~liu2023visualit, Video-LLaMA tackles two challenges in video understanding: (1) capturing the temporal changes in visual scenes, (2) integrating audio-visual signals. For the first challenge, we propose Video Q-former to extend the pre-trained image encoder to a video encoder and introduce a video-to-text generation task to learn video-language correspondence. For the second challenge, we leverage ImageBind~girdhar2023imagebind as the pre-trained audio encoder which performs exceptionally well in aligning different modalities to a common embedding space. And then introduce an Audio Q-former to learn auditory query tokens. To align the output of both visual \& audio encoder with LLM's embedding space, we train Video-LLaMA on a large-scale vision caption dataset and a hign-quantity vision-instruction-tuning dataset. We found Video-LLaMA showcases the ability to perceive and comprehend video content, generating meaningful responses that are grounded in the visual and auditory information present in the videos. This highlights the potential of Video-LLaMA as a promising prototype for audio-visual AI assistants. Our code, pre-trained model, and demo are available at https://github.com/DAMO-NLP-SG/Video-LLaMA.

Speech understanding as an element of the more generic video understanding using audio-visual large language models (av-LLMs) is a crucial yet understudied aspect. This paper proposes video-SALMONN, a single end-to-end av-LLM for video processing, which can understand not only visual frame sequences, audio events and music, but speech as well. To obtain fine-grained temporal information required by speech understanding, while keeping efficient for other video elements, this paper proposes a novel multi-resolution causal Q-Former (MRC Q-Former) structure to connect pre-trained audio-visual encoders and the backbone large language model. Moreover, dedicated training approaches including the diversity loss and the unpaired audio-visual mixed training scheme are proposed to avoid frames or modality dominance. On the introduced speech-audio-visual evaluation benchmark, video-SALMONN achieves more than 25\% absolute accuracy improvements on the video-QA task and over 30\% absolute accuracy improvements on audio-visual QA tasks with human speech. In addition, video-SALMONN demonstrates remarkable video comprehension and reasoning abilities on tasks that are unprecedented by other av-LLMs. Our training code and model checkpoints are available at \url{https://github.com/bytedance/SALMONN/}.

In this paper, we show that a simple self-supervised pre-trained audio model can achieve comparable inference efficiency to more complicated pre-trained models with speech transformer encoders. These speech transformers rely on mixing convolutional modules with self-attention modules. They achieve state-of-the-art performance on ASR with top efficiency. We first show that employing these speech transformers as an encoder significantly improves the efficiency of pre-trained audio models as well. However, our study shows that we can achieve comparable efficiency with advanced self-attention solely. We demonstrate that this simpler approach is particularly beneficial with a low-bit weight quantization technique of a neural network to improve efficiency. We hypothesize that it prevents propagating the errors between different quantized modules compared to recent speech transformers mixing quantized convolution and the quantized self-attention modules.

Multimodal large language models (MLLMs) have recently become a focal point of research due to their formidable multimodal understanding capabilities. For example, in the audio and speech domains, an LLM can be equipped with (automatic) speech recognition (ASR) abilities by just concatenating the audio tokens, computed with an audio encoder, and the text tokens to achieve state-of-the-art results. On the contrary, tasks like visual and audio-visual speech recognition (VSR/AVSR), which also exploit noise-invariant lip movement information, have received little or no attention. To bridge this gap, we propose Llama-AVSR, a new MLLM with strong audio-visual speech recognition capabilities. It leverages pre-trained audio and video encoders to produce modality-specific tokens which, together with the text tokens, are processed by a pre-trained LLM (e.g., Llama3.1-8B) to yield the resulting response in an auto-regressive fashion. Llama-AVSR requires a small number of trainable parameters as only modality-specific projectors and LoRA modules are trained whereas the multi-modal encoders and LLM are kept frozen. We evaluate our proposed approach on LRS3, the largest public AVSR benchmark, and we achieve new state-of-the-art results for the tasks of ASR and AVSR with a WER of 0.81% and 0.77%, respectively. To bolster our results, we investigate the key factors that underpin the effectiveness of Llama-AVSR: the choice of the pre-trained encoders and LLM, the efficient integration of LoRA modules, and the optimal performance-efficiency trade-off obtained via modality-aware compression rates.

This study introduces RUMAA, a transformer-based framework for music performance analysis that unifies score-to-performance alignment, score-informed transcription, and mistake detection in a near end-to-end manner. Unlike prior methods addressing these tasks separately, RUMAA integrates them using pre-trained score and audio encoders and a novel tri-stream decoder capturing task interdependencies through proxy tasks. It aligns human-readable MusicXML scores with repeat symbols to full-length performance audio, overcoming traditional MIDI-based methods that rely on manually unfolded score-MIDI data with pre-specified repeat structures. RUMAA matches state-of-the-art alignment methods on non-repeated scores and outperforms them on scores with repeats in a public piano music dataset, while also delivering promising transcription and mistake detection results.

Our research introduces an innovative framework for video-to-audio synthesis, which solves the problems of audio-video desynchronization and semantic loss in the audio. By incorporating a semantic alignment adapter and a temporal synchronization adapter, our method significantly improves semantic integrity and the precision of beat point synchronization, particularly in fast-paced action sequences. Utilizing a contrastive audio-visual pre-trained encoder, our model is trained with video and high-quality audio data, improving the quality of the generated audio. This dual-adapter approach empowers users with enhanced control over audio semantics and beat effects, allowing the adjustment of the controller to achieve better results. Extensive experiments substantiate the effectiveness of our framework in achieving seamless audio-visual alignment.

The immense scale of the recent large language models (LLM) allows many interesting properties, such as, instruction- and chain-of-thought-based fine-tuning, that has significantly improved zero- and few-shot performance in many natural language processing (NLP) tasks. Inspired by such successes, we adopt such an instruction-tuned LLM Flan-T5 as the text encoder for text-to-audio (TTA) generation -- a task where the goal is to generate an audio from its textual description. The prior works on TTA either pre-trained a joint text-audio encoder or used a non-instruction-tuned model, such as, T5. Consequently, our latent diffusion model (LDM)-based approach TANGO outperforms the state-of-the-art AudioLDM on most metrics and stays comparable on the rest on AudioCaps test set, despite training the LDM on a 63 times smaller dataset and keeping the text encoder frozen. This improvement might also be attributed to the adoption of audio pressure level-based sound mixing for training set augmentation, whereas the prior methods take a random mix.

Large Language Models (LLMs) have advanced audio generation through discrete representation learning. However, most existing neural codecs focus on speech and emphasize reconstruction fidelity, overlooking unified low frame rate modeling across diverse audio domains, including speech, music, and general sound. Moreover, high reconstruction quality does not necessarily yield semantically informative representations, limiting effectiveness in downstream generation tasks. We propose OmniCodec, a universal neural audio codec tailored for low frame rate. It adopts a hierarchical multi-codebook design with semantic-acoustic decoupling by leveraging the audio encoder of the pre-trained understanding model, along with a self-guidance strategy to improve codebook utilization and reconstruction. Compared with the Mimi codec, experiments show that OmniCodec achieves outstanding performance at the same bitrate, delivering superior reconstruction quality while also providing more semantically informative representations that benefit downstream generation tasks. Our model and code will be open-sourced. Our demo page is available.

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

This paper investigates the application of voice activity projection (VAP), a predictive turn-taking model for spoken dialogue, on multilingual data, encompassing English, Mandarin, and Japanese. The VAP model continuously predicts the upcoming voice activities of participants in dyadic dialogue, leveraging a cross-attention Transformer to capture the dynamic interplay between participants. The results show that a monolingual VAP model trained on one language does not make good predictions when applied to other languages. However, a multilingual model, trained on all three languages, demonstrates predictive performance on par with monolingual models across all languages. Further analyses show that the multilingual model has learned to discern the language of the input signal. We also analyze the sensitivity to pitch, a prosodic cue that is thought to be important for turn-taking. Finally, we compare two different audio encoders, contrastive predictive coding (CPC) pre-trained on English, with a recent model based on multilingual wav2vec 2.0 (MMS).

Hearing is arguably an essential ability of artificial intelligence (AI) agents in the physical world, which refers to the perception and understanding of general auditory information consisting of at least three types of sounds: speech, audio events, and music. In this paper, we propose SALMONN, a speech audio language music open neural network, built by integrating a pre-trained text-based large language model (LLM) with speech and audio encoders into a single multimodal model. SALMONN enables the LLM to directly process and understand general audio inputs and achieve competitive performances on a number of speech and audio tasks used in training, such as automatic speech recognition and translation, auditory-information-based question answering, emotion recognition, speaker verification, and music and audio captioning etc. SALMONN also has a diverse set of emergent abilities unseen in the training, which includes but is not limited to speech translation to untrained languages, speech-based slot filling, spoken-query-based question answering, audio-based storytelling, and speech audio co-reasoning etc. The presence of the cross-modal emergent abilities is studied, and a novel few-shot activation tuning approach is proposed to activate such abilities of SALMONN. To our knowledge, SALMONN is the first model of its type and can be regarded as a step towards AI with generic hearing abilities. An interactive demo of SALMONN is available at \url{https://github.com/bytedance/SALMONN}, and the training code and model checkpoints will be released upon acceptance.

Evaluation of text-to-music systems is constrained by the cost and availability of collecting experts for assessment. AudioMOS 2025 Challenge track 1 is created to automatically predict music impression (MI) as well as text alignment (TA) between the prompt and the generated musical piece. This paper reports our winning system, which uses a dual-branch architecture with pre-trained MuQ and RoBERTa models as audio and text encoders. A cross-attention mechanism fuses the audio and text representations. For training, we reframe the MI and TA prediction as a classification task. To incorporate the ordinal nature of MOS scores, one-hot labels are converted to a soft distribution using a Gaussian kernel. On the official test set, a single model trained with this method achieves a system-level Spearman's Rank Correlation Coefficient (SRCC) of 0.991 for MI and 0.952 for TA, corresponding to a relative improvement of 21.21\% in MI SRCC and 31.47\% in TA SRCC over the challenge baseline.

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 work has studied text-to-audio synthesis using large amounts of paired text-audio data. However, audio recordings with high-quality text annotations can be difficult to acquire. In this work, we approach text-to-audio synthesis using unlabeled videos and pretrained language-vision models. We propose to learn the desired text-audio correspondence by leveraging the visual modality as a bridge. We train a conditional diffusion model to generate the audio track of a video, given a video frame encoded by a pretrained contrastive language-image pretraining (CLIP) model. At test time, we first explore performing a zero-shot modality transfer and condition the diffusion model with a CLIP-encoded text query. However, we observe a noticeable performance drop with respect to image queries. To close this gap, we further adopt a pretrained diffusion prior model to generate a CLIP image embedding given a CLIP text embedding. Our results show the effectiveness of the proposed method, and that the pretrained diffusion prior can reduce the modality transfer gap. While we focus on text-to-audio synthesis, the proposed model can also generate audio from image queries, and it shows competitive performance against a state-of-the-art image-to-audio synthesis model in a subjective listening test. This study offers a new direction of approaching text-to-audio synthesis that leverages the naturally-occurring audio-visual correspondence in videos and the power of pretrained language-vision models.

We explore unsupervised pre-training for speech recognition by learning representations of raw audio. wav2vec is trained on large amounts of unlabeled audio data and the resulting representations are then used to improve acoustic model training. We pre-train a simple multi-layer convolutional neural network optimized via a noise contrastive binary classification task. Our experiments on WSJ reduce WER of a strong character-based log-mel filterbank baseline by up to 36% when only a few hours of transcribed data is available. Our approach achieves 2.43% WER on the nov92 test set. This outperforms Deep Speech 2, the best reported character-based system in the literature while using two orders of magnitude less labeled training data.

The massive growth of self-supervised learning (SSL) has been witnessed in language, vision, speech, and audio domains over the past few years. While discrete label prediction is widely adopted for other modalities, the state-of-the-art audio SSL models still employ reconstruction loss for pre-training. Compared with reconstruction loss, semantic-rich discrete label prediction encourages the SSL model to abstract the high-level audio semantics and discard the redundant details as in human perception. However, a semantic-rich acoustic tokenizer for general audio pre-training is usually not straightforward to obtain, due to the continuous property of audio and unavailable phoneme sequences like speech. To tackle this challenge, we propose BEATs, an iterative audio pre-training framework to learn Bidirectional Encoder representation from Audio Transformers, where an acoustic tokenizer and an audio SSL model are optimized by iterations. In the first iteration, we use random projection as the acoustic tokenizer to train an audio SSL model in a mask and label prediction manner. Then, we train an acoustic tokenizer for the next iteration by distilling the semantic knowledge from the pre-trained or fine-tuned audio SSL model. The iteration is repeated with the hope of mutual promotion of the acoustic tokenizer and audio SSL model. The experimental results demonstrate our acoustic tokenizers can generate discrete labels with rich audio semantics and our audio SSL models achieve state-of-the-art results across various audio classification benchmarks, even outperforming previous models that use more training data and model parameters significantly. Specifically, we set a new state-of-the-art mAP 50.6% on AudioSet-2M for audio-only models without using any external data, and 98.1% accuracy on ESC-50. The code and pre-trained models are available at https://aka.ms/beats.

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

We propose Cotatron, a transcription-guided speech encoder for speaker-independent linguistic representation. Cotatron is based on the multispeaker TTS architecture and can be trained with conventional TTS datasets. We train a voice conversion system to reconstruct speech with Cotatron features, which is similar to the previous methods based on Phonetic Posteriorgram (PPG). By training and evaluating our system with 108 speakers from the VCTK dataset, we outperform the previous method in terms of both naturalness and speaker similarity. Our system can also convert speech from speakers that are unseen during training, and utilize ASR to automate the transcription with minimal reduction of the performance. Audio samples are available at https://mindslab-ai.github.io/cotatron, and the code with a pre-trained model will be made available soon.

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)

We propose EnCLAP, a novel framework for automated audio captioning. EnCLAP employs two acoustic representation models, EnCodec and CLAP, along with a pretrained language model, BART. We also introduce a new training objective called masked codec modeling that improves acoustic awareness of the pretrained language model. Experimental results on AudioCaps and Clotho demonstrate that our model surpasses the performance of baseline models. Source code will be available at https://github.com/jaeyeonkim99/EnCLAP . An online demo is available at https://huggingface.co/spaces/enclap-team/enclap .

Bootstrap-based Self-Supervised Learning (SSL) has achieved remarkable progress in audio understanding. However, existing methods typically operate at a single level of granularity, limiting their ability to model the diverse temporal and spectral structures inherent in complex audio signals. Furthermore, bootstrapping representations from scratch is computationally expensive, often requiring extensive training to converge. In this work, we propose the Convolutional Audio Transformer (CAT), a unified framework designed to address these challenges. First, to capture hierarchical audio features, CAT incorporates a Multi-resolution Block that aggregates information across varying granularities. Second, to enhance training efficiency, we introduce a Representation Regularization objective. Drawing inspiration from generative modeling, this auxiliary task guides the student model by aligning its predictions with high-quality semantic representations from frozen, pre-trained external encoders. Experimental results demonstrate that CAT significantly outperforms baselines on audio understanding benchmarks. Notably, it achieves competitive performance on the AudioSet 20k dataset with 5 times faster convergence than existing methods. Codes and checkpoints will be released soon at https://github.com/realzhouchushu/CAT.

Segment Anything Model (SAM) has recently shown its powerful effectiveness in visual segmentation tasks. However, there is less exploration concerning how SAM works on audio-visual tasks, such as visual sound localization and segmentation. In this work, we propose a simple yet effective audio-visual localization and segmentation framework based on the Segment Anything Model, namely AV-SAM, that can generate sounding object masks corresponding to the audio. Specifically, our AV-SAM simply leverages pixel-wise audio-visual fusion across audio features and visual features from the pre-trained image encoder in SAM to aggregate cross-modal representations. Then, the aggregated cross-modal features are fed into the prompt encoder and mask decoder to generate the final audio-visual segmentation masks. We conduct extensive experiments on Flickr-SoundNet and AVSBench datasets. The results demonstrate that the proposed AV-SAM can achieve competitive performance on sounding object localization and segmentation.

This paper proposes a generative pretraining foundation model for high-quality speech restoration tasks. By directly operating on complex-valued short-time Fourier transform coefficients, our model does not rely on any vocoders for time-domain signal reconstruction. As a result, our model simplifies the synthesis process and removes the quality upper-bound introduced by any mel-spectrogram vocoder compared to prior work SpeechFlow. The proposed method is evaluated on multiple speech restoration tasks, including speech denoising, bandwidth extension, codec artifact removal, and target speaker extraction. In all scenarios, finetuning our pretrained model results in superior performance over strong baselines. Notably, in the target speaker extraction task, our model outperforms existing systems, including those leveraging SSL-pretrained encoders like WavLM. The code and the pretrained checkpoints are publicly available in the NVIDIA NeMo framework.

Ambivalence and hesitancy (A/H) are subtle affective states where a person shows conflicting signals through different channels -- saying one thing while their face or voice tells another story. Recognising these states automatically is valuable in clinical settings, but it is hard for machines because the key evidence lives in the disagreements between what is said, how it sounds, and what the face shows. We present ConflictAwareAH, a multimodal framework built for this problem. Three pre-trained encoders extract video, audio, and text representations. Pairwise conflict features -- element-wise absolute differences between modality embeddings -- serve as bidirectional cues: large cross-modal differences flag A/H, while small differences confirm behavioural consistency and anchor the negative class. This conflict-aware design addresses a key limitation of text-dominant approaches, which tend to over-detect A/H (high F1-AH) while struggling to confirm its absence: our multimodal model improves F1-NoAH by +4.6 points over text alone and halves the class-performance gap. A complementary text-guided late fusion strategy blends a text-only auxiliary head with the full model at inference, adding +4.1 Macro F1. On the BAH dataset from the ABAW10 Ambivalence/Hesitancy Challenge, our method reaches 0.694 Macro F1 on the labelled test split and 0.715 on the private leaderboard, outperforming published multimodal baselines by over 10 points -- all on a single GPU in under 25 minutes of training.

This study introduces CLASP (Contrastive Language-Speech Pretraining), a multilingual, multimodal representation tailored for audio-text information retrieval. CLASP leverages the synergy between spoken content and textual data. During training, we utilize our newly introduced speech-text dataset, which encompasses 15 diverse categories ranging from fiction to religion. CLASP's audio component integrates audio spectrograms with a pre-trained self-supervised speech model, while its language encoding counterpart employs a sentence encoder pre-trained on over 100 languages. This unified lightweight model bridges the gap between various modalities and languages, enhancing its effectiveness in handling and retrieving multilingual and multimodal data. Our evaluations across multiple languages demonstrate that CLASP establishes new benchmarks in HITS@1, MRR, and meanR metrics, outperforming traditional ASR-based retrieval approaches in specific scenarios.

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

The virtual world is being established in which digital humans are created indistinguishable from real humans. Producing their audio-related capabilities is crucial since voice conveys extensive personal characteristics. We aim to create a controllable audio-form virtual singer; however, supervised modeling and controlling all different factors of the singing voice, such as timbre, tempo, pitch, and lyrics, is extremely difficult since accurately labeling all such information needs enormous labor work. In this paper, we propose a framework that could digitize a person's voice by simply "listening" to the clean voice recordings of any content in a fully unsupervised manner and predict singing voices even only using speaking recordings. A variational auto-encoder (VAE) based framework is developed, which leverages a set of pre-trained models to encode the audio as various hidden embeddings representing different factors of the singing voice, and further decodes the embeddings into raw audio. By manipulating the hidden embeddings for different factors, the resulting singing voices can be controlled, and new virtual singers can also be further generated by interpolating between timbres. Evaluations of different types of experiments demonstrate the proposed method's effectiveness. The proposed method is the critical technique for producing the AI choir, which empowered the human-AI symbiotic orchestra in Hong Kong in July 2022.

Mastering is an essential step in music production, but it is also a challenging task that has to go through the hands of experienced audio engineers, where they adjust tone, space, and volume of a song. Remastering follows the same technical process, in which the context lies in mastering a song for the times. As these tasks have high entry barriers, we aim to lower the barriers by proposing an end-to-end music remastering system that transforms the mastering style of input audio to that of the target. The system is trained in a self-supervised manner, in which released pop songs were used for training. We also anticipated the model to generate realistic audio reflecting the reference's mastering style by applying a pre-trained encoder and a projection discriminator. We validate our results with quantitative metrics and a subjective listening test and show that the model generated samples of mastering style similar to the target.

Human social behaviors are inherently multimodal necessitating the development of powerful audiovisual models for their perception. In this paper, we present Social-MAE, our pre-trained audiovisual Masked Autoencoder based on an extended version of Contrastive Audio-Visual Masked Auto-Encoder (CAV-MAE), which is pre-trained on audiovisual social data. Specifically, we modify CAV-MAE to receive a larger number of frames as input and pre-train it on a large dataset of human social interaction (VoxCeleb2) in a self-supervised manner. We demonstrate the effectiveness of this model by finetuning and evaluating the model on different social and affective downstream tasks, namely, emotion recognition, laughter detection and apparent personality estimation. The model achieves state-of-the-art results on multimodal emotion recognition and laughter recognition and competitive results for apparent personality estimation, demonstrating the effectiveness of in-domain self-supervised pre-training. Code and model weight are available here https://github.com/HuBohy/SocialMAE.

The goal of multimodal alignment is to learn a single latent space that is shared between multimodal inputs. The most powerful models in this space have been trained using massive datasets of paired inputs and large-scale computational resources, making them prohibitively expensive to train in many practical scenarios. We surmise that existing unimodal encoders pre-trained on large amounts of unimodal data should provide an effective bootstrap to create multimodal models from unimodal ones at much lower costs. We therefore propose FuseMix, a multimodal augmentation scheme that operates on the latent spaces of arbitrary pre-trained unimodal encoders. Using FuseMix for multimodal alignment, we achieve competitive performance -- and in certain cases outperform state-of-the art methods -- in both image-text and audio-text retrieval, with orders of magnitude less compute and data: for example, we outperform CLIP on the Flickr30K text-to-image retrieval task with sim ! 600times fewer GPU days and sim ! 80times fewer image-text pairs. Additionally, we show how our method can be applied to convert pre-trained text-to-image generative models into audio-to-image ones. Code is available at: https://github.com/layer6ai-labs/fusemix.

Human voice encodes both identity and paralinguistic cues, yet encoders in large audio-language models (LALMs) rarely balance both aspects. In this work, we present a study toward building a general-purpose voice encoder that captures nuanced voice cues. Through a comprehensive evaluation, we find that multi-task training yields the most balanced representations, whereas contrastive language-audio pretraining (CLAP) primarily improves retrieval without enhancing paralinguistic understanding. Our final encoder, Auden-Voice, also demonstrates strong performance when integrated with LLMs. The code and training recipes will be released with the audio understanding toolkit Auden.

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.

Transformers, which were originally developed for natural language processing, have recently generated significant interest in the computer vision and audio communities due to their flexibility in learning long-range relationships. Constrained by the data hungry nature of transformers and the limited amount of labelled data, most transformer-based models for audio tasks are finetuned from ImageNet pretrained models, despite the huge gap between the domain of natural images and audio. This has motivated the research in self-supervised pretraining of audio transformers, which reduces the dependency on large amounts of labeled data and focuses on extracting concise representations of audio spectrograms. In this paper, we propose Local-Global Audio Spectrogram vIsion Transformer, namely ASiT, a novel self-supervised learning framework that captures local and global contextual information by employing group masked model learning and self-distillation. We evaluate our pretrained models on both audio and speech classification tasks, including audio event classification, keyword spotting, and speaker identification. We further conduct comprehensive ablation studies, including evaluations of different pretraining strategies. The proposed ASiT framework significantly boosts the performance on all tasks and sets a new state-of-the-art performance in five audio and speech classification tasks, outperforming recent methods, including the approaches that use additional datasets for pretraining.

Automated Audio Captioning (AAC) involves generating natural language descriptions of audio content, using encoder-decoder architectures. An audio encoder produces audio embeddings fed to a decoder, usually a Transformer decoder, for caption generation. In this work, we describe our model, which novelty, compared to existing models, lies in the use of a ConvNeXt architecture as audio encoder, adapted from the vision domain to audio classification. This model, called CNext-trans, achieved state-of-the-art scores on the AudioCaps (AC) dataset and performed competitively on Clotho (CL), while using four to forty times fewer parameters than existing models. We examine potential biases in the AC dataset due to its origin from AudioSet by investigating unbiased encoder's impact on performance. Using the well-known PANN's CNN14, for instance, as an unbiased encoder, we observed a 1.7% absolute reduction in SPIDEr score (where higher scores indicate better performance). To improve cross-dataset performance, we conducted experiments by combining multiple AAC datasets (AC, CL, MACS, WavCaps) for training. Although this strategy enhanced overall model performance across datasets, it still fell short compared to models trained specifically on a single target dataset, indicating the absence of a one-size-fits-all model. To mitigate performance gaps between datasets, we introduced a Task Embedding (TE) token, allowing the model to identify the source dataset for each input sample. We provide insights into the impact of these TEs on both the form (words) and content (sound event types) of the generated captions. The resulting model, named CoNeTTE, an unbiased CNext-trans model enriched with dataset-specific Task Embeddings, achieved SPIDEr scores of 44.1% and 30.5% on AC and CL, respectively. Code available: https://github.com/Labbeti/conette-audio-captioning.

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

This technical report describes our submission to the ICME 2025 audio encoder challenge. Our submitted system is built on BEATs, a masked speech token prediction based audio encoder. We extend the BEATs model using 74,000 hours of data derived from various speech, music, and sound corpora and scale its architecture upto 300 million parameters. We experiment with speech-heavy and balanced pre-training mixtures to study the impact of different domains on final performance. Our submitted system consists of an ensemble of the Dasheng 1.2 billion model with two custom scaled-up BEATs models trained on the aforementioned pre-training data mixtures. We also propose a simple ensembling technique that retains the best capabilities of constituent models and surpasses both the baseline and Dasheng 1.2B. For open science, we publicly release our trained checkpoints via huggingface at https://huggingface.co/shikhar7ssu/OpenBEATs-ICME-SOUND and https://huggingface.co/shikhar7ssu/OpenBEATs-ICME.

This paper studies a novel pre-training technique with unpaired speech data, Speech2C, for encoder-decoder based automatic speech recognition (ASR). Within a multi-task learning framework, we introduce two pre-training tasks for the encoder-decoder network using acoustic units, i.e., pseudo codes, derived from an offline clustering model. One is to predict the pseudo codes via masked language modeling in encoder output, like HuBERT model, while the other lets the decoder learn to reconstruct pseudo codes autoregressively instead of generating textual scripts. In this way, the decoder learns to reconstruct original speech information with codes before learning to generate correct text. Comprehensive experiments on the LibriSpeech corpus show that the proposed Speech2C can relatively reduce the word error rate (WER) by 19.2% over the method without decoder pre-training, and also outperforms significantly the state-of-the-art wav2vec 2.0 and HuBERT on fine-tuning subsets of 10h and 100h. We release our code and model at https://github.com/microsoft/SpeechT5/tree/main/Speech2C.

Audio self-supervised learning (SSL) pre-training, which aims to learn good representations from unlabeled audio, has made remarkable progress. However, the extensive computational demands during pre-training pose a significant barrier to the potential application and optimization of audio SSL models. In this paper, inspired by the success of data2vec 2.0 in image modality and Audio-MAE in audio modality, we introduce Efficient Audio Transformer (EAT) to further improve the effectiveness and efficiency in audio SSL. The proposed EAT adopts the bootstrap self-supervised training paradigm to the audio domain. A novel Utterance-Frame Objective (UFO) is designed to enhance the modeling capability of acoustic events. Furthermore, we reveal that the masking strategy is critical in audio SSL pre-training, and superior audio representations can be obtained with large inverse block masks. Experiment results demonstrate that EAT achieves state-of-the-art (SOTA) performance on a range of audio-related tasks, including AudioSet (AS-2M, AS-20K), ESC-50, and SPC-2, along with a significant pre-training speedup up to ~15x compared to existing audio SSL models.

In the domain of audio processing, Transfer Learning has facilitated the rise of Self-Supervised Learning and Zero-Shot Learning techniques. These approaches have led to the development of versatile models capable of tackling a wide array of tasks, while delivering state-of-the-art performance. However, current models inherently lack the capacity to produce the requisite language for open-ended tasks, such as Audio Captioning or Audio Question & Answering. We introduce Pengi, a novel Audio Language Model that leverages Transfer Learning by framing all audio tasks as text-generation tasks. It takes as input, an audio recording, and text, and generates free-form text as output. The input audio is represented as a sequence of continuous embeddings by an audio encoder. A text encoder does the same for the corresponding text input. Both sequences are combined as a prefix to prompt a pre-trained frozen language model. The unified architecture of Pengi enables open-ended tasks and close-ended tasks without any additional fine-tuning or task-specific extensions. When evaluated on 22 downstream tasks, our approach yields state-of-the-art performance in several of them. Our results show that connecting language models with audio models is a major step towards general-purpose audio understanding

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

Recently, neural networks based purely on self-attention, such as the Vision Transformer (ViT), have been shown to outperform deep learning models constructed with convolutional neural networks (CNNs) on various vision tasks, thus extending the success of Transformers, which were originally developed for language processing, to the vision domain. A recent study showed that a similar methodology can also be applied to the audio domain. Specifically, the Audio Spectrogram Transformer (AST) achieves state-of-the-art results on various audio classification benchmarks. However, pure Transformer models tend to require more training data compared to CNNs, and the success of the AST relies on supervised pretraining that requires a large amount of labeled data and a complex training pipeline, thus limiting the practical usage of AST. This paper focuses on audio and speech classification, and aims to reduce the need for large amounts of labeled data for AST by leveraging self-supervised learning using unlabeled data. Specifically, we propose to pretrain the AST model with joint discriminative and generative masked spectrogram patch modeling (MSPM) using unlabeled audio from AudioSet and Librispeech. We evaluate our pretrained models on both audio and speech classification tasks including audio event classification, keyword spotting, emotion recognition, and speaker identification. The proposed self-supervised framework significantly boosts AST performance on all tasks, with an average improvement of 60.9%, leading to similar or even better results than a supervised pretrained AST. To the best of our knowledge, it is the first patch-based self-supervised learning framework in the audio and speech domain, and also the first self-supervised learning framework for AST.

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.

We introduce a self-supervised speech pre-training method called TERA, which stands for Transformer Encoder Representations from Alteration. Recent approaches often learn by using a single auxiliary task like contrastive prediction, autoregressive prediction, or masked reconstruction. Unlike previous methods, we use alteration along three orthogonal axes to pre-train Transformer Encoders on a large amount of unlabeled speech. The model learns through the reconstruction of acoustic frames from their altered counterpart, where we use a stochastic policy to alter along various dimensions: time, frequency, and magnitude. TERA can be used for speech representations extraction or fine-tuning with downstream models. We evaluate TERA on several downstream tasks, including phoneme classification, keyword spotting, speaker recognition, and speech recognition. We present a large-scale comparison of various self-supervised models. TERA achieves strong performance in the comparison by improving upon surface features and outperforming previous models. In our experiments, we study the effect of applying different alteration techniques, pre-training on more data, and pre-training on various features. We analyze different model sizes and find that smaller models are strong representation learners than larger models, while larger models are more effective for downstream fine-tuning than smaller models. Furthermore, we show the proposed method is transferable to downstream datasets not used in pre-training.

In this paper, we introduce UnFuSeD, a novel approach to leverage self-supervised learning and reduce the need for large amounts of labeled data for audio classification. Unlike prior works, which directly fine-tune a self-supervised pre-trained encoder on a target dataset, we use the encoder to generate pseudo-labels for unsupervised fine-tuning before the actual fine-tuning step. We first train an encoder using a novel self-supervised learning algorithm (SSL) on an unlabeled audio dataset. Then, we use that encoder to generate pseudo-labels on our target task dataset via clustering the extracted representations. These pseudo-labels are then used to guide self-distillation on a randomly initialized model, which we call unsupervised fine-tuning. Finally, the resultant encoder is then fine-tuned on our target task dataset. Through UnFuSeD, we propose the first system that moves away from generic SSL paradigms in literature, which pre-train and fine-tune the same encoder, and present a novel self-distillation-based system to leverage SSL pre-training for low-resource audio classification. In practice, UnFuSeD achieves state-of-the-art results on the LAPE Benchmark, significantly outperforming all our baselines. Additionally, UnFuSeD allows us to achieve this at a 40% reduction in the number of parameters over the previous state-of-the-art system. We make all our codes publicly available.

Current audio pre-training seeks to learn unified representations for broad audio understanding tasks, but it remains fragmented and is fundamentally bottlenecked by its reliance on weak, noisy, and scale-limited labels. Drawing lessons from vision's foundational pre-training blueprint, we argue that the audio field must first establish its own large-scale, strong supervision framework. We introduce a new data-centric pipeline that leverages a high-fidelity captioner to create SOTA-quality captions and the first Unified Tag System (UTS) that bridges speech, music, and environmental sounds. We then conduct a systematic comparative study of different pre-training objectives on these strong source data. Our experiments suggest that data quality and coverage are the primary drivers of performance, while the choice of objective dictates downstream task specialization.

In recent years, self-supervised pre-training methods have gained significant traction in learning high-level information from raw speech. Among these methods, HuBERT has demonstrated SOTA performance in automatic speech recognition (ASR). However, HuBERT's performance lags behind data2vec due to disparities in pre-training strategies. In this paper, we propose (i) a Swap method to address pre-training and inference mismatch observed in HuBERT and (ii) incorporates Multicluster masked prediction loss for more effective utilization of the models capacity. The resulting method is, MS-HuBERT, an end-to-end self-supervised pre-training method for learning robust speech representations. It beats vanilla HuBERT on the ASR Librispeech benchmark on average by a 5% margin when evaluated on different finetuning splits. Additionally, we demonstrate that the learned embeddings obtained during pre-training encode essential information for improving performance of content based tasks such as ASR.

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}

This paper studies a simple extension of image-based Masked Autoencoders (MAE) to self-supervised representation learning from audio spectrograms. Following the Transformer encoder-decoder design in MAE, our Audio-MAE first encodes audio spectrogram patches with a high masking ratio, feeding only the non-masked tokens through encoder layers. The decoder then re-orders and decodes the encoded context padded with mask tokens, in order to reconstruct the input spectrogram. We find it beneficial to incorporate local window attention in the decoder, as audio spectrograms are highly correlated in local time and frequency bands. We then fine-tune the encoder with a lower masking ratio on target datasets. Empirically, Audio-MAE sets new state-of-the-art performance on six audio and speech classification tasks, outperforming other recent models that use external supervised pre-training. The code and models will be at https://github.com/facebookresearch/AudioMAE.

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.

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.

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

Self-supervised speech pre-training enables deep neural network models to capture meaningful and disentangled factors from raw waveform signals. The learned universal speech representations can then be used across numerous downstream tasks. These representations, however, are sensitive to distribution shifts caused by environmental factors, such as noise and/or room reverberation. Their large sizes, in turn, make them unfeasible for edge applications. In this work, we propose a knowledge distillation methodology termed RobustDistiller which compresses universal representations while making them more robust against environmental artifacts via a multi-task learning objective. The proposed layer-wise distillation recipe is evaluated on top of three well-established universal representations, as well as with three downstream tasks. Experimental results show the proposed methodology applied on top of the WavLM Base+ teacher model outperforming all other benchmarks across noise types and levels, as well as reverberation times. Oftentimes, the obtained results with the student model (24M parameters) achieved results inline with those of the teacher model (95M).

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.

We study speech intent classification and slot filling (SICSF) by proposing to use an encoder pretrained on speech recognition (ASR) to initialize an end-to-end (E2E) Conformer-Transformer model, which achieves the new state-of-the-art results on the SLURP dataset, with 90.14% intent accuracy and 82.27% SLURP-F1. We compare our model with encoders pretrained on self-supervised learning (SSL), and show that ASR pretraining is much more effective than SSL for SICSF. To explore parameter efficiency, we freeze the encoder and add Adapter modules, and show that parameter efficiency is only achievable with an ASR-pretrained encoder, while the SSL encoder needs full finetuning to achieve comparable results. In addition, we provide an in-depth comparison on end-to-end models versus cascading models (ASR+NLU), and show that E2E models are better than cascaded models unless an oracle ASR model is provided. Last but not least, our model is the first E2E model that achieves the same performance as cascading models with oracle ASR. Code, checkpoints and configs are available.

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

We propose a pre-training pipeline for audio spectrogram transformers for frame-level sound event detection tasks. On top of common pre-training steps, we add a meticulously designed training routine on AudioSet frame-level annotations. This includes a balanced sampler, aggressive data augmentation, and ensemble knowledge distillation. For five transformers, we obtain a substantial performance improvement over previously available checkpoints both on AudioSet frame-level predictions and on frame-level sound event detection downstream tasks, confirming our pipeline's effectiveness. We publish the resulting checkpoints that researchers can directly fine-tune to build high-performance models for sound event detection tasks.

Audio-language pretraining holds promise for general-purpose audio understanding, yet remains underexplored compared to its vision counterpart. While vision-language models like CLIP serve as widely adopted foundations, existing audio-language models primarily excel at retrieval tasks with limited adoption as general-purpose encoders. We identify three key barriers: limited large-scale audio-text corpora, insufficient caption diversity, and lack of systematic exploration and evaluation. To this end, we introduce CaptionStew, a 10.7M caption dataset aggregating diverse open-source audio-text corpora across multiple domains and captioning styles. Using this resource, we conduct the first comprehensive evaluation comparing contrastive and captioning objectives for audio representation learning across speech, music, and environmental sound tasks. Our results demonstrate that audio-language pretraining yields competitive, transferable representations. Through systematic data-scaling experiments, we reveal complementary objective strengths: contrastive learning achieves superior data efficiency at smaller scales, while captioning demonstrates better scalability on language-involved audio understanding tasks. We also find that common supervised initialization practices provide diminishing returns at scale, challenging current approaches. These findings establish audio-language pretraining as a viable pathway toward general-purpose audio representations, guiding future research. To accelerate progress, we release data preparation recipes, training protocols, and pretrained models, paving the way toward universal audio understanding.

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.

Despite the growing interest in unsupervised learning, extracting meaningful knowledge from unlabelled audio remains an open challenge. To take a step in this direction, we recently proposed a problem-agnostic speech encoder (PASE), that combines a convolutional encoder followed by multiple neural networks, called workers, tasked to solve self-supervised problems (i.e., ones that do not require manual annotations as ground truth). PASE was shown to capture relevant speech information, including speaker voice-print and phonemes. This paper proposes PASE+, an improved version of PASE for robust speech recognition in noisy and reverberant environments. To this end, we employ an online speech distortion module, that contaminates the input signals with a variety of random disturbances. We then propose a revised encoder that better learns short- and long-term speech dynamics with an efficient combination of recurrent and convolutional networks. Finally, we refine the set of workers used in self-supervision to encourage better cooperation. Results on TIMIT, DIRHA and CHiME-5 show that PASE+ significantly outperforms both the previous version of PASE as well as common acoustic features. Interestingly, PASE+ learns transferable representations suitable for highly mismatched acoustic conditions.

We describe a neural network-based system for text-to-speech (TTS) synthesis that is able to generate speech audio in the voice of many different speakers, including those unseen during training. Our system consists of three independently trained components: (1) a speaker encoder network, trained on a speaker verification task using an independent dataset of noisy speech from thousands of speakers without transcripts, to generate a fixed-dimensional embedding vector from seconds of reference speech from a target speaker; (2) a sequence-to-sequence synthesis network based on Tacotron 2, which generates a mel spectrogram from text, conditioned on the speaker embedding; (3) an auto-regressive WaveNet-based vocoder that converts the mel spectrogram into a sequence of time domain waveform samples. We demonstrate that the proposed model is able to transfer the knowledge of speaker variability learned by the discriminatively-trained speaker encoder to the new task, and is able to synthesize natural speech from speakers that were not seen during training. We quantify the importance of training the speaker encoder on a large and diverse speaker set in order to obtain the best generalization performance. Finally, we show that randomly sampled speaker embeddings can be used to synthesize speech in the voice of novel speakers dissimilar from those used in training, indicating that the model has learned a high quality speaker representation.

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

This paper presents FunCodec, a fundamental neural speech codec toolkit, which is an extension of the open-source speech processing toolkit FunASR. FunCodec provides reproducible training recipes and inference scripts for the latest neural speech codec models, such as SoundStream and Encodec. Thanks to the unified design with FunASR, FunCodec can be easily integrated into downstream tasks, such as speech recognition. Along with FunCodec, pre-trained models are also provided, which can be used for academic or generalized purposes. Based on the toolkit, we further propose the frequency-domain codec models, FreqCodec, which can achieve comparable speech quality with much lower computation and parameter complexity. Experimental results show that, under the same compression ratio, FunCodec can achieve better reconstruction quality compared with other toolkits and released models. We also demonstrate that the pre-trained models are suitable for downstream tasks, including automatic speech recognition and personalized text-to-speech synthesis. This toolkit is publicly available at https://github.com/alibaba-damo-academy/FunCodec.

Self-supervised pre-training could effectively improve the performance of low-resource automatic speech recognition (ASR). However, existing self-supervised pre-training are task-agnostic, i.e., could be applied to various downstream tasks. Although it enlarges the scope of its application, the capacity of the pre-trained model is not fully utilized for the ASR task, and the learned representations may not be optimal for ASR. In this work, in order to build a better pre-trained model for low-resource ASR, we propose a pre-training approach called wav2vec-S, where we use task-specific semi-supervised pre-training to refine the self-supervised pre-trained model for the ASR task thus more effectively utilize the capacity of the pre-trained model to generate task-specific representations for ASR. Experiments show that compared to wav2vec 2.0, wav2vec-S only requires a marginal increment of pre-training time but could significantly improve ASR performance on in-domain, cross-domain and cross-lingual datasets. Average relative WER reductions are 24.5% and 6.6% for 1h and 10h fine-tuning, respectively. Furthermore, we show that semi-supervised pre-training could close the representation gap between the self-supervised pre-trained model and the corresponding fine-tuned model through canonical correlation analysis.

Discrete audio tokens have recently gained attention for their potential to bridge the gap between audio and language processing. Ideal audio tokens must preserve content, paralinguistic elements, speaker identity, and many other audio details. Current audio tokenization methods fall into two categories: Semantic tokens, acquired through quantization of Self-Supervised Learning (SSL) models, and Neural compression-based tokens (codecs). Although previous studies have benchmarked codec models to identify optimal configurations, the ideal setup for quantizing pretrained SSL models remains unclear. This paper explores the optimal configuration of semantic tokens across discriminative and generative tasks. We propose a scalable solution to train a universal vocoder across multiple SSL layers. Furthermore, an attention mechanism is employed to identify task-specific influential layers, enhancing the adaptability and performance of semantic tokens in diverse audio applications.

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

Passive acoustic monitoring has become a key strategy in biodiversity assessment, conservation, and behavioral ecology, especially as Internet-of-Things (IoT) devices enable continuous in situ audio collection at scale. While recent self-supervised learning (SSL)-based audio encoders, such as BEATs and AVES, have shown strong performance in bioacoustic tasks, their computational cost and limited robustness to unseen environments hinder deployment on resource-constrained platforms. In this work, we introduce BioME, a resource-efficient audio encoder designed for bioacoustic applications. BioME is trained via layer-to-layer distillation from a high-capacity teacher model, enabling strong representational transfer while reducing the parameter count by 75%. To further improve ecological generalization, the model is pretrained on multi-domain data spanning speech, environmental sounds, and animal vocalizations. A key contribution is the integration of modulation-aware acoustic features via FiLM conditioning, injecting a DSP-inspired inductive bias that enhances feature disentanglement in low-capacity regimes. Across multiple bioacoustic tasks, BioME matches or surpasses the performance of larger models, including its teacher, while being suitable for resource-constrained IoT deployments. For reproducibility, code and pretrained checkpoints are publicly available.

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

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 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

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/ .

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.

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

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.

Mainstream Audio Analytics models are trained to learn under the paradigm of one class label to many recordings focusing on one task. Learning under such restricted supervision limits the flexibility of models because they require labeled audio for training and can only predict the predefined categories. Instead, we propose to learn audio concepts from natural language supervision. We call our approach Contrastive Language-Audio Pretraining (CLAP), which learns to connect language and audio by using two encoders and a contrastive learning to bring audio and text descriptions into a joint multimodal space. We trained CLAP with 128k audio and text pairs and evaluated it on 16 downstream tasks across 8 domains, such as Sound Event Classification, Music tasks, and Speech-related tasks. Although CLAP was trained with significantly less pairs than similar computer vision models, it establishes SoTA for Zero-Shot performance. Additionally, we evaluated CLAP in a supervised learning setup and achieve SoTA in 5 tasks. Hence, CLAP's Zero-Shot capability removes the need of training with class labels, enables flexible class prediction at inference time, and generalizes to multiple downstream tasks.

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

Neural autoencoders underpin generative models. Practical, large-scale use of neural autoencoders for generative modeling necessitates fast encoding, low latent rates, and a single model across representations. Existing approaches are reconstruction-first: they incur high latent rates, slow encoding, and separate architectures for discrete vs. continuous latents and for different audio channel formats, hindering workflows from preprocessing to inference conditioning. We introduce a generative-first architecture for audio autoencoding that increases temporal downsampling from 2048x to 3360x and supports continuous and discrete representations and common audio channel formats in one model. By balancing compression, quality, and speed, it delivers 10x faster encoding, 1.6x lower rates, and eliminates channel-format-specific variants while maintaining competitive reconstruction quality. This enables applications previously constrained by processing costs: a 60-second mono signal compresses to 788 tokens, making generative modeling more tractable.

We propose Fast Language-Audio Pre-training (FLAP), a self-supervised approach that efficiently and effectively learns aligned audio and language representations through masking, contrastive learning and reconstruction. For efficiency, FLAP randomly drops audio spectrogram tokens, focusing solely on the remaining ones for self-supervision. Through inter-modal contrastive learning, FLAP learns to align paired audio and text representations in a shared latent space. Notably, FLAP leverages multiple augmented views via masking for inter-modal contrast and learns to reconstruct the masked portion of audio tokens. Moreover, FLAP leverages large language models (LLMs) to augment the text inputs, contributing to improved performance. These approaches lead to more robust and informative audio-text representations, enabling FLAP to achieve state-of-the-art (SoTA) performance on audio-text retrieval tasks on AudioCaps (achieving 53.0% R@1) and Clotho (achieving 25.5% R@1).

Self-Supervised Learning (SSL) excels at learning generic representations of acoustic signals, yet prevailing methods remain domain-specific, tailored to either speech or general audio, hindering the development of a unified representation model with a comprehensive capability over both domains. To address this, we present SPEAR (SPEech and Audio Representations), the first SSL framework to successfully learn unified speech and audio representations from a mixture of speech and audio data. SPEAR proposes a unified pre-training objective based on masked prediction of fine-grained discrete tokens for both speech and general audio. These tokens are derived from continuous speech and audio representations using a Multi-codebook Vector Quantisation (MVQ) method, retaining rich acoustic detail essential for modelling both speech and complex audio events. SPEAR is applied to pre-train both single-domain and unified speech-and-audio SSL models. Our speech-domain model establishes a new state-of-the-art on the SUPERB benchmark, a speech processing benchmark for SSL models, matching or surpassing the highly competitive WavLM Large on 12 out of 15 tasks with the same pre-training corpora and a similar model size. Crucially, our unified model learns complementary features and demonstrates comprehensive capabilities across two major benchmarks, SUPERB and HEAR, for evaluating audio representations. By further scaling up the model size and pre-training data, we present a unified model with 600M parameters that excels in both domains, establishing it as one of the most powerful and versatile open-source SSL models for auditory understanding. The inference code and pre-trained models will be made publicly available.

We propose AUV, a unified neural audio codec with a single codebook, which enables a favourable reconstruction of speech and further extends to general audio, including vocal, music, and sound. AUV is capable of tackling any 16 kHz mixed-domain audio segment at bit rates around 700 bps. To accomplish this, we guide the matryoshka codebook with nested domain-specific partitions, assigned with corresponding teacher models to perform distillation, all in a single-stage training. A conformer-style encoder-decoder architecture with STFT features as audio representation is employed, yielding better audio quality. Comprehensive evaluations demonstrate that AUV exhibits comparable audio reconstruction ability to state-of-the-art domain-specific single-layer quantizer codecs, showcasing the potential of audio universal vector quantization with a single codebook. The pre-trained model and demo samples are available at https://swivid.github.io/AUV/.

We propose Wav2CLIP, a robust audio representation learning method by distilling from Contrastive Language-Image Pre-training (CLIP). We systematically evaluate Wav2CLIP on a variety of audio tasks including classification, retrieval, and generation, and show that Wav2CLIP can outperform several publicly available pre-trained audio representation algorithms. Wav2CLIP projects audio into a shared embedding space with images and text, which enables multimodal applications such as zero-shot classification, and cross-modal retrieval. Furthermore, Wav2CLIP needs just ~10% of the data to achieve competitive performance on downstream tasks compared with fully supervised models, and is more efficient to pre-train than competing methods as it does not require learning a visual model in concert with an auditory model. Finally, we demonstrate image generation from Wav2CLIP as qualitative assessment of the shared embedding space. Our code and model weights are open sourced and made available for further applications.

While neural vocoders have made significant progress in high-fidelity speech synthesis, their application on polyphonic music has remained underexplored. In this work, we propose DisCoder, a neural vocoder that leverages a generative adversarial encoder-decoder architecture informed by a neural audio codec to reconstruct high-fidelity 44.1 kHz audio from mel spectrograms. Our approach first transforms the mel spectrogram into a lower-dimensional representation aligned with the Descript Audio Codec (DAC) latent space before reconstructing it to an audio signal using a fine-tuned DAC decoder. DisCoder achieves state-of-the-art performance in music synthesis on several objective metrics and in a MUSHRA listening study. Our approach also shows competitive performance in speech synthesis, highlighting its potential as a universal vocoder.

We compare self-supervised representation learning algorithms which either explicitly quantize the audio data or learn representations without quantization. We find the former to be more accurate since it builds a good vocabulary of the data through vq-wav2vec [1] to enable learning of effective representations in subsequent BERT training. Different to previous work, we directly fine-tune the pre-trained BERT models on transcribed speech using a Connectionist Temporal Classification (CTC) loss instead of feeding the representations into a task-specific model. We also propose a BERT-style model learning directly from the continuous audio data and compare pre-training on raw audio to spectral features. Fine-tuning a BERT model on 10 hour of labeled Librispeech data with a vq-wav2vec vocabulary is almost as good as the best known reported system trained on 100 hours of labeled data on testclean, while achieving a 25% WER reduction on test-other. When using only 10 minutes of labeled data, WER is 25.2 on test-other and 16.3 on test-clean. This demonstrates that self-supervision can enable speech recognition systems trained on a near-zero amount of transcribed data.

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

The lack of annotated training data in bioacoustics hinders the use of large-scale neural network models trained in a supervised way. In order to leverage a large amount of unannotated audio data, we propose AVES (Animal Vocalization Encoder based on Self-Supervision), a self-supervised, transformer-based audio representation model for encoding animal vocalizations. We pretrain AVES on a diverse set of unannotated audio datasets and fine-tune them for downstream bioacoustics tasks. Comprehensive experiments with a suite of classification and detection tasks have shown that AVES outperforms all the strong baselines and even the supervised "topline" models trained on annotated audio classification datasets. The results also suggest that curating a small training subset related to downstream tasks is an efficient way to train high-quality audio representation models. We open-source our models at https://github.com/earthspecies/aves.

Existing audio language models typically rely on task-specific fine-tuning to accomplish particular audio tasks. In contrast, humans are able to generalize to new audio tasks with only a few examples or simple instructions. GPT-3 has shown that scaling next-token prediction pretraining enables strong generalization capabilities in text, and we believe this paradigm is equally applicable to the audio domain. By scaling MiMo-Audio's pretraining data to over one hundred million of hours, we observe the emergence of few-shot learning capabilities across a diverse set of audio tasks. We develop a systematic evaluation of these capabilities and find that MiMo-Audio-7B-Base achieves SOTA performance on both speech intelligence and audio understanding benchmarks among open-source models. Beyond standard metrics, MiMo-Audio-7B-Base generalizes to tasks absent from its training data, such as voice conversion, style transfer, and speech editing. MiMo-Audio-7B-Base also demonstrates powerful speech continuation capabilities, capable of generating highly realistic talk shows, recitations, livestreaming and debates. At the post-training stage, we curate a diverse instruction-tuning corpus and introduce thinking mechanisms into both audio understanding and generation. MiMo-Audio-7B-Instruct achieves open-source SOTA on audio understanding benchmarks (MMSU, MMAU, MMAR, MMAU-Pro), spoken dialogue benchmarks (Big Bench Audio, MultiChallenge Audio) and instruct-TTS evaluations, approaching or surpassing closed-source models. Model checkpoints and full evaluation suite are available at https://github.com/XiaomiMiMo/MiMo-Audio.

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.

This paper presents that the masked-modeling principle driving the success of large foundational vision models can be effectively applied to audio by making predictions in a latent space. We introduce Audio-based Joint-Embedding Predictive Architecture (A-JEPA), a simple extension method for self-supervised learning from the audio spectrum. Following the design of I-JEPA, our A-JEPA encodes visible audio spectrogram patches with a curriculum masking strategy via context encoder, and predicts the representations of regions sampled at well-designed locations. The target representations of those regions are extracted by the exponential moving average of context encoder, i.e., target encoder, on the whole spectrogram. We find it beneficial to transfer random block masking into time-frequency aware masking in a curriculum manner, considering the complexity of highly correlated in local time and frequency in audio spectrograms. To enhance contextual semantic understanding and robustness, we fine-tune the encoder with a regularized masking on target datasets, instead of input dropping or zero. Empirically, when built with Vision Transformers structure, we find A-JEPA to be highly scalable and sets new state-of-the-art performance on multiple audio and speech classification tasks, outperforming other recent models that use externally supervised pre-training.

Neural Audio Codecs (NACs) have become increasingly adopted in speech processing tasks due to their excellent rate-distortion performance and compatibility with Large Language Models (LLMs) as discrete feature representations for audio generation. While most existing codecs rely on Residual Vector Quantization (RVQ), Finite Scalar Quantization (FSQ) has recently emerged as a compelling alternative that simplifies training and natively supports single codebooks. We introduce NeuCodec, an FSQ-based NAC, and show that FSQ encodes baked-in redundancy which produces an encoding which is robust when transmitted through noisy channels. First, through an encoder distillation experiment, we show that two different encoders can learn to encode identical audio into vastly different code sequences whilst maintaining comparable reconstruction quality with the same quantizer and decoder. Second, we demonstrate that FSQ has vastly superior bit-level perturbation robustness by comparing the performance of RVQ and FSQ codecs when simulating the transmission of code sequences through a noisy channel.

In recent Text-to-Speech (TTS) systems, a neural vocoder often generates speech samples by solely conditioning on acoustic features predicted from an acoustic model. However, there are always distortions existing in the predicted acoustic features, compared to those of the groundtruth, especially in the common case of poor acoustic modeling due to low-quality training data. To overcome such limits, we propose a Self-supervised learning framework to learn an Anti-distortion acoustic Representation (SAR) to replace human-crafted acoustic features by introducing distortion prior to an auto-encoder pre-training process. The learned acoustic representation from the proposed framework is proved anti-distortion compared to the most commonly used mel-spectrogram through both objective and subjective evaluation.

Neural speech codecs have recently emerged as a focal point in the fields of speech compression and generation. Despite this progress, achieving high-quality speech reconstruction under low-bitrate scenarios remains a significant challenge. In this paper, we propose PSCodec, a series of neural speech codecs based on prompt encoders, comprising PSCodec-Base, PSCodec-DRL-ICT, and PSCodec-CasAN, which are capable of delivering high-performance speech reconstruction with low bandwidths. Specifically, we first introduce PSCodec-Base, which leverages a pretrained speaker verification model-based prompt encoder (VPP-Enc) and a learnable Mel-spectrogram-based prompt encoder (MelP-Enc) to effectively disentangle and integrate voiceprint and Mel-related features in utterances. To further enhance feature utilization efficiency, we propose PSCodec-DRL-ICT, incorporating a structural similarity (SSIM) based disentangled representation loss (DRL) and an incremental continuous training (ICT) strategy. While PSCodec-DRL-ICT demonstrates impressive performance, its reliance on extensive hyperparameter tuning and multi-stage training makes it somewhat labor-intensive. To circumvent these limitations, we propose PSCodec-CasAN, utilizing an advanced cascaded attention network (CasAN) to enhance representational capacity of the entire system. Extensive experiments show that our proposed PSCodec-Base, PSCodec-DRL-ICT, and PSCodec-CasAN all significantly outperform several state-of-the-art neural codecs, exhibiting substantial improvements in both speech reconstruction quality and speaker similarity under low-bitrate conditions.

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

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

We present the first approach to automated audio captioning. We employ an encoder-decoder scheme with an alignment model in between. The input to the encoder is a sequence of log mel-band energies calculated from an audio file, while the output is a sequence of words, i.e. a caption. The encoder is a multi-layered, bi-directional gated recurrent unit (GRU) and the decoder a multi-layered GRU with a classification layer connected to the last GRU of the decoder. The classification layer and the alignment model are fully connected layers with shared weights between timesteps. The proposed method is evaluated using data drawn from a commercial sound effects library, ProSound Effects. The resulting captions were rated through metrics utilized in machine translation and image captioning fields. Results from metrics show that the proposed method can predict words appearing in the original caption, but not always correctly ordered.