Daily Papers

Voice conversion refers to transferring speaker identity with well-preserved content. Better disentanglement of speech representations leads to better voice conversion. Recent studies have found that phonetic information from input audio has the potential ability to well represent content. Besides, the speaker-style modeling with pre-trained models making the process more complex. To tackle these issues, we introduce a new method named "CTVC" which utilizes disentangled speech representations with contrastive learning and time-invariant retrieval. Specifically, a similarity-based compression module is used to facilitate a more intimate connection between the frame-level hidden features and linguistic information at phoneme-level. Additionally, a time-invariant retrieval is proposed for timbre extraction based on multiple segmentations and mutual information. Experimental results demonstrate that "CTVC" outperforms previous studies and improves the sound quality and similarity of converted results.

Using unsupervised learning to disentangle speech into content, rhythm, pitch, and timbre for voice conversion has become a hot research topic. Existing works generally take into account disentangling speech components through human-crafted bottleneck features which can not achieve sufficient information disentangling, while pitch and rhythm may still be mixed together. There is a risk of information overlap in the disentangling process which results in less speech naturalness. To overcome such limits, we propose a two-stage model to disentangle speech representations in a self-supervised manner without a human-crafted bottleneck design, which uses the Mutual Information (MI) with the designed upper bound estimator (IFUB) to separate overlapping information between speech components. Moreover, we design a Joint Text-Guided Consistent (TGC) module to guide the extraction of speech content and eliminate timbre leakage issues. Experiments show that our model can achieve a better performance than the baseline, regarding disentanglement effectiveness, speech naturalness, and similarity. Audio samples can be found at https://largeaudiomodel.com/eadvc.

Non-parallel many-to-many voice conversion remains an interesting but challenging speech processing task. Recently, AutoVC, a conditional autoencoder based method, achieved excellent conversion results by disentangling the speaker identity and the speech content using information-constraining bottlenecks. However, due to the pure autoencoder training method, it is difficult to evaluate the separation effect of content and speaker identity. In this paper, a novel voice conversion framework, named boldsymbol Text boldsymbol Guided boldsymbol AutoVC(TGAVC), is proposed to more effectively separate content and timbre from speech, where an expected content embedding produced based on the text transcriptions is designed to guide the extraction of voice content. In addition, the adversarial training is applied to eliminate the speaker identity information in the estimated content embedding extracted from speech. Under the guidance of the expected content embedding and the adversarial training, the content encoder is trained to extract speaker-independent content embedding from speech. Experiments on AIShell-3 dataset show that the proposed model outperforms AutoVC in terms of naturalness and similarity of converted speech.

This paper presents a novel approach to neural instrument sound synthesis using a two-stage semi-supervised learning framework capable of generating pitch-accurate, high-quality music samples from an expressive timbre latent space. Existing approaches that achieve sufficient quality for music production often rely on high-dimensional latent representations that are difficult to navigate and provide unintuitive user experiences. We address this limitation through a two-stage training paradigm: first, we train a pitch-timbre disentangled 2D representation of audio samples using a Variational Autoencoder; second, we use this representation as conditioning input for a Transformer-based generative model. The learned 2D latent space serves as an intuitive interface for navigating and exploring the sound landscape. We demonstrate that the proposed method effectively learns a disentangled timbre space, enabling expressive and controllable audio generation with reliable pitch conditioning. Experimental results show the model's ability to capture subtle variations in timbre while maintaining a high degree of pitch accuracy. The usability of our method is demonstrated in an interactive web application, highlighting its potential as a step towards future music production environments that are both intuitive and creatively empowering: https://pgesam.faresschulz.com

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

Zero-shot voice conversion (VC) aims to transfer the timbre from the source speaker to an arbitrary unseen speaker while preserving the original linguistic content. Despite recent advancements in zero-shot VC using language model-based or diffusion-based approaches, several challenges remain: 1) current approaches primarily focus on adapting timbre from unseen speakers and are unable to transfer style and timbre to different unseen speakers independently; 2) these approaches often suffer from slower inference speeds due to the autoregressive modeling methods or the need for numerous sampling steps; 3) the quality and similarity of the converted samples are still not fully satisfactory. To address these challenges, we propose a style controllable zero-shot VC approach named StableVC, which aims to transfer timbre and style from source speech to different unseen target speakers. Specifically, we decompose speech into linguistic content, timbre, and style, and then employ a conditional flow matching module to reconstruct the high-quality mel-spectrogram based on these decomposed features. To effectively capture timbre and style in a zero-shot manner, we introduce a novel dual attention mechanism with an adaptive gate, rather than using conventional feature concatenation. With this non-autoregressive design, StableVC can efficiently capture the intricate timbre and style from different unseen speakers and generate high-quality speech significantly faster than real-time. Experiments demonstrate that our proposed StableVC outperforms state-of-the-art baseline systems in zero-shot VC and achieves flexible control over timbre and style from different unseen speakers. Moreover, StableVC offers approximately 25x and 1.65x faster sampling compared to autoregressive and diffusion-based baselines.

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

Scaling text-to-speech to a large and wild dataset has been proven to be highly effective in achieving timbre and speech style generalization, particularly in zero-shot TTS. However, previous works usually encode speech into latent using audio codec and use autoregressive language models or diffusion models to generate it, which ignores the intrinsic nature of speech and may lead to inferior or uncontrollable results. We argue that speech can be decomposed into several attributes (e.g., content, timbre, prosody, and phase) and each of them should be modeled using a module with appropriate inductive biases. From this perspective, we carefully design a novel and large zero-shot TTS system called Mega-TTS, which is trained with large-scale wild data and models different attributes in different ways: 1) Instead of using latent encoded by audio codec as the intermediate feature, we still choose spectrogram as it separates the phase and other attributes very well. Phase can be appropriately constructed by the GAN-based vocoder and does not need to be modeled by the language model. 2) We model the timbre using global vectors since timbre is a global attribute that changes slowly over time. 3) We further use a VQGAN-based acoustic model to generate the spectrogram and a latent code language model to fit the distribution of prosody, since prosody changes quickly over time in a sentence, and language models can capture both local and long-range dependencies. We scale Mega-TTS to multi-domain datasets with 20K hours of speech and evaluate its performance on unseen speakers. Experimental results demonstrate that Mega-TTS surpasses state-of-the-art TTS systems on zero-shot TTS, speech editing, and cross-lingual TTS tasks, with superior naturalness, robustness, and speaker similarity due to the proper inductive bias of each module. Audio samples are available at https://mega-tts.github.io/demo-page.

Any-to-any singing voice conversion is confronted with a significant challenge of ``timbre leakage'' issue caused by inadequate disentanglement between the content and the speaker timbre. To address this issue, this study introduces a novel neural concatenative singing voice conversion (NeuCoSVC) framework. The NeuCoSVC framework comprises a self-supervised learning (SSL) representation extractor, a neural harmonic signal generator, and a waveform synthesizer. Specifically, the SSL extractor condenses the audio into a sequence of fixed-dimensional SSL features. The harmonic signal generator produces both raw and filtered harmonic signals as the pitch information by leveraging a linear time-varying (LTV) filter. Finally, the audio generator reconstructs the audio waveform based on the SSL features, as well as the harmonic signals and the loudness information. During inference, the system performs voice conversion by substituting source SSL features with their nearest counterparts from a matching pool, which comprises SSL representations extracted from the target audio, while the raw harmonic signals and the loudness are extracted from the source audio and are kept unchanged. Since the utilized SSL features in the conversion stage are directly from the target audio, the proposed framework has great potential to address the ``timbre leakage'' issue caused by previous disentanglement-based approaches. Experimental results confirm that the proposed system delivers much better performance than the speaker embedding approach (disentanglement-based) in the context of one-shot SVC across intra-language, cross-language, and cross-domain evaluations.

Recent advancements in neural audio codecs have enabled the use of tokenized audio representations in various audio generation tasks, such as text-to-speech, text-to-audio, and text-to-music generation. Leveraging this approach, we propose TokenSynth, a novel neural synthesizer that utilizes a decoder-only transformer to generate desired audio tokens from MIDI tokens and CLAP (Contrastive Language-Audio Pretraining) embedding, which has timbre-related information. Our model is capable of performing instrument cloning, text-to-instrument synthesis, and text-guided timbre manipulation without any fine-tuning. This flexibility enables diverse sound design and intuitive timbre control. We evaluated the quality of the synthesized audio, the timbral similarity between synthesized and target audio/text, and synthesis accuracy (i.e., how accurately it follows the input MIDI) using objective measures. TokenSynth demonstrates the potential of leveraging advanced neural audio codecs and transformers to create powerful and versatile neural synthesizers. The source code, model weights, and audio demos are available at: https://github.com/KyungsuKim42/tokensynth

Voice conversion as the style transfer task applied to speech, refers to converting one person's speech into a new speech that sounds like another person's. Up to now, there has been a lot of research devoted to better implementation of VC tasks. However, a good voice conversion model should not only match the timbre information of the target speaker, but also expressive information such as prosody, pace, pause, etc. In this context, prosody modeling is crucial for achieving expressive voice conversion that sounds natural and convincing. Unfortunately, prosody modeling is important but challenging, especially without text transcriptions. In this paper, we firstly propose a novel voice conversion framework named 'PMVC', which effectively separates and models the content, timbre, and prosodic information from the speech without text transcriptions. Specially, we introduce a new speech augmentation algorithm for robust prosody extraction. And building upon this, mask and predict mechanism is applied in the disentanglement of prosody and content information. The experimental results on the AIShell-3 corpus supports our improvement of naturalness and similarity of converted speech.

Zero-shot text-to-speech aims at synthesizing voices with unseen speech prompts. Previous large-scale multispeaker TTS models have successfully achieved this goal with an enrolled recording within 10 seconds. However, most of them are designed to utilize only short speech prompts. The limited information in short speech prompts significantly hinders the performance of fine-grained identity imitation. In this paper, we introduce Mega-TTS 2, a generic zero-shot multispeaker TTS model that is capable of synthesizing speech for unseen speakers with arbitrary-length prompts. Specifically, we 1) design a multi-reference timbre encoder to extract timbre information from multiple reference speeches; 2) and train a prosody language model with arbitrary-length speech prompts; With these designs, our model is suitable for prompts of different lengths, which extends the upper bound of speech quality for zero-shot text-to-speech. Besides arbitrary-length prompts, we introduce arbitrary-source prompts, which leverages the probabilities derived from multiple P-LLM outputs to produce expressive and controlled prosody. Furthermore, we propose a phoneme-level auto-regressive duration model to introduce in-context learning capabilities to duration modeling. Experiments demonstrate that our method could not only synthesize identity-preserving speech with a short prompt of an unseen speaker but also achieve improved performance with longer speech prompts. Audio samples can be found in https://mega-tts.github.io/mega2_demo/.

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

The ability to automatically generate music that appropriately matches an arbitrary input track is a challenging task. We present a novel controllable system for generating single stems to accompany musical mixes of arbitrary length. At the core of our method are audio autoencoders that efficiently compress audio waveform samples into invertible latent representations, and a conditional latent diffusion model that takes as input the latent encoding of a mix and generates the latent encoding of a corresponding stem. To provide control over the timbre of generated samples, we introduce a technique to ground the latent space to a user-provided reference style during diffusion sampling. For further improving audio quality, we adapt classifier-free guidance to avoid distortions at high guidance strengths when generating an unbounded latent space. We train our model on a dataset of pairs of mixes and matching bass stems. Quantitative experiments demonstrate that, given an input mix, the proposed system can generate basslines with user-specified timbres. Our controllable conditional audio generation framework represents a significant step forward in creating generative AI tools to assist musicians in music production.

Recent advances in text-to-music generation models have opened new avenues in musical creativity. However, music generation usually involves iterative refinements, and how to edit the generated music remains a significant challenge. This paper introduces a novel approach to the editing of music generated by such models, enabling the modification of specific attributes, such as genre, mood and instrument, while maintaining other aspects unchanged. Our method transforms text editing to latent space manipulation while adding an extra constraint to enforce consistency. It seamlessly integrates with existing pretrained text-to-music diffusion models without requiring additional training. Experimental results demonstrate superior performance over both zero-shot and certain supervised baselines in style and timbre transfer evaluations. Additionally, we showcase the practical applicability of our approach in real-world music editing scenarios.

Recent research in zero-shot speech synthesis has made significant progress in speaker similarity. However, current efforts focus on timbre generalization rather than prosody modeling, which results in limited naturalness and expressiveness. To address this, we introduce a novel speech synthesis model trained on large-scale datasets, including both timbre and hierarchical prosody modeling. As timbre is a global attribute closely linked to expressiveness, we adopt a global vector to model speaker timbre while guiding prosody modeling. Besides, given that prosody contains both global consistency and local variations, we introduce a diffusion model as the pitch predictor and employ a prosody adaptor to model prosody hierarchically, further enhancing the prosody quality of the synthesized speech. Experimental results show that our model not only maintains comparable timbre quality to the baseline but also exhibits better naturalness and expressiveness.

Zero-shot voice conversion aims to transform a source speech utterance to match the timbre of a reference speech from an unseen speaker. Traditional approaches struggle with timbre leakage, insufficient timbre representation, and mismatches between training and inference tasks. We propose Seed-VC, a novel framework that addresses these issues by introducing an external timbre shifter during training to perturb the source speech timbre, mitigating leakage and aligning training with inference. Additionally, we employ a diffusion transformer that leverages the entire reference speech context, capturing fine-grained timbre features through in-context learning. Experiments demonstrate that Seed-VC outperforms strong baselines like OpenVoice and CosyVoice, achieving higher speaker similarity and lower word error rates in zero-shot voice conversion tasks. We further extend our approach to zero-shot singing voice conversion by incorporating fundamental frequency (F0) conditioning, resulting in comparative performance to current state-of-the-art methods. Our findings highlight the effectiveness of Seed-VC in overcoming core challenges, paving the way for more accurate and versatile voice conversion systems.

In this paper, we learn disentangled representations of timbre and pitch for musical instrument sounds. We adapt a framework based on variational autoencoders with Gaussian mixture latent distributions. Specifically, we use two separate encoders to learn distinct latent spaces for timbre and pitch, which form Gaussian mixture components representing instrument identity and pitch, respectively. For reconstruction, latent variables of timbre and pitch are sampled from corresponding mixture components, and are concatenated as the input to a decoder. We show the model efficacy by latent space visualization, and a quantitative analysis indicates the discriminability of these spaces, even with a limited number of instrument labels for training. The model allows for controllable synthesis of selected instrument sounds by sampling from the latent spaces. To evaluate this, we trained instrument and pitch classifiers using original labeled data. These classifiers achieve high accuracy when tested on our synthesized sounds, which verifies the model performance of controllable realistic timbre and pitch synthesis. Our model also enables timbre transfer between multiple instruments, with a single autoencoder architecture, which is evaluated by measuring the shift in posterior of instrument classification. Our in depth evaluation confirms the model ability to successfully disentangle timbre and pitch.

Deep generative models applied to audio have improved by a large margin the state-of-the-art in many speech and music related tasks. However, as raw waveform modelling remains an inherently difficult task, audio generative models are either computationally intensive, rely on low sampling rates, are complicated to control or restrict the nature of possible signals. Among those models, Variational AutoEncoders (VAE) give control over the generation by exposing latent variables, although they usually suffer from low synthesis quality. In this paper, we introduce a Realtime Audio Variational autoEncoder (RAVE) allowing both fast and high-quality audio waveform synthesis. We introduce a novel two-stage training procedure, namely representation learning and adversarial fine-tuning. We show that using a post-training analysis of the latent space allows a direct control between the reconstruction fidelity and the representation compactness. By leveraging a multi-band decomposition of the raw waveform, we show that our model is the first able to generate 48kHz audio signals, while simultaneously running 20 times faster than real-time on a standard laptop CPU. We evaluate synthesis quality using both quantitative and qualitative subjective experiments and show the superiority of our approach compared to existing models. Finally, we present applications of our model for timbre transfer and signal compression. All of our source code and audio examples are publicly available.

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

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

We introduce MiniMax-Speech, an autoregressive Transformer-based Text-to-Speech (TTS) model that generates high-quality speech. A key innovation is our learnable speaker encoder, which extracts timbre features from a reference audio without requiring its transcription. This enables MiniMax-Speech to produce highly expressive speech with timbre consistent with the reference in a zero-shot manner, while also supporting one-shot voice cloning with exceptionally high similarity to the reference voice. In addition, the overall quality of the synthesized audio is enhanced through the proposed Flow-VAE. Our model supports 32 languages and demonstrates excellent performance across multiple objective and subjective evaluations metrics. Notably, it achieves state-of-the-art (SOTA) results on objective voice cloning metrics (Word Error Rate and Speaker Similarity) and has secured the top position on the public TTS Arena leaderboard. Another key strength of MiniMax-Speech, granted by the robust and disentangled representations from the speaker encoder, is its extensibility without modifying the base model, enabling various applications such as: arbitrary voice emotion control via LoRA; text to voice (T2V) by synthesizing timbre features directly from text description; and professional voice cloning (PVC) by fine-tuning timbre features with additional data. We encourage readers to visit https://minimax-ai.github.io/tts_tech_report for more examples.

In this paper, we introduce SoloAudio, a novel diffusion-based generative model for target sound extraction (TSE). Our approach trains latent diffusion models on audio, replacing the previous U-Net backbone with a skip-connected Transformer that operates on latent features. SoloAudio supports both audio-oriented and language-oriented TSE by utilizing a CLAP model as the feature extractor for target sounds. Furthermore, SoloAudio leverages synthetic audio generated by state-of-the-art text-to-audio models for training, demonstrating strong generalization to out-of-domain data and unseen sound events. We evaluate this approach on the FSD Kaggle 2018 mixture dataset and real data from AudioSet, where SoloAudio achieves the state-of-the-art results on both in-domain and out-of-domain data, and exhibits impressive zero-shot and few-shot capabilities. Source code and demos are released.

Token-based text-to-speech (TTS) models have emerged as a promising avenue for generating natural and realistic speech, yet they grapple with low pronunciation accuracy, speaking style and timbre inconsistency, and a substantial need for diverse training data. In response, we introduce a novel hierarchical acoustic modeling approach complemented by a tailored data augmentation strategy and train it on the combination of real and synthetic data, scaling the data size up to 650k hours, leading to the zero-shot TTS model with 0.8B parameters. Specifically, our method incorporates a latent variable sequence containing supplementary acoustic information based on refined self-supervised learning (SSL) discrete units into the TTS model by a predictor. This significantly mitigates pronunciation errors and style mutations in synthesized speech. During training, we strategically replace and duplicate segments of the data to enhance timbre uniformity. Moreover, a pretrained few-shot voice conversion model is utilized to generate a plethora of voices with identical content yet varied timbres. This facilitates the explicit learning of utterance-level one-to-many mappings, enriching speech diversity and also ensuring consistency in timbre. Comparative experiments (Demo page: https://anonymous.4open.science/w/ham-tts/)demonstrate our model's superiority over VALL-E in pronunciation precision and maintaining speaking style, as well as timbre continuity.

Automatic lyrics transcription (ALT) remains a challenging task in the field of music information retrieval, despite great advances in automatic speech recognition (ASR) brought about by transformer-based architectures in recent years. One of the major challenges in ALT is the high amplitude of interfering audio signals relative to conventional ASR due to musical accompaniment. Recent advances in music source separation have enabled automatic extraction of high-quality separated vocals, which could potentially improve ALT performance. However, the effect of source separation has not been systematically investigated in order to establish best practices for its use. This work examines the impact of source separation on ALT using Whisper, a state-of-the-art open source ASR model. We evaluate Whisper's performance on original audio, separated vocals, and vocal stems across short-form and long-form transcription tasks. For short-form, we suggest a concatenation method that results in a consistent reduction in Word Error Rate (WER). For long-form, we propose an algorithm using source separation as a vocal activity detector to derive segment boundaries, which results in a consistent reduction in WER relative to Whisper's native long-form algorithm. Our approach achieves state-of-the-art results for an open source system on the Jam-ALT long-form ALT benchmark, without any training or fine-tuning. We also publish MUSDB-ALT, the first dataset of long-form lyric transcripts following the Jam-ALT guidelines for which vocal stems are publicly available.

We demonstrate the efficacy of using intermediate representations from a single foundation model to enhance various music downstream tasks. We introduce SoniDo , a music foundation model (MFM) designed to extract hierarchical features from target music samples. By leveraging hierarchical intermediate features, SoniDo constrains the information granularity, leading to improved performance across various downstream tasks including both understanding and generative tasks. We specifically evaluated this approach on representative tasks such as music tagging, music transcription, music source separation, and music mixing. Our results reveal that the features extracted from foundation models provide valuable enhancements in training downstream task models. This highlights the capability of using features extracted from music foundation models as a booster for downstream tasks. Our approach not only benefits existing task-specific models but also supports music downstream tasks constrained by data scarcity. This paves the way for more effective and accessible music processing solutions.

Text-to-music models allow users to generate nearly realistic musical audio with textual commands. However, editing music audios remains challenging due to the conflicting desiderata of performing fine-grained alterations on the audio while maintaining a simple user interface. To address this challenge, we propose Audio Prompt Adapter (or AP-Adapter), a lightweight addition to pretrained text-to-music models. We utilize AudioMAE to extract features from the input audio, and construct attention-based adapters to feedthese features into the internal layers of AudioLDM2, a diffusion-based text-to-music model. With 22M trainable parameters, AP-Adapter empowers users to harness both global (e.g., genre and timbre) and local (e.g., melody) aspects of music, using the original audio and a short text as inputs. Through objective and subjective studies, we evaluate AP-Adapter on three tasks: timbre transfer, genre transfer, and accompaniment generation. Additionally, we demonstrate its effectiveness on out-of-domain audios containing unseen instruments during training.

Generative voice technologies are rapidly evolving, offering opportunities for more personalized and inclusive experiences. Traditional one-shot voice conversion (VC) requires a target recording during inference, limiting ease of usage in generating desired voice timbres. Text-guided generation offers an intuitive solution to convert voices to desired "DreamVoices" according to the users' needs. Our paper presents two major contributions to VC technology: (1) DreamVoiceDB, a robust dataset of voice timbre annotations for 900 speakers from VCTK and LibriTTS. (2) Two text-guided VC methods: DreamVC, an end-to-end diffusion-based text-guided VC model; and DreamVG, a versatile text-to-voice generation plugin that can be combined with any one-shot VC models. The experimental results demonstrate that our proposed methods trained on the DreamVoiceDB dataset generate voice timbres accurately aligned with the text prompt and achieve high-quality VC.

Most generative models of audio directly generate samples in one of two domains: time or frequency. While sufficient to express any signal, these representations are inefficient, as they do not utilize existing knowledge of how sound is generated and perceived. A third approach (vocoders/synthesizers) successfully incorporates strong domain knowledge of signal processing and perception, but has been less actively researched due to limited expressivity and difficulty integrating with modern auto-differentiation-based machine learning methods. In this paper, we introduce the Differentiable Digital Signal Processing (DDSP) library, which enables direct integration of classic signal processing elements with deep learning methods. Focusing on audio synthesis, we achieve high-fidelity generation without the need for large autoregressive models or adversarial losses, demonstrating that DDSP enables utilizing strong inductive biases without losing the expressive power of neural networks. Further, we show that combining interpretable modules permits manipulation of each separate model component, with applications such as independent control of pitch and loudness, realistic extrapolation to pitches not seen during training, blind dereverberation of room acoustics, transfer of extracted room acoustics to new environments, and transformation of timbre between disparate sources. In short, DDSP enables an interpretable and modular approach to generative modeling, without sacrificing the benefits of deep learning. The library is publicly available at https://github.com/magenta/ddsp and we welcome further contributions from the community and domain experts.

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

We propose a unified framework for Singing Voice Synthesis (SVS) and Conversion (SVC), addressing the limitations of existing approaches in cross-domain SVS/SVC, poor output musicality, and scarcity of singing data. Our framework enables control over multiple aspects, including language content based on lyrics, performance attributes based on a musical score, singing style and vocal techniques based on a selector, and voice identity based on a speech sample. The proposed zero-shot learning paradigm consists of one SVS model and two SVC models, utilizing pre-trained content embeddings and a diffusion-based generator. The proposed framework is also trained on mixed datasets comprising both singing and speech audio, allowing singing voice cloning based on speech reference. Experiments show substantial improvements in timbre similarity and musicality over state-of-the-art baselines, providing insights into other low-data music tasks such as instrumental style transfer. Examples can be found at: everyone-can-sing.github.io.

Target Speech Extraction (TSE) aims to isolate a target speaker's voice from a mixture of multiple speakers by leveraging speaker-specific cues, typically provided as auxiliary audio (a.k.a. cue audio). Although recent advancements in TSE have primarily employed discriminative models that offer high perceptual quality, these models often introduce unwanted artifacts, reduce naturalness, and are sensitive to discrepancies between training and testing environments. On the other hand, generative models for TSE lag in perceptual quality and intelligibility. To address these challenges, we present SoloSpeech, a novel cascaded generative pipeline that integrates compression, extraction, reconstruction, and correction processes. SoloSpeech features a speaker-embedding-free target extractor that utilizes conditional information from the cue audio's latent space, aligning it with the mixture audio's latent space to prevent mismatches. Evaluated on the widely-used Libri2Mix dataset, SoloSpeech achieves the new state-of-the-art intelligibility and quality in target speech extraction and speech separation tasks while demonstrating exceptional generalization on out-of-domain data and real-world scenarios.

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

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

Multi-instrument music transcription aims to convert polyphonic music recordings into musical scores assigned to each instrument. This task is challenging for modeling as it requires simultaneously identifying multiple instruments and transcribing their pitch and precise timing, and the lack of fully annotated data adds to the training difficulties. This paper introduces YourMT3+, a suite of models for enhanced multi-instrument music transcription based on the recent language token decoding approach of MT3. We enhance its encoder by adopting a hierarchical attention transformer in the time-frequency domain and integrating a mixture of experts. To address data limitations, we introduce a new multi-channel decoding method for training with incomplete annotations and propose intra- and cross-stem augmentation for dataset mixing. Our experiments demonstrate direct vocal transcription capabilities, eliminating the need for voice separation pre-processors. Benchmarks across ten public datasets show our models' competitiveness with, or superiority to, existing transcription models. Further testing on pop music recordings highlights the limitations of current models. Fully reproducible code and datasets are available with demos at https://github.com/mimbres/YourMT3.

With the development of diffusion models, text-guided image style transfer has demonstrated high-quality controllable synthesis results. However, the utilization of text for diverse music style transfer poses significant challenges, primarily due to the limited availability of matched audio-text datasets. Music, being an abstract and complex art form, exhibits variations and intricacies even within the same genre, thereby making accurate textual descriptions challenging. This paper presents a music style transfer approach that effectively captures musical attributes using minimal data. We introduce a novel time-varying textual inversion module to precisely capture mel-spectrogram features at different levels. During inference, we propose a bias-reduced stylization technique to obtain stable results. Experimental results demonstrate that our method can transfer the style of specific instruments, as well as incorporate natural sounds to compose melodies. Samples and source code are available at https://lsfhuihuiff.github.io/MusicTI/.

Existing autoregressive large-scale text-to-speech (TTS) models have advantages in speech naturalness, but their token-by-token generation mechanism makes it difficult to precisely control the duration of synthesized speech. This becomes a significant limitation in applications requiring strict audio-visual synchronization, such as video dubbing. This paper introduces IndexTTS2, which proposes a novel, general, and autoregressive model-friendly method for speech duration control. The method supports two generation modes: one explicitly specifies the number of generated tokens to precisely control speech duration; the other freely generates speech in an autoregressive manner without specifying the number of tokens, while faithfully reproducing the prosodic features of the input prompt. Furthermore, IndexTTS2 achieves disentanglement between emotional expression and speaker identity, enabling independent control over timbre and emotion. In the zero-shot setting, the model can accurately reconstruct the target timbre (from the timbre prompt) while perfectly reproducing the specified emotional tone (from the style prompt). To enhance speech clarity in highly emotional expressions, we incorporate GPT latent representations and design a novel three-stage training paradigm to improve the stability of the generated speech. Additionally, to lower the barrier for emotional control, we designed a soft instruction mechanism based on text descriptions by fine-tuning Qwen3, effectively guiding the generation of speech with the desired emotional orientation. Finally, experimental results on multiple datasets show that IndexTTS2 outperforms state-of-the-art zero-shot TTS models in terms of word error rate, speaker similarity, and emotional fidelity. Audio samples are available at: https://index-tts.github.io/index-tts2.github.io/

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.

In the domain of music and sound processing, pitch extraction plays a pivotal role. Our research presents a specialized convolutional neural network designed for pitch extraction, particularly from the human singing voice in acapella performances. Notably, our approach combines synthetic data with auto-labeled acapella sung audio, creating a robust training environment. Evaluation across datasets comprising synthetic sounds, opera recordings, and time-stretched vowels demonstrates its efficacy. This work paves the way for enhanced pitch extraction in both music and voice settings.

Voice conversion is the task to transform voice characteristics of source speech while preserving content information. Nowadays, self-supervised representation learning models are increasingly utilized in content extraction. However, in these representations, a lot of hidden speaker information leads to timbre leakage while the prosodic information of hidden units lacks use. To address these issues, we propose a novel framework for expressive voice conversion called "SAVC" based on soft speech units from HuBert-soft. Taking soft speech units as input, we design an attribute encoder to extract content and prosody features respectively. Specifically, we first introduce statistic perturbation imposed by adversarial style augmentation to eliminate speaker information. Then the prosody is implicitly modeled on soft speech units with knowledge distillation. Experiment results show that the intelligibility and naturalness of converted speech outperform previous work.

We introduce DISSC, a novel, lightweight method that converts the rhythm, pitch contour and timbre of a recording to a target speaker in a textless manner. Unlike DISSC, most voice conversion (VC) methods focus primarily on timbre, and ignore people's unique speaking style (prosody). The proposed approach uses a pretrained, self-supervised model for encoding speech to discrete units, which makes it simple, effective, and fast to train. All conversion modules are only trained on reconstruction like tasks, thus suitable for any-to-many VC with no paired data. We introduce a suite of quantitative and qualitative evaluation metrics for this setup, and empirically demonstrate that DISSC significantly outperforms the evaluated baselines. Code and samples are available at https://pages.cs.huji.ac.il/adiyoss-lab/dissc/.

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

In this work, we define a diffusion-based generative model capable of both music synthesis and source separation by learning the score of the joint probability density of sources sharing a context. Alongside the classic total inference tasks (i.e., generating a mixture, separating the sources), we also introduce and experiment on the partial generation task of source imputation, where we generate a subset of the sources given the others (e.g., play a piano track that goes well with the drums). Additionally, we introduce a novel inference method for the separation task based on Dirac likelihood functions. We train our model on Slakh2100, a standard dataset for musical source separation, provide qualitative results in the generation settings, and showcase competitive quantitative results in the source separation setting. Our method is the first example of a single model that can handle both generation and separation tasks, thus representing a step toward general audio models.

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

We introduce AnyEnhance, a unified generative model for voice enhancement that processes both speech and singing voices. Based on a masked generative model, AnyEnhance is capable of handling both speech and singing voices, supporting a wide range of enhancement tasks including denoising, dereverberation, declipping, super-resolution, and target speaker extraction, all simultaneously and without fine-tuning. AnyEnhance introduces a prompt-guidance mechanism for in-context learning, which allows the model to natively accept a reference speaker's timbre. In this way, it could boost enhancement performance when a reference audio is available and enable the target speaker extraction task without altering the underlying architecture. Moreover, we also introduce a self-critic mechanism into the generative process for masked generative models, yielding higher-quality outputs through iterative self-assessment and refinement. Extensive experiments on various enhancement tasks demonstrate AnyEnhance outperforms existing methods in terms of both objective metrics and subjective listening tests. Demo audios are publicly available at https://amphionspace.github.io/anyenhance/.

This paper proposes RefXVC, a method for cross-lingual voice conversion (XVC) that leverages reference information to improve conversion performance. Previous XVC works generally take an average speaker embedding to condition the speaker identity, which does not account for the changing timbre of speech that occurs with different pronunciations. To address this, our method uses both global and local speaker embeddings to capture the timbre changes during speech conversion. Additionally, we observed a connection between timbre and pronunciation in different languages and utilized this by incorporating a timbre encoder and a pronunciation matching network into our model. Furthermore, we found that the variation in tones is not adequately reflected in a sentence, and therefore, we used multiple references to better capture the range of a speaker's voice. The proposed method outperformed existing systems in terms of both speech quality and speaker similarity, highlighting the effectiveness of leveraging reference information in cross-lingual voice conversion. The converted speech samples can be found on the website: http://refxvc.dn3point.com

Voice Conversion(VC) refers to changing the timbre of a speech while retaining the discourse content. Recently, many works have focused on disentangle-based learning techniques to separate the timbre and the linguistic content information from a speech signal. Once successful, voice conversion will be feasible and straightforward. This paper proposed a novel one-shot voice conversion framework based on vector quantization voice conversion (VQVC) and AutoVC, called AVQVC. A new training method is applied to VQVC to separate content and timbre information from speech more effectively. The result shows that this approach has better performance than VQVC in separating content and timbre to improve the sound quality of generated speech.

The imitation of voice, targeted on specific speech attributes such as timbre and speaking style, is crucial in speech generation. However, existing methods rely heavily on annotated data, and struggle with effectively disentangling timbre and style, leading to challenges in achieving controllable generation, especially in zero-shot scenarios. To address these issues, we propose Vevo, a versatile zero-shot voice imitation framework with controllable timbre and style. Vevo operates in two core stages: (1) Content-Style Modeling: Given either text or speech's content tokens as input, we utilize an autoregressive transformer to generate the content-style tokens, which is prompted by a style reference; (2) Acoustic Modeling: Given the content-style tokens as input, we employ a flow-matching transformer to produce acoustic representations, which is prompted by a timbre reference. To obtain the content and content-style tokens of speech, we design a fully self-supervised approach that progressively decouples the timbre, style, and linguistic content of speech. Specifically, we adopt VQ-VAE as the tokenizer for the continuous hidden features of HuBERT. We treat the vocabulary size of the VQ-VAE codebook as the information bottleneck, and adjust it carefully to obtain the disentangled speech representations. Solely self-supervised trained on 60K hours of audiobook speech data, without any fine-tuning on style-specific corpora, Vevo matches or surpasses existing methods in accent and emotion conversion tasks. Additionally, Vevo's effectiveness in zero-shot voice conversion and text-to-speech tasks further demonstrates its strong generalization and versatility. Audio samples are available at https://versavoice.github.io.

Metaverse is an interactive world that combines reality and virtuality, where participants can be virtual avatars. Anyone can hold a concert in a virtual concert hall, and users can quickly identify the real singer behind the virtual idol through the singer identification. Most singer identification methods are processed using the frame-level features. However, expect the singer's timbre, the music frame includes music information, such as melodiousness, rhythm, and tonal. It means the music information is noise for using frame-level features to identify the singers. In this paper, instead of only the frame-level features, we propose to use another two features that address this problem. Middle-level feature, which represents the music's melodiousness, rhythmic stability, and tonal stability, and is able to capture the perceptual features of music. The timbre feature, which is used in speaker identification, represents the singers' voice features. Furthermore, we propose a convolutional recurrent neural network (CRNN) to combine three features for singer identification. The model firstly fuses the frame-level feature and timbre feature and then combines middle-level features to the mix features. In experiments, the proposed method achieves comparable performance on an average F1 score of 0.81 on the benchmark dataset of Artist20, which significantly improves related works.

We present the Neural Waveshaping Unit (NEWT): a novel, lightweight, fully causal approach to neural audio synthesis which operates directly in the waveform domain, with an accompanying optimisation (FastNEWT) for efficient CPU inference. The NEWT uses time-distributed multilayer perceptrons with periodic activations to implicitly learn nonlinear transfer functions that encode the characteristics of a target timbre. Once trained, a NEWT can produce complex timbral evolutions by simple affine transformations of its input and output signals. We paired the NEWT with a differentiable noise synthesiser and reverb and found it capable of generating realistic musical instrument performances with only 260k total model parameters, conditioned on F0 and loudness features. We compared our method to state-of-the-art benchmarks with a multi-stimulus listening test and the Fr\'echet Audio Distance and found it performed competitively across the tested timbral domains. Our method significantly outperformed the benchmarks in terms of generation speed, and achieved real-time performance on a consumer CPU, both with and without FastNEWT, suggesting it is a viable basis for future creative sound design tools.

This paper makes several contributions to automatic lyrics transcription (ALT) research. Our main contribution is a novel variant of the Multistreaming Time-Delay Neural Network (MTDNN) architecture, called MSTRE-Net, which processes the temporal information using multiple streams in parallel with varying resolutions keeping the network more compact, and thus with a faster inference and an improved recognition rate than having identical TDNN streams. In addition, two novel preprocessing steps prior to training the acoustic model are proposed. First, we suggest using recordings from both monophonic and polyphonic domains during training the acoustic model. Second, we tag monophonic and polyphonic recordings with distinct labels for discriminating non-vocal silence and music instances during alignment. Moreover, we present a new test set with a considerably larger size and a higher musical variability compared to the existing datasets used in ALT literature, while maintaining the gender balance of the singers. Our best performing model sets the state-of-the-art in lyrics transcription by a large margin. For reproducibility, we publicly share the identifiers to retrieve the data used in this paper.

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.

Voice conversion aims to modify the source speaker's voice to resemble the target speaker while preserving the original speech content. Despite notable advancements in voice conversion these days, multi-lingual voice conversion (including both monolingual and cross-lingual scenarios) has yet to be extensively studied. It faces two main challenges: 1) the considerable variability in prosody and articulation habits across languages; and 2) the rarity of paired multi-lingual datasets from the same speaker. In this paper, we propose MulliVC, a novel voice conversion system that only converts timbre and keeps original content and source language prosody without multi-lingual paired data. Specifically, each training step of MulliVC contains three substeps: In step one the model is trained with monolingual speech data; then, steps two and three take inspiration from back translation, construct a cyclical process to disentangle the timbre and other information (content, prosody, and other language-related information) in the absence of multi-lingual data from the same speaker. Both objective and subjective results indicate that MulliVC significantly surpasses other methods in both monolingual and cross-lingual contexts, demonstrating the system's efficacy and the viability of the three-step approach with cycle consistency. Audio samples can be found on our demo page (mullivc.github.io).

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

Singing voice beautifying is a novel task that has application value in people's daily life, aiming to correct the pitch of the singing voice and improve the expressiveness without changing the original timbre and content. Existing methods rely on paired data or only concentrate on the correction of pitch. However, professional songs and amateur songs from the same person are hard to obtain, and singing voice beautifying doesn't only contain pitch correction but other aspects like emotion and rhythm. Since we propose a fast and high-fidelity singing voice beautifying system called ConTuner, a diffusion model combined with the modified condition to generate the beautified Mel-spectrogram, where the modified condition is composed of optimized pitch and expressiveness. For pitch correction, we establish a mapping relationship from MIDI, spectrum envelope to pitch. To make amateur singing more expressive, we propose the expressiveness enhancer in the latent space to convert amateur vocal tone to professional. ConTuner achieves a satisfactory beautification effect on both Mandarin and English songs. Ablation study demonstrates that the expressiveness enhancer and generator-based accelerate method in ConTuner are effective.

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

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

Synthesizing performing guitar sound is a highly challenging task due to the polyphony and high variability in expression. Recently, deep generative models have shown promising results in synthesizing expressive polyphonic instrument sounds from music scores, often using a generic MIDI input. In this work, we propose an expressive acoustic guitar sound synthesis model with a customized input representation to the instrument, which we call guitarroll. We implement the proposed approach using diffusion-based outpainting which can generate audio with long-term consistency. To overcome the lack of MIDI/audio-paired datasets, we used not only an existing guitar dataset but also collected data from a high quality sample-based guitar synthesizer. Through quantitative and qualitative evaluations, we show that our proposed model has higher audio quality than the baseline model and generates more realistic timbre sounds than the previous leading work.

The scaling up has brought tremendous success in the fields of vision and language in recent years. When it comes to audio, however, researchers encounter a major challenge in scaling up the training data, as most natural audio contains diverse interfering signals. To address this limitation, we introduce Omni-modal Sound Separation (OmniSep), a novel framework capable of isolating clean soundtracks based on omni-modal queries, encompassing both single-modal and multi-modal composed queries. Specifically, we introduce the Query-Mixup strategy, which blends query features from different modalities during training. This enables OmniSep to optimize multiple modalities concurrently, effectively bringing all modalities under a unified framework for sound separation. We further enhance this flexibility by allowing queries to influence sound separation positively or negatively, facilitating the retention or removal of specific sounds as desired. Finally, OmniSep employs a retrieval-augmented approach known as Query-Aug, which enables open-vocabulary sound separation. Experimental evaluations on MUSIC, VGGSOUND-CLEAN+, and MUSIC-CLEAN+ datasets demonstrate effectiveness of OmniSep, achieving state-of-the-art performance in text-, image-, and audio-queried sound separation tasks. For samples and further information, please visit the demo page at https://omnisep.github.io/.

The Charlie Parker Omnibook is a cornerstone of jazz music education, described by pianist Ethan Iverson as "the most important jazz education text ever published". In this work we propose a new transcription pipeline and explore the extent to which state of the art music technology is able to reconstruct these scores directly from the audio without human intervention. Our pipeline includes: a newly trained source separation model for saxophone, a new MIDI transcription model for solo saxophone and an adaptation of an existing MIDI-to-score method for monophonic instruments. To assess this pipeline we also provide an enhanced dataset of Charlie Parker transcriptions as score-audio pairs with accurate MIDI alignments and downbeat annotations. This represents a challenging new benchmark for automatic audio-to-score transcription that we hope will advance research into areas beyond transcribing audio-to-MIDI alone. Together, these form another step towards producing scores that musicians can use directly, without the need for onerous corrections or revisions. To facilitate future research, all model checkpoints and data are made available to download along with code for the transcription pipeline. Improvements in our modular pipeline could one day make the automatic transcription of complex jazz solos a routine possibility, thereby enriching the resources available for music education and preservation.

With the advent of the big data and large language model era, zero-shot personalized rapid customization has emerged as a significant trend. In this report, we introduce Takin AudioLLM, a series of techniques and models, mainly including Takin TTS, Takin VC, and Takin Morphing, specifically designed for audiobook production. These models are capable of zero-shot speech production, generating high-quality speech that is nearly indistinguishable from real human speech and facilitating individuals to customize the speech content according to their own needs. Specifically, we first introduce Takin TTS, a neural codec language model that builds upon an enhanced neural speech codec and a multi-task training framework, capable of generating high-fidelity natural speech in a zero-shot way. For Takin VC, we advocate an effective content and timbre joint modeling approach to improve the speaker similarity, while advocating for a conditional flow matching based decoder to further enhance its naturalness and expressiveness. Last, we propose the Takin Morphing system with highly decoupled and advanced timbre and prosody modeling approaches, which enables individuals to customize speech production with their preferred timbre and prosody in a precise and controllable manner. Extensive experiments validate the effectiveness and robustness of our Takin AudioLLM series models. For detailed demos, please refer to https://takinaudiollm.github.io.

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

Recent years have seen progress beyond domain-specific sound separation for speech or music towards universal sound separation for arbitrary sounds. Prior work on universal sound separation has investigated separating a target sound out of an audio mixture given a text query. Such text-queried sound separation systems provide a natural and scalable interface for specifying arbitrary target sounds. However, supervised text-queried sound separation systems require costly labeled audio-text pairs for training. Moreover, the audio provided in existing datasets is often recorded in a controlled environment, causing a considerable generalization gap to noisy audio in the wild. In this work, we aim to approach text-queried universal sound separation by using only unlabeled data. We propose to leverage the visual modality as a bridge to learn the desired audio-textual correspondence. The proposed CLIPSep model first encodes the input query into a query vector using the contrastive language-image pretraining (CLIP) model, and the query vector is then used to condition an audio separation model to separate out the target sound. While the model is trained on image-audio pairs extracted from unlabeled videos, at test time we can instead query the model with text inputs in a zero-shot setting, thanks to the joint language-image embedding learned by the CLIP model. Further, videos in the wild often contain off-screen sounds and background noise that may hinder the model from learning the desired audio-textual correspondence. To address this problem, we further propose an approach called noise invariant training for training a query-based sound separation model on noisy data. Experimental results show that the proposed models successfully learn text-queried universal sound separation using only noisy unlabeled videos, even achieving competitive performance against a supervised model in some settings.

We tackle the task of conditional music generation. We introduce MusicGen, a single Language Model (LM) that operates over several streams of compressed discrete music representation, i.e., tokens. Unlike prior work, MusicGen is comprised of a single-stage transformer LM together with efficient token interleaving patterns, which eliminates the need for cascading several models, e.g., hierarchically or upsampling. Following this approach, we demonstrate how MusicGen can generate high-quality samples, while being conditioned on textual description or melodic features, allowing better controls over the generated output. We conduct extensive empirical evaluation, considering both automatic and human studies, showing the proposed approach is superior to the evaluated baselines on a standard text-to-music benchmark. Through ablation studies, we shed light over the importance of each of the components comprising MusicGen. Music samples, code, and models are available at https://github.com/facebookresearch/audiocraft.

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

Expressive voice conversion aims to transfer both speaker identity and expressive attributes from a target speech to a given source speech. In this work, we improve over a self-supervised, non-autoregressive framework with a conditional variational autoencoder, focusing on reducing source timbre leakage and improving linguistic-acoustic disentanglement for better style transfer. To minimize style leakage, we use multilingual discrete speech units for content representation and reinforce embeddings with augmentation-based similarity loss and mix-style layer normalization. To enhance expressivity transfer, we incorporate local F0 information via cross-attention and extract style embeddings enriched with global pitch and energy features. Experiments show our model outperforms baselines in emotion and speaker similarity, demonstrating superior style adaptation and reduced source style leakage.

The aim of this work is to define a model based on deep learning that is able to identify different instrument timbres with as few parameters as possible. For this purpose, we have worked with classical orchestral instruments played with different dynamics, which are part of a few instrument families and which play notes in the same pitch range. It has been possible to assess the ability to classify instruments by timbre even if the instruments are playing the same note with the same intensity. The network employed uses a multi-head attention mechanism, with 8 heads and a dense network at the output taking as input the log-mel magnitude spectrograms of the sound samples. This network allows the identification of 20 instrument classes of the classical orchestra, achieving an overall F_1 value of 0.62. An analysis of the weights of the attention layer has been performed and the confusion matrix of the model is presented, allowing us to assess the ability of the proposed architecture to distinguish timbre and to establish the aspects on which future work should focus.

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.

Recent progress in music generation has been remarkably advanced by the state-of-the-art MusicLM, which comprises a hierarchy of three LMs, respectively, for semantic, coarse acoustic, and fine acoustic modelings. Yet, sampling with the MusicLM requires processing through these LMs one by one to obtain the fine-grained acoustic tokens, making it computationally expensive and prohibitive for a real-time generation. Efficient music generation with a quality on par with MusicLM remains a significant challenge. In this paper, we present MeLoDy (M for music; L for LM; D for diffusion), an LM-guided diffusion model that generates music audios of state-of-the-art quality meanwhile reducing 95.7% or 99.6% forward passes in MusicLM, respectively, for sampling 10s or 30s music. MeLoDy inherits the highest-level LM from MusicLM for semantic modeling, and applies a novel dual-path diffusion (DPD) model and an audio VAE-GAN to efficiently decode the conditioning semantic tokens into waveform. DPD is proposed to simultaneously model the coarse and fine acoustics by incorporating the semantic information into segments of latents effectively via cross-attention at each denoising step. Our experimental results suggest the superiority of MeLoDy, not only in its practical advantages on sampling speed and infinitely continuable generation, but also in its state-of-the-art musicality, audio quality, and text correlation. Our samples are available at https://Efficient-MeLoDy.github.io/.

In this report, we present our award-winning solutions for the Music Demixing Track of Sound Demixing Challenge 2023. First, we propose TFC-TDF-UNet v3, a time-efficient music source separation model that achieves state-of-the-art results on the MUSDB benchmark. We then give full details regarding our solutions for each Leaderboard, including a loss masking approach for noise-robust training. Code for reproducing model training and final submissions is available at github.com/kuielab/sdx23.

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

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

This paper explores the automated process of determining stem compatibility by identifying audio recordings of single instruments that blend well with a given musical context. To tackle this challenge, we present Stem-JEPA, a novel Joint-Embedding Predictive Architecture (JEPA) trained on a multi-track dataset using a self-supervised learning approach. Our model comprises two networks: an encoder and a predictor, which are jointly trained to predict the embeddings of compatible stems from the embeddings of a given context, typically a mix of several instruments. Training a model in this manner allows its use in estimating stem compatibility - retrieving, aligning, or generating a stem to match a given mix - or for downstream tasks such as genre or key estimation, as the training paradigm requires the model to learn information related to timbre, harmony, and rhythm. We evaluate our model's performance on a retrieval task on the MUSDB18 dataset, testing its ability to find the missing stem from a mix and through a subjective user study. We also show that the learned embeddings capture temporal alignment information and, finally, evaluate the representations learned by our model on several downstream tasks, highlighting that they effectively capture meaningful musical features.

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

Rap, a prominent genre of vocal performance, remains underexplored in vocal generation. General vocal synthesis depends on precise note and duration inputs, requiring users to have related musical knowledge, which limits flexibility. In contrast, rap typically features simpler melodies, with a core focus on a strong rhythmic sense that harmonizes with accompanying beats. In this paper, we propose Freestyler, the first system that generates rapping vocals directly from lyrics and accompaniment inputs. Freestyler utilizes language model-based token generation, followed by a conditional flow matching model to produce spectrograms and a neural vocoder to restore audio. It allows a 3-second prompt to enable zero-shot timbre control. Due to the scarcity of publicly available rap datasets, we also present RapBank, a rap song dataset collected from the internet, alongside a meticulously designed processing pipeline. Experimental results show that Freestyler produces high-quality rapping voice generation with enhanced naturalness and strong alignment with accompanying beats, both stylistically and rhythmically.

Recent advances in audio-text large language models (LLMs) have opened new possibilities for music understanding and generation. However, existing benchmarks are limited in scope, often relying on simplified tasks or multi-choice evaluations that fail to reflect the complexity of real-world music analysis. We reinterpret a broad range of traditional MIR annotations as instruction-following formats and introduce CMI-Bench, a comprehensive music instruction following benchmark designed to evaluate audio-text LLMs on a diverse set of music information retrieval (MIR) tasks. These include genre classification, emotion regression, emotion tagging, instrument classification, pitch estimation, key detection, lyrics transcription, melody extraction, vocal technique recognition, instrument performance technique detection, music tagging, music captioning, and (down)beat tracking: reflecting core challenges in MIR research. Unlike previous benchmarks, CMI-Bench adopts standardized evaluation metrics consistent with previous state-of-the-art MIR models, ensuring direct comparability with supervised approaches. We provide an evaluation toolkit supporting all open-source audio-textual LLMs, including LTU, Qwen-audio, SALMONN, MusiLingo, etc. Experiment results reveal significant performance gaps between LLMs and supervised models, along with their culture, chronological and gender bias, highlighting the potential and limitations of current models in addressing MIR tasks. CMI-Bench establishes a unified foundation for evaluating music instruction following, driving progress in music-aware LLMs.

Semantic information refers to the meaning conveyed through words, phrases, and contextual relationships within a given linguistic structure. Humans can leverage semantic information, such as familiar linguistic patterns and contextual cues, to reconstruct incomplete or masked speech signals in noisy environments. However, existing speech enhancement (SE) approaches often overlook the rich semantic information embedded in speech, which is crucial for improving intelligibility, speaker consistency, and overall quality of enhanced speech signals. To enrich the SE model with semantic information, we employ language models as an efficient semantic learner and propose a comprehensive framework tailored for language model-based speech enhancement, called GenSE. Specifically, we approach SE as a conditional language modeling task rather than a continuous signal regression problem defined in existing works. This is achieved by tokenizing speech signals into semantic tokens using a pre-trained self-supervised model and into acoustic tokens using a custom-designed single-quantizer neural codec model. To improve the stability of language model predictions, we propose a hierarchical modeling method that decouples the generation of clean semantic tokens and clean acoustic tokens into two distinct stages. Moreover, we introduce a token chain prompting mechanism during the acoustic token generation stage to ensure timbre consistency throughout the speech enhancement process. Experimental results on benchmark datasets demonstrate that our proposed approach outperforms state-of-the-art SE systems in terms of speech quality and generalization capability.

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

Recent directions in automatic speech recognition (ASR) research have shown that applying deep learning models from image recognition challenges in computer vision is beneficial. As automatic music transcription (AMT) is superficially similar to ASR, in the sense that methods often rely on transforming spectrograms to symbolic sequences of events (e.g. words or notes), deep learning should benefit AMT as well. In this work, we outline an online polyphonic pitch detection system that streams audio to MIDI by ConvLSTMs. Our system achieves state-of-the-art results on the 2007 MIREX multi-F0 development set, with an F-measure of 83\% on the bassoon, clarinet, flute, horn and oboe ensemble recording without requiring any musical language modelling or assumptions of instrument timbre.

Nowadays, recognition-synthesis-based methods have been quite popular with voice conversion (VC). By introducing linguistics features with good disentangling characters extracted from an automatic speech recognition (ASR) model, the VC performance achieved considerable breakthroughs. Recently, self-supervised learning (SSL) methods trained with a large-scale unannotated speech corpus have been applied to downstream tasks focusing on the content information, which is suitable for VC tasks. However, a huge amount of speaker information in SSL representations degrades timbre similarity and the quality of converted speech significantly. To address this problem, we proposed a high-similarity any-to-one voice conversion method with the input of SSL representations. We incorporated adversarial training mechanisms in the synthesis module using external unannotated corpora. Two auxiliary discriminators were trained to distinguish whether a sequence of mel-spectrograms has been converted by the acoustic model and whether a sequence of content embeddings contains speaker information from external corpora. Experimental results show that our proposed method achieves comparable similarity and higher naturalness than the supervised method, which needs a huge amount of annotated corpora for training and is applicable to improve similarity for VC methods with other SSL representations as input.

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

Vocal pitch is an important high-level feature in music audio processing. However, extracting vocal pitch in polyphonic music is more challenging due to the presence of accompaniment. To eliminate the influence of the accompaniment, most previous methods adopt music source separation models to obtain clean vocals from polyphonic music before predicting vocal pitches. As a result, the performance of vocal pitch estimation is affected by the music source separation models. To address this issue and directly extract vocal pitches from polyphonic music, we propose a robust model named RMVPE. This model can extract effective hidden features and accurately predict vocal pitches from polyphonic music. The experimental results demonstrate the superiority of RMVPE in terms of raw pitch accuracy (RPA) and raw chroma accuracy (RCA). Additionally, experiments conducted with different types of noise show that RMVPE is robust across all signal-to-noise ratio (SNR) levels. The code of RMVPE is available at https://github.com/Dream-High/RMVPE.

This paper introduces an extendable modular system that compiles a range of music feature extraction models to aid music information retrieval research. The features include musical elements like key, downbeats, and genre, as well as audio characteristics like instrument recognition, vocals/instrumental classification, and vocals gender detection. The integrated models are state-of-the-art or latest open-source. The features can be extracted as latent or post-processed labels, enabling integration into music applications such as generative music, recommendation, and playlist generation. The modular design allows easy integration of newly developed systems, making it a good benchmarking and comparison tool. This versatile toolkit supports the research community in developing innovative solutions by providing concrete musical features.

Text-to-song (TTSong) is a music generation task that synthesizes accompanied singing voices. Current TTSong methods, inherited from singing voice synthesis (SVS), require melody-related information that can sometimes be impractical, such as music scores or MIDI sequences. We present MelodyLM, the first TTSong model that generates high-quality song pieces with fully text-controlled melodies, achieving minimal user requirements and maximum control flexibility. MelodyLM explicitly models MIDI as the intermediate melody-related feature and sequentially generates vocal tracks in a language model manner, conditioned on textual and vocal prompts. The accompaniment music is subsequently synthesized by a latent diffusion model with hybrid conditioning for temporal alignment. With minimal requirements, users only need to input lyrics and a reference voice to synthesize a song sample. For full control, just input textual prompts or even directly input MIDI. Experimental results indicate that MelodyLM achieves superior performance in terms of both objective and subjective metrics. Audio samples are available at https://melodylm666.github.io.

Voice conversion (VC) can be achieved by first extracting source content information and target speaker information, and then reconstructing waveform with these information. However, current approaches normally either extract dirty content information with speaker information leaked in, or demand a large amount of annotated data for training. Besides, the quality of reconstructed waveform can be degraded by the mismatch between conversion model and vocoder. In this paper, we adopt the end-to-end framework of VITS for high-quality waveform reconstruction, and propose strategies for clean content information extraction without text annotation. We disentangle content information by imposing an information bottleneck to WavLM features, and propose the spectrogram-resize based data augmentation to improve the purity of extracted content information. Experimental results show that the proposed method outperforms the latest VC models trained with annotated data and has greater robustness.

As digital music production has become mainstream, the selection of appropriate virtual instruments plays a crucial role in determining the quality of music. To search the musical instrument samples or virtual instruments that make one's desired sound, music producers use their ears to listen and compare each instrument sample in their collection, which is time-consuming and inefficient. In this paper, we call this task as Musical Instrument Retrieval and propose a method for retrieving desired musical instruments using reference music mixture as a query. The proposed model consists of the Single-Instrument Encoder and the Multi-Instrument Encoder, both based on convolutional neural networks. The Single-Instrument Encoder is trained to classify the instruments used in single-track audio, and we take its penultimate layer's activation as the instrument embedding. The Multi-Instrument Encoder is trained to estimate multiple instrument embeddings using the instrument embeddings computed by the Single-Instrument Encoder as a set of target embeddings. For more generalized training and realistic evaluation, we also propose a new dataset called Nlakh. Experimental results showed that the Single-Instrument Encoder was able to learn the mapping from the audio signal of unseen instruments to the instrument embedding space and the Multi-Instrument Encoder was able to extract multiple embeddings from the mixture of music and retrieve the desired instruments successfully. The code used for the experiment and audio samples are available at: https://github.com/minju0821/musical_instrument_retrieval

In this article, we explore the potential of using latent diffusion models, a family of powerful generative models, for the task of reconstructing naturalistic music from electroencephalogram (EEG) recordings. Unlike simpler music with limited timbres, such as MIDI-generated tunes or monophonic pieces, the focus here is on intricate music featuring a diverse array of instruments, voices, and effects, rich in harmonics and timbre. This study represents an initial foray into achieving general music reconstruction of high-quality using non-invasive EEG data, employing an end-to-end training approach directly on raw data without the need for manual pre-processing and channel selection. We train our models on the public NMED-T dataset and perform quantitative evaluation proposing neural embedding-based metrics. We additionally perform song classification based on the generated tracks. Our work contributes to the ongoing research in neural decoding and brain-computer interfaces, offering insights into the feasibility of using EEG data for complex auditory information reconstruction.

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

In recent years, much speech separation research has focused primarily on improving model performance. However, for low-latency speech processing systems, high efficiency is equally important. Therefore, we propose a speech separation model with significantly reduced parameters and computational costs: Time-frequency Interleaved Gain Extraction and Reconstruction network (TIGER). TIGER leverages prior knowledge to divide frequency bands and compresses frequency information. We employ a multi-scale selective attention module to extract contextual features, while introducing a full-frequency-frame attention module to capture both temporal and frequency contextual information. Additionally, to more realistically evaluate the performance of speech separation models in complex acoustic environments, we introduce a dataset called EchoSet. This dataset includes noise and more realistic reverberation (e.g., considering object occlusions and material properties), with speech from two speakers overlapping at random proportions. Experimental results showed that models trained on EchoSet had better generalization ability than those trained on other datasets to the data collected in the physical world, which validated the practical value of the EchoSet. On EchoSet and real-world data, TIGER significantly reduces the number of parameters by 94.3% and the MACs by 95.3% while achieving performance surpassing state-of-the-art (SOTA) model TF-GridNet. This is the first speech separation model with fewer than 1 million parameters that achieves performance comparable to the SOTA model.

Recent advances in generative models that iteratively synthesize audio clips sparked great success to text-to-audio synthesis (TTA), but with the cost of slow synthesis speed and heavy computation. Although there have been attempts to accelerate the iterative procedure, high-quality TTA systems remain inefficient due to hundreds of iterations required in the inference phase and large amount of model parameters. To address the challenges, we propose SpecMaskGIT, a light-weighted, efficient yet effective TTA model based on the masked generative modeling of spectrograms. First, SpecMaskGIT synthesizes a realistic 10s audio clip by less than 16 iterations, an order-of-magnitude less than previous iterative TTA methods.As a discrete model, SpecMaskGIT outperforms larger VQ-Diffusion and auto-regressive models in the TTA benchmark, while being real-time with only 4 CPU cores or even 30x faster with a GPU. Next, built upon a latent space of Mel-spectrogram, SpecMaskGIT has a wider range of applications (e.g., the zero-shot bandwidth extension) than similar methods built on the latent wave domain. Moreover, we interpret SpecMaskGIT as a generative extension to previous discriminative audio masked Transformers, and shed light on its audio representation learning potential. We hope our work inspires the exploration of masked audio modeling toward further diverse scenarios.

Text-to-song generation, the task of creating vocals and accompaniment from textual inputs, poses significant challenges due to domain complexity and data scarcity. Existing approaches often employ multi-stage generation procedures, resulting in cumbersome training and inference pipelines. In this paper, we propose SongGen, a fully open-source, single-stage auto-regressive transformer designed for controllable song generation. The proposed model facilitates fine-grained control over diverse musical attributes, including lyrics and textual descriptions of instrumentation, genre, mood, and timbre, while also offering an optional three-second reference clip for voice cloning. Within a unified auto-regressive framework, SongGen supports two output modes: mixed mode, which generates a mixture of vocals and accompaniment directly, and dual-track mode, which synthesizes them separately for greater flexibility in downstream applications. We explore diverse token pattern strategies for each mode, leading to notable improvements and valuable insights. Furthermore, we design an automated data preprocessing pipeline with effective quality control. To foster community engagement and future research, we will release our model weights, training code, annotated data, and preprocessing pipeline. The generated samples are showcased on our project page at https://liuzh-19.github.io/SongGen/ , and the code will be available at https://github.com/LiuZH-19/SongGen .

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

Music recordings often suffer from audio quality issues such as excessive reverberation, distortion, clipping, tonal imbalances, and a narrowed stereo image, especially when created in non-professional settings without specialized equipment or expertise. These problems are typically corrected using separate specialized tools and manual adjustments. In this paper, we introduce SonicMaster, the first unified generative model for music restoration and mastering that addresses a broad spectrum of audio artifacts with text-based control. SonicMaster is conditioned on natural language instructions to apply targeted enhancements, or can operate in an automatic mode for general restoration. To train this model, we construct the SonicMaster dataset, a large dataset of paired degraded and high-quality tracks by simulating common degradation types with nineteen degradation functions belonging to five enhancements groups: equalization, dynamics, reverb, amplitude, and stereo. Our approach leverages a flow-matching generative training paradigm to learn an audio transformation that maps degraded inputs to their cleaned, mastered versions guided by text prompts. Objective audio quality metrics demonstrate that SonicMaster significantly improves sound quality across all artifact categories. Furthermore, subjective listening tests confirm that listeners prefer SonicMaster's enhanced outputs over the original degraded audio, highlighting the effectiveness of our unified approach.

Unlike melody extraction and other aspects of music transcription, research on playing technique detection is still in its early stages. Compared to existing work mostly focused on playing technique detection for individual single notes, we propose a general end-to-end method based on Sound Event Detection by FCN for musical instrument playing technique detection. In our case, we choose Erhu, a well-known Chinese bowed-stringed instrument, to experiment with our method. Because of the limitation of FCN, we present an algorithm to detect on variable length audio. The effectiveness of the proposed framework is tested on a new dataset, its categorization of techniques is similar to our training dataset. The highest accuracy of our 3 experiments on the new test set is 87.31%. Furthermore, we also evaluate the performance of the proposed framework on 10 real-world studio music (produced by midi) and 7 real-world recording samples to address the ability of generalization on our model.

Sound source localization (SSL) determines the position of sound sources using multi-channel audio data. It is commonly used to improve speech enhancement and separation. Extracting spatial features is crucial for SSL, especially in challenging acoustic environments. Recently, a novel structure referred to as Mamba demonstrated notable performance across various sequence-based modalities. This study introduces the Mamba for SSL tasks. We consider the Mamba-based model to analyze spatial features from speech signals by fusing both time and frequency features, and we develop an SSL system called TF-Mamba. This system integrates time and frequency fusion, with Bidirectional Mamba managing both time-wise and frequency-wise processing. We conduct the experiments on the simulated and real datasets. Experiments show that TF-Mamba significantly outperforms other advanced methods. The code will be publicly released in due course.

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

In this paper, we study the issue of automatic singer identification (SID) in popular music recordings, which aims to recognize who sang a given piece of song. The main challenge for this investigation lies in the fact that a singer's singing voice changes and intertwines with the signal of background accompaniment in time domain. To handle this challenge, we propose the KNN-Net for SID, which is a deep neural network model with the goal of learning local timbre feature representation from the mixture of singer voice and background music. Unlike other deep neural networks using the softmax layer as the output layer, we instead utilize the KNN as a more interpretable layer to output target singer labels. Moreover, attention mechanism is first introduced to highlight crucial timbre features for SID. Experiments on the existing artist20 dataset show that the proposed approach outperforms the state-of-the-art method by 4%. We also create singer32 and singer60 datasets consisting of Chinese pop music to evaluate the reliability of the proposed method. The more extensive experiments additionally indicate that our proposed model achieves a significant performance improvement compared to the state-of-the-art methods.

Recent advancements in neural vocoding are predominantly driven by Generative Adversarial Networks (GANs) operating in the time-domain. While effective, this approach neglects the inductive bias offered by time-frequency representations, resulting in reduntant and computionally-intensive upsampling operations. Fourier-based time-frequency representation is an appealing alternative, aligning more accurately with human auditory perception, and benefitting from well-established fast algorithms for its computation. Nevertheless, direct reconstruction of complex-valued spectrograms has been historically problematic, primarily due to phase recovery issues. This study seeks to close this gap by presenting Vocos, a new model that directly generates Fourier spectral coefficients. Vocos not only matches the state-of-the-art in audio quality, as demonstrated in our evaluations, but it also substantially improves computational efficiency, achieving an order of magnitude increase in speed compared to prevailing time-domain neural vocoding approaches. The source code and model weights have been open-sourced at https://github.com/charactr-platform/vocos.

This study introduces a novel and interpretable model, DiffVox, for matching vocal effects in music production. DiffVox, short for ``Differentiable Vocal Fx", integrates parametric equalisation, dynamic range control, delay, and reverb with efficient differentiable implementations to enable gradient-based optimisation for parameter estimation. Vocal presets are retrieved from two datasets, comprising 70 tracks from MedleyDB and 365 tracks from a private collection. Analysis of parameter correlations highlights strong relationships between effects and parameters, such as the high-pass and low-shelf filters often behaving together to shape the low end, and the delay time correlates with the intensity of the delayed signals. Principal component analysis reveals connections to McAdams' timbre dimensions, where the most crucial component modulates the perceived spaciousness while the secondary components influence spectral brightness. Statistical testing confirms the non-Gaussian nature of the parameter distribution, highlighting the complexity of the vocal effects space. These initial findings on the parameter distributions set the foundation for future research in vocal effects modelling and automatic mixing. Our source code and datasets are accessible at https://github.com/SonyResearch/diffvox.

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

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

We introduce a novel, general-purpose audio generation framework specifically designed for anomaly detection and localization. Unlike existing datasets that predominantly focus on industrial and machine-related sounds, our framework focuses a broader range of environments, particularly useful in real-world scenarios where only audio data are available, such as in video-derived or telephonic audio. To generate such data, we propose a new method inspired by the LLM-Modulo framework, which leverages large language models(LLMs) as world models to simulate such real-world scenarios. This tool is modular allowing a plug-and-play approach. It operates by first using LLMs to predict plausible real-world scenarios. An LLM further extracts the constituent sounds, the order and the way in which these should be merged to create coherent wholes. Much like the LLM-Modulo framework, we include rigorous verification of each output stage, ensuring the reliability of the generated data. The data produced using the framework serves as a benchmark for anomaly detection applications, potentially enhancing the performance of models trained on audio data, particularly in handling out-of-distribution cases. Our contributions thus fill a critical void in audio anomaly detection resources and provide a scalable tool for generating diverse, realistic audio data.

Language-queried audio source separation (LASS) is a new paradigm for computational auditory scene analysis (CASA). LASS aims to separate a target sound from an audio mixture given a natural language query, which provides a natural and scalable interface for digital audio applications. Recent works on LASS, despite attaining promising separation performance on specific sources (e.g., musical instruments, limited classes of audio events), are unable to separate audio concepts in the open domain. In this work, we introduce AudioSep, a foundation model for open-domain audio source separation with natural language queries. We train AudioSep on large-scale multimodal datasets and extensively evaluate its capabilities on numerous tasks including audio event separation, musical instrument separation, and speech enhancement. AudioSep demonstrates strong separation performance and impressive zero-shot generalization ability using audio captions or text labels as queries, substantially outperforming previous audio-queried and language-queried sound separation models. For reproducibility of this work, we will release the source code, evaluation benchmark and pre-trained model at: https://github.com/Audio-AGI/AudioSep.

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

Detailed captions that accurately reflect the characteristics of a music piece can enrich music databases and drive forward research in music AI. This paper introduces a multi-task music captioning model, SonicVerse, that integrates caption generation with auxiliary music feature detection tasks such as key detection, vocals detection, and more, so as to directly capture both low-level acoustic details as well as high-level musical attributes. The key contribution is a projection-based architecture that transforms audio input into language tokens, while simultaneously detecting music features through dedicated auxiliary heads. The outputs of these heads are also projected into language tokens, to enhance the captioning input. This framework not only produces rich, descriptive captions for short music fragments but also directly enables the generation of detailed time-informed descriptions for longer music pieces, by chaining the outputs using a large-language model. To train the model, we extended the MusicBench dataset by annotating it with music features using MIRFLEX, a modular music feature extractor, resulting in paired audio, captions and music feature data. Experimental results show that incorporating features in this way improves the quality and detail of the generated captions.

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

Audio source separation is fundamental for machines to understand complex acoustic environments and underpins numerous audio applications. Current supervised deep learning approaches, while powerful, are limited by the need for extensive, task-specific labeled data and struggle to generalize to the immense variability and open-set nature of real-world acoustic scenes. Inspired by the success of generative foundation models, we investigate whether pre-trained text-guided audio diffusion models can overcome these limitations. We make a surprising discovery: zero-shot source separation can be achieved purely through a pre-trained text-guided audio diffusion model under the right configuration. Our method, named ZeroSep, works by inverting the mixed audio into the diffusion model's latent space and then using text conditioning to guide the denoising process to recover individual sources. Without any task-specific training or fine-tuning, ZeroSep repurposes the generative diffusion model for a discriminative separation task and inherently supports open-set scenarios through its rich textual priors. ZeroSep is compatible with a variety of pre-trained text-guided audio diffusion backbones and delivers strong separation performance on multiple separation benchmarks, surpassing even supervised methods.

We present MGM-Omni, a unified Omni LLM for omni-modal understanding and expressive, long-horizon speech generation. Unlike cascaded pipelines that isolate speech synthesis, MGM-Omni adopts a "brain-mouth" design with a dual-track, token-based architecture that cleanly decouples multimodal reasoning from real-time speech generation. This design enables efficient cross-modal interaction and low-latency, streaming speech generation. For understanding, a unified training strategy coupled with a dual audio encoder design enables long-form audio perception across diverse acoustic conditions. For generation, a chunk-based parallel decoding scheme narrows the text speech token-rate gap, accelerating inference and supporting streaming zero-shot voice cloning with stable timbre over extended durations. Compared to concurrent work, MGM-Omni achieves these capabilities with markedly data-efficient training. Extensive experiments demonstrate that MGM-Omni outperforms existing open source models in preserving timbre identity across extended sequences, producing natural and context-aware speech, and achieving superior long-form audio and omnimodal understanding. MGM-Omni establishes an efficient, end-to-end paradigm for omnimodal understanding and controllable, personalised long-horizon speech generation.

This thesis develops a Transformer model based on Whisper, which extracts melodies and chords from music audio and records them into ABC notation. A comprehensive data processing workflow is customized for ABC notation, including data cleansing, formatting, and conversion, and a mutation mechanism is implemented to increase the diversity and quality of training data. This thesis innovatively introduces the "Orpheus' Score", a custom notation system that converts music information into tokens, designs a custom vocabulary library, and trains a corresponding custom tokenizer. Experiments show that compared to traditional algorithms, the model has significantly improved accuracy and performance. While providing a convenient audio-to-score tool for music enthusiasts, this work also provides new ideas and tools for research in music information processing.

Recent expressive text to speech (TTS) models focus on synthesizing emotional speech, but some fine-grained styles such as intonation are neglected. In this paper, we propose QI-TTS which aims to better transfer and control intonation to further deliver the speaker's questioning intention while transferring emotion from reference speech. We propose a multi-style extractor to extract style embedding from two different levels. While the sentence level represents emotion, the final syllable level represents intonation. For fine-grained intonation control, we use relative attributes to represent intonation intensity at the syllable level.Experiments have validated the effectiveness of QI-TTS for improving intonation expressiveness in emotional speech synthesis.

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

Language-queried audio source separation (LASS) focuses on separating sounds using textual descriptions of the desired sources. Current methods mainly use discriminative approaches, such as time-frequency masking, to separate target sounds and minimize interference from other sources. However, these models face challenges when separating overlapping soundtracks, which may lead to artifacts such as spectral holes or incomplete separation. Rectified flow matching (RFM), a generative model that establishes linear relations between the distribution of data and noise, offers superior theoretical properties and simplicity, but has not yet been explored in sound separation. In this work, we introduce FlowSep, a new generative model based on RFM for LASS tasks. FlowSep learns linear flow trajectories from noise to target source features within the variational autoencoder (VAE) latent space. During inference, the RFM-generated latent features are reconstructed into a mel-spectrogram via the pre-trained VAE decoder, followed by a pre-trained vocoder to synthesize the waveform. Trained on 1,680 hours of audio data, FlowSep outperforms the state-of-the-art models across multiple benchmarks, as evaluated with subjective and objective metrics. Additionally, our results show that FlowSep surpasses a diffusion-based LASS model in both separation quality and inference efficiency, highlighting its strong potential for audio source separation tasks. Code, pre-trained models and demos can be found at: https://audio-agi.github.io/FlowSep_demo/.

We present a unified system to realize one-shot voice conversion (VC) on the pitch, rhythm, and speaker attributes. Existing works generally ignore the correlation between prosody and language content, leading to the degradation of naturalness in converted speech. Additionally, the lack of proper language features prevents these systems from accurately preserving language content after conversion. To address these issues, we devise a cascaded modular system leveraging self-supervised discrete speech units as language representation. These discrete units provide duration information essential for rhythm modeling. Our system first extracts utterance-level prosody and speaker representations from the raw waveform. Given the prosody representation, a prosody predictor estimates pitch, energy, and duration for each discrete unit in the utterance. A synthesizer further reconstructs speech based on the predicted prosody, speaker representation, and discrete units. Experiments show that our system outperforms previous approaches in naturalness, intelligibility, speaker transferability, and prosody transferability. Code and samples are publicly available.

We present the Melody Guided Music Generation (MMGen) model, the first novel approach using melody to guide the music generation that, despite a pretty simple method and extremely limited resources, achieves excellent performance. Specifically, we first align the melody with audio waveforms and their associated descriptions using the multimodal alignment module. Subsequently, we condition the diffusion module on the learned melody representations. This allows MMGen to generate music that matches the style of the provided audio while also producing music that reflects the content of the given text description. To address the scarcity of high-quality data, we construct a multi-modal dataset, MusicSet, which includes melody, text, and audio, and will be made publicly available. We conduct extensive experiments which demonstrate the superiority of the proposed model both in terms of experimental metrics and actual performance quality.

The systematic evaluation of speech separation and enhancement models under moving sound source conditions typically requires extensive data comprising diverse scenarios. However, real-world datasets often contain insufficient data to meet the training and evaluation requirements of models. Although synthetic datasets offer a larger volume of data, their acoustic simulations lack realism. Consequently, neither real-world nor synthetic datasets effectively fulfill practical needs. To address these issues, we introduce SonicSim, a synthetic toolkit de-designed to generate highly customizable data for moving sound sources. SonicSim is developed based on the embodied AI simulation platform, Habitat-sim, supporting multi-level adjustments, including scene-level, microphone-level, and source-level, thereby generating more diverse synthetic data. Leveraging SonicSim, we constructed a moving sound source benchmark dataset, SonicSet, using the Librispeech, the Freesound Dataset 50k (FSD50K) and Free Music Archive (FMA), and 90 scenes from the Matterport3D to evaluate speech separation and enhancement models. Additionally, to validate the differences between synthetic data and real-world data, we randomly selected 5 hours of raw data without reverberation from the SonicSet validation set to record a real-world speech separation dataset, which was then compared with the corresponding synthetic datasets. Similarly, we utilized the real-world speech enhancement dataset RealMAN to validate the acoustic gap between other synthetic datasets and the SonicSet dataset for speech enhancement. The results indicate that the synthetic data generated by SonicSim can effectively generalize to real-world scenarios. Demo and code are publicly available at https://cslikai.cn/SonicSim/.

This paper targets the perceptual task of separating the different interacting voices, i.e., monophonic melodic streams, in a polyphonic musical piece. We target symbolic music, where notes are explicitly encoded, and model this task as a Multi-Trajectory Tracking (MTT) problem from discrete observations, i.e., notes in a pitch-time space. Our approach builds a graph from a musical piece, by creating one node for every note, and separates the melodic trajectories by predicting a link between two notes if they are consecutive in the same voice/stream. This kind of local, greedy prediction is made possible by node embeddings created by a heterogeneous graph neural network that can capture inter- and intra-trajectory information. Furthermore, we propose a new regularization loss that encourages the output to respect the MTT premise of at most one incoming and one outgoing link for every node, favouring monophonic (voice) trajectories; this loss function might also be useful in other general MTT scenarios. Our approach does not use domain-specific heuristics, is scalable to longer sequences and a higher number of voices, and can handle complex cases such as voice inversions and overlaps. We reach new state-of-the-art results for the voice separation task in classical music of different styles.

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.

Single-channel, speaker-independent speech separation methods have recently seen great progress. However, the accuracy, latency, and computational cost of such methods remain insufficient. The majority of the previous methods have formulated the separation problem through the time-frequency representation of the mixed signal, which has several drawbacks, including the decoupling of the phase and magnitude of the signal, the suboptimality of time-frequency representation for speech separation, and the long latency in calculating the spectrograms. To address these shortcomings, we propose a fully-convolutional time-domain audio separation network (Conv-TasNet), a deep learning framework for end-to-end time-domain speech separation. Conv-TasNet uses a linear encoder to generate a representation of the speech waveform optimized for separating individual speakers. Speaker separation is achieved by applying a set of weighting functions (masks) to the encoder output. The modified encoder representations are then inverted back to the waveforms using a linear decoder. The masks are found using a temporal convolutional network (TCN) consisting of stacked 1-D dilated convolutional blocks, which allows the network to model the long-term dependencies of the speech signal while maintaining a small model size. The proposed Conv-TasNet system significantly outperforms previous time-frequency masking methods in separating two- and three-speaker mixtures. Additionally, Conv-TasNet surpasses several ideal time-frequency magnitude masks in two-speaker speech separation as evaluated by both objective distortion measures and subjective quality assessment by human listeners. Finally, Conv-TasNet has a significantly smaller model size and a shorter minimum latency, making it a suitable solution for both offline and real-time speech separation applications.

Indian classical music relies on a sophisticated microtonal system of 22 shrutis (pitch intervals), which provides expressive nuance beyond the 12-tone equal temperament system. Existing symbolic music processing tools fail to account for these microtonal distinctions and culturally specific raga grammars that govern melodic movement. We present ShrutiSense, a comprehensive symbolic pitch processing system designed for Indian classical music, addressing two critical tasks: (1) correcting westernized or corrupted pitch sequences, and (2) completing melodic sequences with missing values. Our approach employs complementary models for different tasks: a Shruti-aware finite-state transducer (FST) that performs contextual corrections within the 22-shruti framework and a grammar-constrained Shruti hidden Markov model (GC-SHMM) that incorporates raga-specific transition rules for contextual completions. Comprehensive evaluation on simulated data across five ragas demonstrates that ShrutiSense (FST model) achieves 91.3% shruti classification accuracy for correction tasks, with example sequences showing 86.7-90.0% accuracy at corruption levels of 0.2 to 0.4. The system exhibits robust performance under pitch noise up to +/-50 cents, maintaining consistent accuracy across ragas (90.7-91.8%), thus preserving the cultural authenticity of Indian classical music expression.

Reverb plays a critical role in music production, where it provides listeners with spatial realization, timbre, and texture of the music. Yet, it is challenging to reproduce the musical reverb of a reference music track even by skilled engineers. In response, we propose an end-to-end system capable of switching the musical reverb factor of two different mixed vocal tracks. This method enables us to apply the reverb of the reference track to the source track to which the effect is desired. Further, our model can perform de-reverberation when the reference track is used as a dry vocal source. The proposed model is trained in combination with an adversarial objective, which makes it possible to handle high-resolution audio samples. The perceptual evaluation confirmed that the proposed model can convert the reverb factor with the preferred rate of 64.8%. To the best of our knowledge, this is the first attempt to apply deep neural networks to converting music reverb of vocal tracks.

Universal source separation targets at separating the audio sources of an arbitrary mix, removing the constraint to operate on a specific domain like speech or music. Yet, the potential of universal source separation is limited because most existing works focus on mixes with predominantly sound events, and small training datasets also limit its potential for supervised learning. Here, we study a single general audio source separation (GASS) model trained to separate speech, music, and sound events in a supervised fashion with a large-scale dataset. We assess GASS models on a diverse set of tasks. Our strong in-distribution results show the feasibility of GASS models, and the competitive out-of-distribution performance in sound event and speech separation shows its generalization abilities. Yet, it is challenging for GASS models to generalize for separating out-of-distribution cinematic and music content. We also fine-tune GASS models on each dataset and consistently outperform the ones without pre-training. All fine-tuned models (except the music separation one) obtain state-of-the-art results in their respective benchmarks.

In this work, we build upon our previous publication and use diffusion-based generative models for speech enhancement. We present a detailed overview of the diffusion process that is based on a stochastic differential equation and delve into an extensive theoretical examination of its implications. Opposed to usual conditional generation tasks, we do not start the reverse process from pure Gaussian noise but from a mixture of noisy speech and Gaussian noise. This matches our forward process which moves from clean speech to noisy speech by including a drift term. We show that this procedure enables using only 30 diffusion steps to generate high-quality clean speech estimates. By adapting the network architecture, we are able to significantly improve the speech enhancement performance, indicating that the network, rather than the formalism, was the main limitation of our original approach. In an extensive cross-dataset evaluation, we show that the improved method can compete with recent discriminative models and achieves better generalization when evaluating on a different corpus than used for training. We complement the results with an instrumental evaluation using real-world noisy recordings and a listening experiment, in which our proposed method is rated best. Examining different sampler configurations for solving the reverse process allows us to balance the performance and computational speed of the proposed method. Moreover, we show that the proposed method is also suitable for dereverberation and thus not limited to additive background noise removal. Code and audio examples are available online, see https://github.com/sp-uhh/sgmse

The scarcity of high-quality and multi-task singing datasets significantly hinders the development of diverse controllable and personalized singing tasks, as existing singing datasets suffer from low quality, limited diversity of languages and singers, absence of multi-technique information and realistic music scores, and poor task suitability. To tackle these problems, we present GTSinger, a large Global, multi-Technique, free-to-use, high-quality singing corpus with realistic music scores, designed for all singing tasks, along with its benchmarks. Particularly, (1) we collect 80.59 hours of high-quality singing voices, forming the largest recorded singing dataset; (2) 20 professional singers across nine widely spoken languages offer diverse timbres and styles; (3) we provide controlled comparison and phoneme-level annotations of six commonly used singing techniques, helping technique modeling and control; (4) GTSinger offers realistic music scores, assisting real-world musical composition; (5) singing voices are accompanied by manual phoneme-to-audio alignments, global style labels, and 16.16 hours of paired speech for various singing tasks. Moreover, to facilitate the use of GTSinger, we conduct four benchmark experiments: technique-controllable singing voice synthesis, technique recognition, style transfer, and speech-to-singing conversion. The corpus and demos can be found at http://gtsinger.github.io. We provide the dataset and the code for processing data and conducting benchmarks at https://huggingface.co/datasets/GTSinger/GTSinger and https://github.com/GTSinger/GTSinger.

Hindustani music is a performance-driven oral tradition that exhibits the rendition of rich melodic patterns. In this paper, we focus on generative modeling of singers' vocal melodies extracted from audio recordings, as the voice is musically prominent within the tradition. Prior generative work in Hindustani music models melodies as coarse discrete symbols which fails to capture the rich expressive melodic intricacies of singing. Thus, we propose to use a finely quantized pitch contour, as an intermediate representation for hierarchical audio modeling. We propose GaMaDHaNi, a modular two-level hierarchy, consisting of a generative model on pitch contours, and a pitch contour to audio synthesis model. We compare our approach to non-hierarchical audio models and hierarchical models that use a self-supervised intermediate representation, through a listening test and qualitative analysis. We also evaluate audio model's ability to faithfully represent the pitch contour input using Pearson correlation coefficient. By using pitch contours as an intermediate representation, we show that our model may be better equipped to listen and respond to musicians in a human-AI collaborative setting by highlighting two potential interaction use cases (1) primed generation, and (2) coarse pitch conditioning.

We present VoiceShop, a novel speech-to-speech framework that can modify multiple attributes of speech, such as age, gender, accent, and speech style, in a single forward pass while preserving the input speaker's timbre. Previous works have been constrained to specialized models that can only edit these attributes individually and suffer from the following pitfalls: the magnitude of the conversion effect is weak, there is no zero-shot capability for out-of-distribution speakers, or the synthesized outputs exhibit undesirable timbre leakage. Our work proposes solutions for each of these issues in a simple modular framework based on a conditional diffusion backbone model with optional normalizing flow-based and sequence-to-sequence speaker attribute-editing modules, whose components can be combined or removed during inference to meet a wide array of tasks without additional model finetuning. Audio samples are available at https://voiceshopai.github.io.

Multitrack music transcription aims to transcribe a music audio input into the musical notes of multiple instruments simultaneously. It is a very challenging task that typically requires a more complex model to achieve satisfactory result. In addition, prior works mostly focus on transcriptions of regular instruments, however, neglecting vocals, which are usually the most important signal source if present in a piece of music. In this paper, we propose a novel deep neural network architecture, Perceiver TF, to model the time-frequency representation of audio input for multitrack transcription. Perceiver TF augments the Perceiver architecture by introducing a hierarchical expansion with an additional Transformer layer to model temporal coherence. Accordingly, our model inherits the benefits of Perceiver that posses better scalability, allowing it to well handle transcriptions of many instruments in a single model. In experiments, we train a Perceiver TF to model 12 instrument classes as well as vocal in a multi-task learning manner. Our result demonstrates that the proposed system outperforms the state-of-the-art counterparts (e.g., MT3 and SpecTNT) on various public datasets.

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

Conventional music structure analysis algorithms aim to divide a song into segments and to group them with abstract labels (e.g., 'A', 'B', and 'C'). However, explicitly identifying the function of each segment (e.g., 'verse' or 'chorus') is rarely attempted, but has many applications. We introduce a multi-task deep learning framework to model these structural semantic labels directly from audio by estimating "verseness," "chorusness," and so forth, as a function of time. We propose a 7-class taxonomy (i.e., intro, verse, chorus, bridge, outro, instrumental, and silence) and provide rules to consolidate annotations from four disparate datasets. We also propose to use a spectral-temporal Transformer-based model, called SpecTNT, which can be trained with an additional connectionist temporal localization (CTL) loss. In cross-dataset evaluations using four public datasets, we demonstrate the effectiveness of the SpecTNT model and CTL loss, and obtain strong results overall: the proposed system outperforms state-of-the-art chorus-detection and boundary-detection methods at detecting choruses and boundaries, respectively.

Sound design involves creatively selecting, recording, and editing sound effects for various media like cinema, video games, and virtual/augmented reality. One of the most time-consuming steps when designing sound is synchronizing audio with video. In some cases, environmental recordings from video shoots are available, which can aid in the process. However, in video games and animations, no reference audio exists, requiring manual annotation of event timings from the video. We propose a system to extract repetitive actions onsets from a video, which are then used - in conjunction with audio or textual embeddings - to condition a diffusion model trained to generate a new synchronized sound effects audio track. In this way, we leave complete creative control to the sound designer while removing the burden of synchronization with video. Furthermore, editing the onset track or changing the conditioning embedding requires much less effort than editing the audio track itself, simplifying the sonification process. We provide sound examples, source code, and pretrained models to faciliate reproducibility

Improving text representation has attracted much attention to achieve expressive text-to-speech (TTS). However, existing works only implicitly learn the prosody with masked token reconstruction tasks, which leads to low training efficiency and difficulty in prosody modeling. We propose CLAPSpeech, a cross-modal contrastive pre-training framework that explicitly learns the prosody variance of the same text token under different contexts. Specifically, 1) We encourage the model to connect the text context with its corresponding prosody pattern in the joint multi-modal space with the elaborate design of the encoder inputs and contrastive loss; 2) We introduce a multi-scale pre-training pipeline to capture prosody patterns in multiple levels. We show how to incorporate CLAPSpeech into existing TTS models for better prosody. Experiments on three datasets not only show that CLAPSpeech could improve the prosody prediction for existing TTS methods, but also demonstrate its generalization ability to adapt to multiple languages and multi-speaker TTS. We also deeply analyze the principle behind the performance of CLAPSpeech. Ablation studies demonstrate the necessity of each component in our method. Source code and audio samples are available at https://clapspeech.github.io.

Cinematic audio source separation (CASS) is a fairly new subtask of audio source separation. A typical setup of CASS is a three-stem problem, with the aim of separating the mixture into the dialogue stem (DX), music stem (MX), and effects stem (FX). In practice, however, several edge cases exist as some sound sources do not fit neatly in either of these three stems, necessitating the use of additional auxiliary stems in production. One very common edge case is the singing voice in film audio, which may belong in either the DX or MX, depending heavily on the cinematic context. In this work, we demonstrate a very straightforward extension of the dedicated-decoder Bandit and query-based single-decoder Banquet models to a four-stem problem, treating non-musical dialogue, instrumental music, singing voice, and effects as separate stems. Interestingly, the query-based Banquet model outperformed the dedicated-decoder Bandit model. We hypothesized that this is due to a better feature alignment at the bottleneck as enforced by the band-agnostic FiLM layer. Dataset and model implementation will be made available at https://github.com/kwatcharasupat/source-separation-landing.

Automatic Music Transcription (AMT) has been recognized as a key enabling technology with a wide range of applications. Given the task's complexity, best results have typically been reported for systems focusing on specific settings, e.g. instrument-specific systems tend to yield improved results over instrument-agnostic methods. Similarly, higher accuracy can be obtained when only estimating frame-wise f_0 values and neglecting the harder note event detection. Despite their high accuracy, such specialized systems often cannot be deployed in the real-world. Storage and network constraints prohibit the use of multiple specialized models, while memory and run-time constraints limit their complexity. In this paper, we propose a lightweight neural network for musical instrument transcription, which supports polyphonic outputs and generalizes to a wide variety of instruments (including vocals). Our model is trained to jointly predict frame-wise onsets, multipitch and note activations, and we experimentally show that this multi-output structure improves the resulting frame-level note accuracy. Despite its simplicity, benchmark results show our system's note estimation to be substantially better than a comparable baseline, and its frame-level accuracy to be only marginally below those of specialized state-of-the-art AMT systems. With this work we hope to encourage the community to further investigate low-resource, instrument-agnostic AMT systems.

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.

Source separation is a fundamental task in speech, music, and audio processing, and it also provides cleaner and larger data for training generative models. However, improving separation performance in practice often depends on increasingly large networks, inflating training and deployment costs. Motivated by recent advances in inference-time scaling for generative modeling, we propose Training-Time and Inference-Time Scalable Discriminative Source Separation (TISDiSS), a unified framework that integrates early-split multi-loss supervision, shared-parameter design, and dynamic inference repetitions. TISDiSS enables flexible speed-performance trade-offs by adjusting inference depth without retraining additional models. We further provide systematic analyses of architectural and training choices and show that training with more inference repetitions improves shallow-inference performance, benefiting low-latency applications. Experiments on standard speech separation benchmarks demonstrate state-of-the-art performance with a reduced parameter count, establishing TISDiSS as a scalable and practical framework for adaptive source separation. Code is available at https://github.com/WingSingFung/TISDiSS.

Music mastering style transfer aims to model and apply the mastering characteristics of a reference track to a target track, simulating the professional mastering process. However, existing methods apply fixed processing based on a reference track, limiting users' ability to fine-tune the results to match their artistic intent. In this paper, we introduce the ITO-Master framework, a reference-based mastering style transfer system that integrates Inference-Time Optimization (ITO) to enable finer user control over the mastering process. By optimizing the reference embedding during inference, our approach allows users to refine the output dynamically, making micro-level adjustments to achieve more precise mastering results. We explore both black-box and white-box methods for modeling mastering processors and demonstrate that ITO improves mastering performance across different styles. Through objective evaluation, subjective listening tests, and qualitative analysis using text-based conditioning with CLAP embeddings, we validate that ITO enhances mastering style similarity while offering increased adaptability. Our framework provides an effective and user-controllable solution for mastering style transfer, allowing users to refine their results beyond the initial style transfer.

This paper thoroughly analyses the effect of different input representations on polyphonic multi-instrument music transcription. We use our own GPU based spectrogram extraction tool, nnAudio, to investigate the influence of using a linear-frequency spectrogram, log-frequency spectrogram, Mel spectrogram, and constant-Q transform (CQT). Our results show that a 8.33% increase in transcription accuracy and a 9.39% reduction in error can be obtained by choosing the appropriate input representation (log-frequency spectrogram with STFT window length 4,096 and 2,048 frequency bins in the spectrogram) without changing the neural network design (single layer fully connected). Our experiments also show that Mel spectrogram is a compact representation for which we can reduce the number of frequency bins to only 512 while still keeping a relatively high music transcription accuracy.

Modeling the natural contour of fundamental frequency (F0) plays a critical role in music audio synthesis. However, transcribing and managing multiple F0 contours in polyphonic music is challenging, and explicit F0 contour modeling has not yet been explored for polyphonic instrumental synthesis. In this paper, we present ViolinDiff, a two-stage diffusion-based synthesis framework. For a given violin MIDI file, the first stage estimates the F0 contour as pitch bend information, and the second stage generates mel spectrogram incorporating these expressive details. The quantitative metrics and listening test results show that the proposed model generates more realistic violin sounds than the model without explicit pitch bend modeling. Audio samples are available online: daewoung.github.io/ViolinDiff-Demo.

Existing text-to-music models can produce high-quality audio with great diversity. However, textual prompts alone cannot precisely control temporal musical features such as chords and rhythm of the generated music. To address this challenge, we introduce MusiConGen, a temporally-conditioned Transformer-based text-to-music model that builds upon the pretrained MusicGen framework. Our innovation lies in an efficient finetuning mechanism, tailored for consumer-grade GPUs, that integrates automatically-extracted rhythm and chords as the condition signal. During inference, the condition can either be musical features extracted from a reference audio signal, or be user-defined symbolic chord sequence, BPM, and textual prompts. Our performance evaluation on two datasets -- one derived from extracted features and the other from user-created inputs -- demonstrates that MusiConGen can generate realistic backing track music that aligns well with the specified conditions. We open-source the code and model checkpoints, and provide audio examples online, https://musicongen.github.io/musicongen_demo/.

Automatic Music Transcription (AMT), inferring musical notes from raw audio, is a challenging task at the core of music understanding. Unlike Automatic Speech Recognition (ASR), which typically focuses on the words of a single speaker, AMT often requires transcribing multiple instruments simultaneously, all while preserving fine-scale pitch and timing information. Further, many AMT datasets are "low-resource", as even expert musicians find music transcription difficult and time-consuming. Thus, prior work has focused on task-specific architectures, tailored to the individual instruments of each task. In this work, motivated by the promising results of sequence-to-sequence transfer learning for low-resource Natural Language Processing (NLP), we demonstrate that a general-purpose Transformer model can perform multi-task AMT, jointly transcribing arbitrary combinations of musical instruments across several transcription datasets. We show this unified training framework achieves high-quality transcription results across a range of datasets, dramatically improving performance for low-resource instruments (such as guitar), while preserving strong performance for abundant instruments (such as piano). Finally, by expanding the scope of AMT, we expose the need for more consistent evaluation metrics and better dataset alignment, and provide a strong baseline for this new direction of multi-task AMT.

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

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

Music transcription plays a pivotal role in Music Information Retrieval (MIR), particularly for stringed instruments like the guitar, where symbolic music notations such as MIDI lack crucial playability information. This contribution introduces the Fretting-Transformer, an encoderdecoder model that utilizes a T5 transformer architecture to automate the transcription of MIDI sequences into guitar tablature. By framing the task as a symbolic translation problem, the model addresses key challenges, including string-fret ambiguity and physical playability. The proposed system leverages diverse datasets, including DadaGP, GuitarToday, and Leduc, with novel data pre-processing and tokenization strategies. We have developed metrics for tablature accuracy and playability to quantitatively evaluate the performance. The experimental results demonstrate that the Fretting-Transformer surpasses baseline methods like A* and commercial applications like Guitar Pro. The integration of context-sensitive processing and tuning/capo conditioning further enhances the model's performance, laying a robust foundation for future developments in automated guitar transcription.