Daily Papers

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

Audio-driven video portrait synthesis is a crucial and useful technology in virtual human interaction and film-making applications. Recent advancements have focused on improving the image fidelity and lip-synchronization. However, generating accurate emotional expressions is an important aspect of realistic talking-head generation, which has remained underexplored in previous works. We present a novel system in this paper for synthesizing high-fidelity, audio-driven video portraits with accurate emotional expressions. Specifically, we utilize a variational autoencoder (VAE)-based audio-to-motion module to generate facial landmarks. These landmarks are concatenated with emotional embeddings to produce emotional landmarks through our motion-to-emotion module. These emotional landmarks are then used to render realistic emotional talking-head video using a Neural Radiance Fields (NeRF)-based emotion-to-video module. Additionally, we propose a pose sampling method that generates natural idle-state (non-speaking) videos in response to silent audio inputs. Extensive experiments demonstrate that our method obtains more accurate emotion generation with higher fidelity.

We present a novel approach for synthesizing 3D facial motions from audio sequences using key motion embeddings. Despite recent advancements in data-driven techniques, accurately mapping between audio signals and 3D facial meshes remains challenging. Direct regression of the entire sequence often leads to over-smoothed results due to the ill-posed nature of the problem. To this end, we propose a progressive learning mechanism that generates 3D facial animations by introducing key motion capture to decrease cross-modal mapping uncertainty and learning complexity. Concretely, our method integrates linguistic and data-driven priors through two modules: the linguistic-based key motion acquisition and the cross-modal motion completion. The former identifies key motions and learns the associated 3D facial expressions, ensuring accurate lip-speech synchronization. The latter extends key motions into a full sequence of 3D talking faces guided by audio features, improving temporal coherence and audio-visual consistency. Extensive experimental comparisons against existing state-of-the-art methods demonstrate the superiority of our approach in generating more vivid and consistent talking face animations. Consistent enhancements in results through the integration of our proposed learning scheme with existing methods underscore the efficacy of our approach. Our code and weights will be at the project website: https://github.com/ffxzh/KMTalk.

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

Efficiently compressing high-dimensional audio signals into a compact and informative latent space is crucial for various tasks, including generative modeling and music information retrieval (MIR). Existing audio autoencoders, however, often struggle to achieve high compression ratios while preserving audio fidelity and facilitating efficient downstream applications. We introduce Music2Latent2, a novel audio autoencoder that addresses these limitations by leveraging consistency models and a novel approach to representation learning based on unordered latent embeddings, which we call summary embeddings. Unlike conventional methods that encode local audio features into ordered sequences, Music2Latent2 compresses audio signals into sets of summary embeddings, where each embedding can capture distinct global features of the input sample. This enables to achieve higher reconstruction quality at the same compression ratio. To handle arbitrary audio lengths, Music2Latent2 employs an autoregressive consistency model trained on two consecutive audio chunks with causal masking, ensuring coherent reconstruction across segment boundaries. Additionally, we propose a novel two-step decoding procedure that leverages the denoising capabilities of consistency models to further refine the generated audio at no additional cost. Our experiments demonstrate that Music2Latent2 outperforms existing continuous audio autoencoders regarding audio quality and performance on downstream tasks. Music2Latent2 paves the way for new possibilities in audio compression.

Recently, there has been an increasing focus on audio-text cross-modal learning. However, most of the existing audio-text datasets contain only simple descriptions of sound events. Compared with classification labels, the advantages of such descriptions are significantly limited. In this paper, we first analyze the detailed information that human descriptions of audio may contain beyond sound event labels. Based on the analysis, we propose an automatic pipeline for curating audio-text pairs with rich details. Leveraging the property that sounds can be mixed and concatenated in the time domain, we control details in four aspects: temporal relationship, loudness, speaker identity, and occurrence number, in simulating audio mixtures. Corresponding details are transformed into captions by large language models. Audio-text pairs with rich details in text descriptions are thereby obtained. We validate the effectiveness of our pipeline with a small amount of simulated data, demonstrating that the simulated data enables models to learn detailed audio captioning.

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

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

We introduce Audio Atlas, an interactive web application for visualizing audio data using text-audio embeddings. Audio Atlas is designed to facilitate the exploration and analysis of audio datasets using a contrastive embedding model and a vector database for efficient data management and semantic search. The system maps audio embeddings into a two-dimensional space and leverages DeepScatter for dynamic visualization. Designed for extensibility, Audio Atlas allows easy integration of new datasets, enabling users to better understand their audio data and identify both patterns and outliers. We open-source the codebase of Audio Atlas, and provide an initial implementation containing various audio and music datasets.

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

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

Audio-driven 3D facial animation aims to map input audio to realistic facial motion. Despite significant progress, limitations arise from inconsistent 3D annotations, restricting previous models to training on specific annotations and thereby constraining the training scale. In this work, we present UniTalker, a unified model featuring a multi-head architecture designed to effectively leverage datasets with varied annotations. To enhance training stability and ensure consistency among multi-head outputs, we employ three training strategies, namely, PCA, model warm-up, and pivot identity embedding. To expand the training scale and diversity, we assemble A2F-Bench, comprising five publicly available datasets and three newly curated datasets. These datasets contain a wide range of audio domains, covering multilingual speech voices and songs, thereby scaling the training data from commonly employed datasets, typically less than 1 hour, to 18.5 hours. With a single trained UniTalker model, we achieve substantial lip vertex error reductions of 9.2% for BIWI dataset and 13.7% for Vocaset. Additionally, the pre-trained UniTalker exhibits promise as the foundation model for audio-driven facial animation tasks. Fine-tuning the pre-trained UniTalker on seen datasets further enhances performance on each dataset, with an average error reduction of 6.3% on A2F-Bench. Moreover, fine-tuning UniTalker on an unseen dataset with only half the data surpasses prior state-of-the-art models trained on the full dataset. The code and dataset are available at the project page https://github.com/X-niper/UniTalker.

Generating talking person portraits with arbitrary speech audio is a crucial problem in the field of digital human and metaverse. A modern talking face generation method is expected to achieve the goals of generalized audio-lip synchronization, good video quality, and high system efficiency. Recently, neural radiance field (NeRF) has become a popular rendering technique in this field since it could achieve high-fidelity and 3D-consistent talking face generation with a few-minute-long training video. However, there still exist several challenges for NeRF-based methods: 1) as for the lip synchronization, it is hard to generate a long facial motion sequence of high temporal consistency and audio-lip accuracy; 2) as for the video quality, due to the limited data used to train the renderer, it is vulnerable to out-of-domain input condition and produce bad rendering results occasionally; 3) as for the system efficiency, the slow training and inference speed of the vanilla NeRF severely obstruct its usage in real-world applications. In this paper, we propose GeneFace++ to handle these challenges by 1) utilizing the pitch contour as an auxiliary feature and introducing a temporal loss in the facial motion prediction process; 2) proposing a landmark locally linear embedding method to regulate the outliers in the predicted motion sequence to avoid robustness issues; 3) designing a computationally efficient NeRF-based motion-to-video renderer to achieves fast training and real-time inference. With these settings, GeneFace++ becomes the first NeRF-based method that achieves stable and real-time talking face generation with generalized audio-lip synchronization. Extensive experiments show that our method outperforms state-of-the-art baselines in terms of subjective and objective evaluation. Video samples are available at https://genefaceplusplus.github.io .

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

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

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

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

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

In a range of recent works, object-centric architectures have been shown to be suitable for unsupervised scene decomposition in the vision domain. Inspired by these methods we present AudioSlots, a slot-centric generative model for blind source separation in the audio domain. AudioSlots is built using permutation-equivariant encoder and decoder networks. The encoder network based on the Transformer architecture learns to map a mixed audio spectrogram to an unordered set of independent source embeddings. The spatial broadcast decoder network learns to generate the source spectrograms from the source embeddings. We train the model in an end-to-end manner using a permutation invariant loss function. Our results on Libri2Mix speech separation constitute a proof of concept that this approach shows promise. We discuss the results and limitations of our approach in detail, and further outline potential ways to overcome the limitations and directions for future work.

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

The success of supervised deep learning methods is largely due to their ability to learn relevant features from raw data. Deep Neural Networks (DNNs) trained on large-scale datasets are capable of capturing a diverse set of features, and learning a representation that can generalize onto unseen tasks and datasets that are from the same domain. Hence, these models can be used as powerful feature extractors, in combination with shallower models as classifiers, for smaller tasks and datasets where the amount of training data is insufficient for learning an end-to-end model from scratch. During the past years, Convolutional Neural Networks (CNNs) have largely been the method of choice for audio processing. However, recently attention-based transformer models have demonstrated great potential in supervised settings, outperforming CNNs. In this work, we investigate the use of audio transformers trained on large-scale datasets to learn general-purpose representations. We study how the different setups in these audio transformers affect the quality of their embeddings. We experiment with the models' time resolution, extracted embedding level, and receptive fields in order to see how they affect performance on a variety of tasks and datasets, following the HEAR 2021 NeurIPS challenge evaluation setup. Our results show that representations extracted by audio transformers outperform CNN representations. Furthermore, we will show that transformers trained on Audioset can be extremely effective representation extractors for a wide range of downstream tasks.

Generating semantically and temporally aligned audio content in accordance with video input has become a focal point for researchers, particularly following the remarkable breakthrough in text-to-video generation. In this work, we aim to offer insights into the video-to-audio generation paradigm, focusing on three crucial aspects: vision encoders, auxiliary embeddings, and data augmentation techniques. Beginning with a foundational model VTA-LDM built on a simple yet surprisingly effective intuition, we explore various vision encoders and auxiliary embeddings through ablation studies. Employing a comprehensive evaluation pipeline that emphasizes generation quality and video-audio synchronization alignment, we demonstrate that our model exhibits state-of-the-art video-to-audio generation capabilities. Furthermore, we provide critical insights into the impact of different data augmentation methods on enhancing the generation framework's overall capacity. We showcase possibilities to advance the challenge of generating synchronized audio from semantic and temporal perspectives. We hope these insights will serve as a stepping stone toward developing more realistic and accurate audio-visual generation models.

Limited diversity in standardized benchmarks for evaluating audio representation learning (ARL) methods may hinder systematic comparison of current methods' capabilities. We present ARCH, a comprehensive benchmark for evaluating ARL methods on diverse audio classification domains, covering acoustic events, music, and speech. ARCH comprises 12 datasets, that allow us to thoroughly assess pre-trained SSL models of different sizes. ARCH streamlines benchmarking of ARL techniques through its unified access to a wide range of domains and its ability to readily incorporate new datasets and models. To address the current lack of open-source, pre-trained models for non-speech audio, we also release new pre-trained models that demonstrate strong performance on non-speech datasets. We argue that the presented wide-ranging evaluation provides valuable insights into state-of-the-art ARL methods, and is useful to pinpoint promising research directions.

We introduce AudioLM, a framework for high-quality audio generation with long-term consistency. AudioLM maps the input audio to a sequence of discrete tokens and casts audio generation as a language modeling task in this representation space. We show how existing audio tokenizers provide different trade-offs between reconstruction quality and long-term structure, and we propose a hybrid tokenization scheme to achieve both objectives. Namely, we leverage the discretized activations of a masked language model pre-trained on audio to capture long-term structure and the discrete codes produced by a neural audio codec to achieve high-quality synthesis. By training on large corpora of raw audio waveforms, AudioLM learns to generate natural and coherent continuations given short prompts. When trained on speech, and without any transcript or annotation, AudioLM generates syntactically and semantically plausible speech continuations while also maintaining speaker identity and prosody for unseen speakers. Furthermore, we demonstrate how our approach extends beyond speech by generating coherent piano music continuations, despite being trained without any symbolic representation of music.

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

We consider the task of retrieving audio using free-form natural language queries. To study this problem, which has received limited attention in the existing literature, we introduce challenging new benchmarks for text-based audio retrieval using text annotations sourced from the Audiocaps and Clotho datasets. We then employ these benchmarks to establish baselines for cross-modal audio retrieval, where we demonstrate the benefits of pre-training on diverse audio tasks. We hope that our benchmarks will inspire further research into cross-modal text-based audio retrieval with free-form text queries.

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

The objectives of this work are cross-modal text-audio and audio-text retrieval, in which the goal is to retrieve the audio content from a pool of candidates that best matches a given written description and vice versa. Text-audio retrieval enables users to search large databases through an intuitive interface: they simply issue free-form natural language descriptions of the sound they would like to hear. To study the tasks of text-audio and audio-text retrieval, which have received limited attention in the existing literature, we introduce three challenging new benchmarks. We first construct text-audio and audio-text retrieval benchmarks from the AudioCaps and Clotho audio captioning datasets. Additionally, we introduce the SoundDescs benchmark, which consists of paired audio and natural language descriptions for a diverse collection of sounds that are complementary to those found in AudioCaps and Clotho. We employ these three benchmarks to establish baselines for cross-modal text-audio and audio-text retrieval, where we demonstrate the benefits of pre-training on diverse audio tasks. We hope that our benchmarks will inspire further research into audio retrieval with free-form text queries. Code, audio features for all datasets used, and the SoundDescs dataset are publicly available at https://github.com/akoepke/audio-retrieval-benchmark.

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

Lifelong audio feature extraction involves learning new sound classes incrementally, which is essential for adapting to new data distributions over time. However, optimizing the model only on new data can lead to catastrophic forgetting of previously learned tasks, which undermines the model's ability to perform well over the long term. This paper introduces a new approach to continual audio representation learning called DeCoR. Unlike other methods that store previous data, features, or models, DeCoR indirectly distills knowledge from an earlier model to the latest by predicting quantization indices from a delayed codebook. We demonstrate that DeCoR improves acoustic scene classification accuracy and integrates well with continual self-supervised representation learning. Our approach introduces minimal storage and computation overhead, making it a lightweight and efficient solution for continual learning.

In recent years, datasets of paired audio and captions have enabled remarkable success in automatically generating descriptions for audio clips, namely Automated Audio Captioning (AAC). However, it is labor-intensive and time-consuming to collect a sufficient number of paired audio and captions. Motivated by the recent advances in Contrastive Language-Audio Pretraining (CLAP), we propose a weakly-supervised approach to train an AAC model assuming only text data and a pre-trained CLAP model, alleviating the need for paired target data. Our approach leverages the similarity between audio and text embeddings in CLAP. During training, we learn to reconstruct the text from the CLAP text embedding, and during inference, we decode using the audio embeddings. To mitigate the modality gap between the audio and text embeddings we employ strategies to bridge the gap during training and inference stages. We evaluate our proposed method on Clotho and AudioCaps datasets demonstrating its ability to achieve a relative performance of up to ~83% compared to fully supervised approaches trained with paired target data.

Generative models in vision have seen rapid progress due to algorithmic improvements and the availability of high-quality image datasets. In this paper, we offer contributions in both these areas to enable similar progress in audio modeling. First, we detail a powerful new WaveNet-style autoencoder model that conditions an autoregressive decoder on temporal codes learned from the raw audio waveform. Second, we introduce NSynth, a large-scale and high-quality dataset of musical notes that is an order of magnitude larger than comparable public datasets. Using NSynth, we demonstrate improved qualitative and quantitative performance of the WaveNet autoencoder over a well-tuned spectral autoencoder baseline. Finally, we show that the model learns a manifold of embeddings that allows for morphing between instruments, meaningfully interpolating in timbre to create new types of sounds that are realistic and expressive.

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

Building artificial intelligence (AI) systems on top of a set of foundation models (FMs) is becoming a new paradigm in AI research. Their representative and generative abilities learnt from vast amounts of data can be easily adapted and transferred to a wide range of downstream tasks without extra training from scratch. However, leveraging FMs in cross-modal generation remains under-researched when audio modality is involved. On the other hand, automatically generating semantically-relevant sound from visual input is an important problem in cross-modal generation studies. To solve this vision-to-audio (V2A) generation problem, existing methods tend to design and build complex systems from scratch using modestly sized datasets. In this paper, we propose a lightweight solution to this problem by leveraging foundation models, specifically CLIP, CLAP, and AudioLDM. We first investigate the domain gap between the latent space of the visual CLIP and the auditory CLAP models. Then we propose a simple yet effective mapper mechanism (V2A-Mapper) to bridge the domain gap by translating the visual input between CLIP and CLAP spaces. Conditioned on the translated CLAP embedding, pretrained audio generative FM AudioLDM is adopted to produce high-fidelity and visually-aligned sound. Compared to previous approaches, our method only requires a quick training of the V2A-Mapper. We further analyze and conduct extensive experiments on the choice of the V2A-Mapper and show that a generative mapper is better at fidelity and variability (FD) while a regression mapper is slightly better at relevance (CS). Both objective and subjective evaluation on two V2A datasets demonstrate the superiority of our proposed method compared to current state-of-the-art approaches - trained with 86% fewer parameters but achieving 53% and 19% improvement in FD and CS, respectively.

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

Audio captioning aims to generate text descriptions from environmental sounds. One challenge of audio captioning is the difficulty of the generalization due to the lack of audio-text paired training data. In this work, we propose a simple yet effective method of dealing with small-scaled datasets by leveraging a pre-trained language model. We keep the language model frozen to maintain the expressivity for text generation, and we only learn to extract global and temporal features from the input audio. To bridge a modality gap between the audio features and the language model, we employ mapping networks that translate audio features to the continuous vectors the language model can understand, called prefixes. We evaluate our proposed method on the Clotho and AudioCaps dataset and show our method outperforms prior arts in diverse experimental settings.

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

Representing wild sounds as images is an important but challenging task due to the lack of paired datasets between sound and images and the significant differences in the characteristics of these two modalities. Previous studies have focused on generating images from sound in limited categories or music. In this paper, we propose a novel approach to generate images from in-the-wild sounds. First, we convert sound into text using audio captioning. Second, we propose audio attention and sentence attention to represent the rich characteristics of sound and visualize the sound. Lastly, we propose a direct sound optimization with CLIPscore and AudioCLIP and generate images with a diffusion-based model. In experiments, it shows that our model is able to generate high quality images from wild sounds and outperforms baselines in both quantitative and qualitative evaluations on wild audio datasets.

Research on multi-modal contrastive learning strategies for audio and text has rapidly gained interest. Contrastively trained Audio-Language Models (ALMs), such as CLAP, which establish a unified representation across audio and language modalities, have enhanced the efficacy in various subsequent tasks by providing good text aligned audio encoders and vice versa. These improvements are evident in areas like zero-shot audio classification and audio retrieval, among others. However, the ability of these models to understand natural language and temporal relations is still a largely unexplored and open field for research. In this paper, we propose to equip the multi-modal ALMs with temporal understanding without loosing their inherent prior capabilities of audio-language tasks with a temporal instillation method TeminAL. We implement a two-stage training scheme TeminAL A & B, where the model first learns to differentiate between multiple sounds in TeminAL A, followed by a phase that instills a sense of time, thereby enhancing its temporal understanding in TeminAL B. This approach results in an average performance gain of 5.28% in temporal understanding on the ESC-50 dataset, while the model remains competitive in zero-shot retrieval and classification tasks on the AudioCap/Clotho datasets. We also note the lack of proper evaluation techniques for contrastive ALMs and propose a strategy for evaluating ALMs in zero-shot settings. The general-purpose zero-shot model evaluation strategy ZSTE, is used to evaluate various prior models. ZSTE demonstrates a general strategy to evaluate all ZS contrastive models. The model trained with TeminAL successfully outperforms current models on most downstream tasks.

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

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

Autoregressive models are typically applied to sequences of discrete tokens, but recent research indicates that generating sequences of continuous embeddings in an autoregressive manner is also feasible. However, such Continuous Autoregressive Models (CAMs) can suffer from a decline in generation quality over extended sequences due to error accumulation during inference. We introduce a novel method to address this issue by injecting random noise into the input embeddings during training. This procedure makes the model robust against varying error levels at inference. We further reduce error accumulation through an inference procedure that introduces low-level noise. Experiments on musical audio generation show that CAM substantially outperforms existing autoregressive and non-autoregressive approaches while preserving audio quality over extended sequences. This work paves the way for generating continuous embeddings in a purely autoregressive setting, opening new possibilities for real-time and interactive generative applications.

This work explores whether language models encode meaningfully grounded representations of sounds of objects. We learn a linear probe that retrieves the correct text representation of an object given a snippet of audio related to that object, where the sound representation is given by a pretrained audio model. This probe is trained via a contrastive loss that pushes the language representations and sound representations of an object to be close to one another. After training, the probe is tested on its ability to generalize to objects that were not seen during training. Across different language models and audio models, we find that the probe generalization is above chance in many cases, indicating that despite being trained only on raw text, language models encode grounded knowledge of sounds for some objects.

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

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

Deep generative models 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.

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

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.

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

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.

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

Recent 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.

We show for the first time that learning powerful representations from speech audio alone followed by fine-tuning on transcribed speech can outperform the best semi-supervised methods while being conceptually simpler. wav2vec 2.0 masks the speech input in the latent space and solves a contrastive task defined over a quantization of the latent representations which are jointly learned. Experiments using all labeled data of Librispeech achieve 1.8/3.3 WER on the clean/other test sets. When lowering the amount of labeled data to one hour, wav2vec 2.0 outperforms the previous state of the art on the 100 hour subset while using 100 times less labeled data. Using just ten minutes of labeled data and pre-training on 53k hours of unlabeled data still achieves 4.8/8.2 WER. This demonstrates the feasibility of speech recognition with limited amounts of labeled data.

We present SoundStorm, a model for efficient, non-autoregressive audio generation. SoundStorm receives as input the semantic tokens of AudioLM, and relies on bidirectional attention and confidence-based parallel decoding to generate the tokens of a neural audio codec. Compared to the autoregressive generation approach of AudioLM, our model produces audio of the same quality and with higher consistency in voice and acoustic conditions, while being two orders of magnitude faster. SoundStorm generates 30 seconds of audio in 0.5 seconds on a TPU-v4. We demonstrate the ability of our model to scale audio generation to longer sequences by synthesizing high-quality, natural dialogue segments, given a transcript annotated with speaker turns and a short prompt with the speakers' voices.

Audio is an essential part of our life, but creating it often requires expertise and is time-consuming. Research communities have made great progress over the past year advancing the performance of large scale audio generative models for a single modality (speech, sound, or music) through adopting more powerful generative models and scaling data. However, these models lack controllability in several aspects: speech generation models cannot synthesize novel styles based on text description and are limited on domain coverage such as outdoor environments; sound generation models only provide coarse-grained control based on descriptions like "a person speaking" and would only generate mumbling human voices. This paper presents Audiobox, a unified model based on flow-matching that is capable of generating various audio modalities. We design description-based and example-based prompting to enhance controllability and unify speech and sound generation paradigms. We allow transcript, vocal, and other audio styles to be controlled independently when generating speech. To improve model generalization with limited labels, we adapt a self-supervised infilling objective to pre-train on large quantities of unlabeled audio. Audiobox sets new benchmarks on speech and sound generation (0.745 similarity on Librispeech for zero-shot TTS; 0.77 FAD on AudioCaps for text-to-sound) and unlocks new methods for generating audio with novel vocal and acoustic styles. We further integrate Bespoke Solvers, which speeds up generation by over 25 times compared to the default ODE solver for flow-matching, without loss of performance on several tasks. Our demo is available at https://audiobox.metademolab.com/

This paper introduces WaveNet, a deep neural network for generating raw audio waveforms. The model is fully probabilistic and autoregressive, with the predictive distribution for each audio sample conditioned on all previous ones; nonetheless we show that it can be efficiently trained on data with tens of thousands of samples per second of audio. When applied to text-to-speech, it yields state-of-the-art performance, with human listeners rating it as significantly more natural sounding than the best parametric and concatenative systems for both English and Mandarin. A single WaveNet can capture the characteristics of many different speakers with equal fidelity, and can switch between them by conditioning on the speaker identity. When trained to model music, we find that it generates novel and often highly realistic musical fragments. We also show that it can be employed as a discriminative model, returning promising results for phoneme recognition.

Recent advancements in audio tokenization have significantly enhanced the integration of audio capabilities into large language models (LLMs). However, audio understanding and generation are often treated as distinct tasks, hindering the development of truly unified audio-language models. While instruction tuning has demonstrated remarkable success in improving generalization and zero-shot learning across text and vision, its application to audio remains largely unexplored. A major obstacle is the lack of comprehensive datasets that unify audio understanding and generation. To address this, we introduce Audio-FLAN, a large-scale instruction-tuning dataset covering 80 diverse tasks across speech, music, and sound domains, with over 100 million instances. Audio-FLAN lays the foundation for unified audio-language models that can seamlessly handle both understanding (e.g., transcription, comprehension) and generation (e.g., speech, music, sound) tasks across a wide range of audio domains in a zero-shot manner. The Audio-FLAN dataset is available on HuggingFace and GitHub and will be continuously updated.

In traditional audio captioning methods, a model is usually trained in a fully supervised manner using a human-annotated dataset containing audio-text pairs and then evaluated on the test sets from the same dataset. Such methods have two limitations. First, these methods are often data-hungry and require time-consuming and expensive human annotations to obtain audio-text pairs. Second, these models often suffer from performance degradation in cross-domain scenarios, i.e., when the input audio comes from a different domain than the training set, which, however, has received little attention. We propose an effective audio captioning method based on the contrastive language-audio pre-training (CLAP) model to address these issues. Our proposed method requires only textual data for training, enabling the model to generate text from the textual feature in the cross-modal semantic space.In the inference stage, the model generates the descriptive text for the given audio from the audio feature by leveraging the audio-text alignment from CLAP.We devise two strategies to mitigate the discrepancy between text and audio embeddings: a mixed-augmentation-based soft prompt and a retrieval-based acoustic-aware hard prompt. These approaches are designed to enhance the generalization performance of our proposed model, facilitating the model to generate captions more robustly and accurately. Extensive experiments on AudioCaps and Clotho benchmarks show the effectiveness of our proposed method, which outperforms other zero-shot audio captioning approaches for in-domain scenarios and outperforms the compared methods for cross-domain scenarios, underscoring the generalization ability of our method.

We propose WHISPER-GPT: A generative large language model (LLM) for speech and music that allows us to work with continuous audio representations and discrete tokens simultaneously as part of a single architecture. There has been a huge surge in generative audio, speech, and music models that utilize discrete audio tokens derived from neural compression algorithms, e.g. ENCODEC. However, one of the major drawbacks of this approach is handling the context length. It blows up for high-fidelity generative architecture if one has to account for all the audio contents at various frequencies for the next token prediction. By combining continuous audio representation like the spectrogram and discrete acoustic tokens, we retain the best of both worlds: Have all the information needed from the audio at a specific time instance in a single token, yet allow LLM to predict the future token to allow for sampling and other benefits discrete space provides. We show how our architecture improves the perplexity and negative log-likelihood scores for the next token prediction compared to a token-based LLM for speech and music.

Generative multimodal content is increasingly prevalent in much of the content creation arena, as it has the potential to allow artists and media personnel to create pre-production mockups by quickly bringing their ideas to life. The generation of audio from text prompts is an important aspect of such processes in the music and film industry. Many of the recent diffusion-based text-to-audio models focus on training increasingly sophisticated diffusion models on a large set of datasets of prompt-audio pairs. These models do not explicitly focus on the presence of concepts or events and their temporal ordering in the output audio with respect to the input prompt. Our hypothesis is focusing on how these aspects of audio generation could improve audio generation performance in the presence of limited data. As such, in this work, using an existing text-to-audio model Tango, we synthetically create a preference dataset where each prompt has a winner audio output and some loser audio outputs for the diffusion model to learn from. The loser outputs, in theory, have some concepts from the prompt missing or in an incorrect order. We fine-tune the publicly available Tango text-to-audio model using diffusion-DPO (direct preference optimization) loss on our preference dataset and show that it leads to improved audio output over Tango and AudioLDM2, in terms of both automatic- and manual-evaluation metrics.

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

Most of existing audio fingerprinting systems have limitations to be used for high-specific audio retrieval at scale. In this work, we generate a low-dimensional representation from a short unit segment of audio, and couple this fingerprint with a fast maximum inner-product search. To this end, we present a contrastive learning framework that derives from the segment-level search objective. Each update in training uses a batch consisting of a set of pseudo labels, randomly selected original samples, and their augmented replicas. These replicas can simulate the degrading effects on original audio signals by applying small time offsets and various types of distortions, such as background noise and room/microphone impulse responses. In the segment-level search task, where the conventional audio fingerprinting systems used to fail, our system using 10x smaller storage has shown promising results. Our code and dataset are available at https://mimbres.github.io/neural-audio-fp/.

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

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

The AI community has made significant strides in developing powerful foundation models, driven by large-scale multimodal datasets. However, in the audio representation learning community, the present audio-language datasets suffer from limitations such as insufficient volume, simplistic content, and arduous collection procedures. To tackle these challenges, we present an innovative and automatic audio caption generation pipeline based on a series of public tools or APIs, and construct a large-scale, high-quality, audio-language dataset, named as Auto-ACD, comprising over 1.9M audio-text pairs. To demonstrate the effectiveness of the proposed dataset, we train popular models on our dataset and show performance improvement on various downstream tasks, namely, audio-language retrieval, audio captioning, environment classification. In addition, we establish a novel test set and provide a benchmark for audio-text tasks. The proposed dataset will be released at https://auto-acd.github.io/.

This paper presents VoiceLDM, a model designed to produce audio that accurately follows two distinct natural language text prompts: the description prompt and the content prompt. The former provides information about the overall environmental context of the audio, while the latter conveys the linguistic content. To achieve this, we adopt a text-to-audio (TTA) model based on latent diffusion models and extend its functionality to incorporate an additional content prompt as a conditional input. By utilizing pretrained contrastive language-audio pretraining (CLAP) and Whisper, VoiceLDM is trained on large amounts of real-world audio without manual annotations or transcriptions. Additionally, we employ dual classifier-free guidance to further enhance the controllability of VoiceLDM. Experimental results demonstrate that VoiceLDM is capable of generating plausible audio that aligns well with both input conditions, even surpassing the speech intelligibility of the ground truth audio on the AudioCaps test set. Furthermore, we explore the text-to-speech (TTS) and zero-shot text-to-audio capabilities of VoiceLDM and show that it achieves competitive results. Demos and code are available at https://voiceldm.github.io.

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

Although audio generation shares commonalities across different types of audio, such as speech, music, and sound effects, designing models for each type requires careful consideration of specific objectives and biases that can significantly differ from those of other types. To bring us closer to a unified perspective of audio generation, this paper proposes a framework that utilizes the same learning method for speech, music, and sound effect generation. Our framework introduces a general representation of audio, called language of audio (LOA). Any audio can be translated into LOA based on AudioMAE, a self-supervised pre-trained representation learning model. In the generation process, we translate any modalities into LOA by using a GPT-2 model, and we perform self-supervised audio generation learning with a latent diffusion model conditioned on LOA. The proposed framework naturally brings advantages such as in-context learning abilities and reusable self-supervised pretrained AudioMAE and latent diffusion models. Experiments on the major benchmarks of text-to-audio, text-to-music, and text-to-speech demonstrate new state-of-the-art or competitive performance to previous approaches. Our demo and code are available at https://audioldm.github.io/audioldm2.

In this study, we present a simple multi-channel framework for contrastive learning (MC-SimCLR) to encode 'what' and 'where' of spatial audios. MC-SimCLR learns joint spectral and spatial representations from unlabeled spatial audios, thereby enhancing both event classification and sound localization in downstream tasks. At its core, we propose a multi-level data augmentation pipeline that augments different levels of audio features, including waveforms, Mel spectrograms, and generalized cross-correlation (GCC) features. In addition, we introduce simple yet effective channel-wise augmentation methods to randomly swap the order of the microphones and mask Mel and GCC channels. By using these augmentations, we find that linear layers on top of the learned representation significantly outperform supervised models in terms of both event classification accuracy and localization error. We also perform a comprehensive analysis of the effect of each augmentation method and a comparison of the fine-tuning performance using different amounts of labeled data.

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

We propose vq-wav2vec to learn discrete representations of audio segments through a wav2vec-style self-supervised context prediction task. The algorithm uses either a gumbel softmax or online k-means clustering to quantize the dense representations. Discretization enables the direct application of algorithms from the NLP community which require discrete inputs. Experiments show that BERT pre-training achieves a new state of the art on TIMIT phoneme classification and WSJ speech recognition.

Augmenting large language models (LLMs) to understand audio -- including non-speech sounds and non-verbal speech -- is critically important for diverse real-world applications of LLMs. In this paper, we propose Audio Flamingo, a novel audio language model with 1) strong audio understanding abilities, 2) the ability to quickly adapt to unseen tasks via in-context learning and retrieval, and 3) strong multi-turn dialogue abilities. We introduce a series of training techniques, architecture design, and data strategies to enhance our model with these abilities. Extensive evaluations across various audio understanding tasks confirm the efficacy of our method, setting new state-of-the-art benchmarks.

Despite significant advancements in neural text-to-audio generation, challenges persist in controllability and evaluation. This paper addresses these issues through the Sound Scene Synthesis challenge held as part of the Detection and Classification of Acoustic Scenes and Events 2024. We present an evaluation protocol combining objective metric, namely Fr\'echet Audio Distance, with perceptual assessments, utilizing a structured prompt format to enable diverse captions and effective evaluation. Our analysis reveals varying performance across sound categories and model architectures, with larger models generally excelling but innovative lightweight approaches also showing promise. The strong correlation between objective metrics and human ratings validates our evaluation approach. We discuss outcomes in terms of audio quality, controllability, and architectural considerations for text-to-audio synthesizers, providing direction for future research.

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

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.

Recent advancements in audio generation have enabled the creation of high-fidelity audio clips from free-form textual descriptions. However, temporal relationships, a critical feature for audio content, are currently underrepresented in mainstream models, resulting in an imprecise temporal controllability. Specifically, users cannot accurately control the timestamps of sound events using free-form text. We acknowledge that a significant factor is the absence of high-quality, temporally-aligned audio-text datasets, which are essential for training models with temporal control. The more temporally-aligned the annotations, the better the models can understand the precise relationship between audio outputs and temporal textual prompts. Therefore, we present a strongly aligned audio-text dataset, AudioTime. It provides text annotations rich in temporal information such as timestamps, duration, frequency, and ordering, covering almost all aspects of temporal control. Additionally, we offer a comprehensive test set and evaluation metric to assess the temporal control performance of various models. Examples are available on the https://zeyuxie29.github.io/AudioTime/

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

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

In the past, the rapidly evolving field of sound classification greatly benefited from the application of methods from other domains. Today, we observe the trend to fuse domain-specific tasks and approaches together, which provides the community with new outstanding models. In this work, we present an extension of the CLIP model that handles audio in addition to text and images. Our proposed model incorporates the ESResNeXt audio-model into the CLIP framework using the AudioSet dataset. Such a combination enables the proposed model to perform bimodal and unimodal classification and querying, while keeping CLIP's ability to generalize to unseen datasets in a zero-shot inference fashion. AudioCLIP achieves new state-of-the-art results in the Environmental Sound Classification (ESC) task, out-performing other approaches by reaching accuracies of 90.07% on the UrbanSound8K and 97.15% on the ESC-50 datasets. Further it sets new baselines in the zero-shot ESC-task on the same datasets (68.78% and 69.40%, respectively). Finally, we also assess the cross-modal querying performance of the proposed model as well as the influence of full and partial training on the results. For the sake of reproducibility, our code is published.

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

Self supervised representation learning has recently attracted a lot of research interest for both the audio and visual modalities. However, most works typically focus on a particular modality or feature alone and there has been very limited work that studies the interaction between the two modalities for learning self supervised representations. We propose a framework for learning audio representations guided by the visual modality in the context of audiovisual speech. We employ a generative audio-to-video training scheme in which we animate a still image corresponding to a given audio clip and optimize the generated video to be as close as possible to the real video of the speech segment. Through this process, the audio encoder network learns useful speech representations that we evaluate on emotion recognition and speech recognition. We achieve state of the art results for emotion recognition and competitive results for speech recognition. This demonstrates the potential of visual supervision for learning audio representations as a novel way for self-supervised learning which has not been explored in the past. The proposed unsupervised audio features can leverage a virtually unlimited amount of training data of unlabelled audiovisual speech and have a large number of potentially promising applications.

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

In this paper, we work on a sound recognition system that continually incorporates new sound classes. Our main goal is to develop a framework where the model can be updated without relying on labeled data. For this purpose, we propose adopting representation learning, where an encoder is trained using unlabeled data. This learning framework enables the study and implementation of a practically relevant use case where only a small amount of the labels is available in a continual learning context. We also make the empirical observation that a similarity-based representation learning method within this framework is robust to forgetting even if no explicit mechanism against forgetting is employed. We show that this approach obtains similar performance compared to several distillation-based continual learning methods when employed on self-supervised representation learning methods.

In recent years, large language models have achieved significant success in generative tasks (e.g., speech cloning and audio generation) related to speech, audio, music, and other signal domains. A crucial element of these models is the discrete acoustic codecs, which serves as an intermediate representation replacing the mel-spectrogram. However, there exist several gaps between discrete codecs and downstream speech language models. Specifically, 1) most codec models are trained on only 1,000 hours of data, whereas most speech language models are trained on 60,000 hours; 2) Achieving good reconstruction performance requires the utilization of numerous codebooks, which increases the burden on downstream speech language models; 3) The initial channel of the codebooks contains excessive information, making it challenging to directly generate acoustic tokens from weakly supervised signals such as text in downstream tasks. Consequently, leveraging the characteristics of speech language models, we propose Language-Codec. In the Language-Codec, we introduce a Mask Channel Residual Vector Quantization (MCRVQ) mechanism along with improved Fourier transform structures and larger training datasets to address the aforementioned gaps. We compare our method with competing audio compression algorithms and observe significant outperformance across extensive evaluations. Furthermore, we also validate the efficiency of the Language-Codec on downstream speech language models. The source code and pre-trained models can be accessed at https://github.com/jishengpeng/languagecodec .

Recent work has explored sequence-to-sequence latent variable models for expressive speech synthesis (supporting control and transfer of prosody and style), but has not presented a coherent framework for understanding the trade-offs between the competing methods. In this paper, we propose embedding capacity (the amount of information the embedding contains about the data) as a unified method of analyzing the behavior of latent variable models of speech, comparing existing heuristic (non-variational) methods to variational methods that are able to explicitly constrain capacity using an upper bound on representational mutual information. In our proposed model (Capacitron), we show that by adding conditional dependencies to the variational posterior such that it matches the form of the true posterior, the same model can be used for high-precision prosody transfer, text-agnostic style transfer, and generation of natural-sounding prior samples. For multi-speaker models, Capacitron is able to preserve target speaker identity during inter-speaker prosody transfer and when drawing samples from the latent prior. Lastly, we introduce a method for decomposing embedding capacity hierarchically across two sets of latents, allowing a portion of the latent variability to be specified and the remaining variability sampled from a learned prior. Audio examples are available on the web.

Linking sheet music images to audio recordings remains a key problem for the development of efficient cross-modal music retrieval systems. One of the fundamental approaches toward this task is to learn a cross-modal embedding space via deep neural networks that is able to connect short snippets of audio and sheet music. However, the scarcity of annotated data from real musical content affects the capability of such methods to generalize to real retrieval scenarios. In this work, we investigate whether we can mitigate this limitation with self-supervised contrastive learning, by exposing a network to a large amount of real music data as a pre-training step, by contrasting randomly augmented views of snippets of both modalities, namely audio and sheet images. Through a number of experiments on synthetic and real piano data, we show that pre-trained models are able to retrieve snippets with better precision in all scenarios and pre-training configurations. Encouraged by these results, we employ the snippet embeddings in the higher-level task of cross-modal piece identification and conduct more experiments on several retrieval configurations. In this task, we observe that the retrieval quality improves from 30% up to 100% when real music data is present. We then conclude by arguing for the potential of self-supervised contrastive learning for alleviating the annotated data scarcity in multi-modal music retrieval models.

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

Playlists have become a significant part of our listening experience because of the digital cloud-based services such as Spotify, Pandora, Apple Music. Owing to the meteoric rise in the usage of playlists, recommending playlists is crucial to music services today. Although there has been a lot of work done in playlist prediction, the area of playlist representation hasn't received that level of attention. Over the last few years, sequence-to-sequence models, especially in the field of natural language processing, have shown the effectiveness of learned embeddings in capturing the semantic characteristics of sequences. We can apply similar concepts to music to learn fixed length representations for playlists and use those representations for downstream tasks such as playlist discovery, browsing, and recommendation. In this work, we formulate the problem of learning a fixed-length playlist representation in an unsupervised manner, using Sequence-to-sequence (Seq2seq) models, interpreting playlists as sentences and songs as words. We compare our model with two other encoding architectures for baseline comparison. We evaluate our work using the suite of tasks commonly used for assessing sentence embeddings, along with a few additional tasks pertaining to music, and a recommendation task to study the traits captured by the playlist embeddings and their effectiveness for the purpose of music recommendation.

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

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

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

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

Efficient audio representations in a compressed continuous latent space are critical for generative audio modeling and Music Information Retrieval (MIR) tasks. However, some existing audio autoencoders have limitations, such as multi-stage training procedures, slow iterative sampling, or low reconstruction quality. We introduce Music2Latent, an audio autoencoder that overcomes these limitations by leveraging consistency models. Music2Latent encodes samples into a compressed continuous latent space in a single end-to-end training process while enabling high-fidelity single-step reconstruction. Key innovations include conditioning the consistency model on upsampled encoder outputs at all levels through cross connections, using frequency-wise self-attention to capture long-range frequency dependencies, and employing frequency-wise learned scaling to handle varying value distributions across frequencies at different noise levels. We demonstrate that Music2Latent outperforms existing continuous audio autoencoders in sound quality and reconstruction accuracy while achieving competitive performance on downstream MIR tasks using its latent representations. To our knowledge, this represents the first successful attempt at training an end-to-end consistency autoencoder model.

Inspired by the recent progress in self-supervised learning for computer vision that generates supervision using data augmentations, we explore a new general-purpose audio representation learning approach. We propose learning general-purpose audio representation from a single audio segment without expecting relationships between different time segments of audio samples. To implement this principle, we introduce Bootstrap Your Own Latent (BYOL) for Audio (BYOL-A, pronounced "viola"), an audio self-supervised learning method based on BYOL for learning general-purpose audio representation. Unlike most previous audio self-supervised learning methods that rely on agreement of vicinity audio segments or disagreement of remote ones, BYOL-A creates contrasts in an augmented audio segment pair derived from a single audio segment. With a combination of normalization and augmentation techniques, BYOL-A achieves state-of-the-art results in various downstream tasks. Extensive ablation studies also clarified the contribution of each component and their combinations.

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

Recent advances in neural text-to-speech research have been dominated by two-stage pipelines utilizing low-level intermediate speech representation such as mel-spectrograms. However, such predetermined features are fundamentally limited, because they do not allow to exploit the full potential of a data-driven approach through learning hidden representations. For this reason, several end-to-end methods have been proposed. However, such models are harder to train and require a large number of high-quality recordings with transcriptions. Here, we propose WavThruVec - a two-stage architecture that resolves the bottleneck by using high-dimensional Wav2Vec 2.0 embeddings as intermediate speech representation. Since these hidden activations provide high-level linguistic features, they are more robust to noise. That allows us to utilize annotated speech datasets of a lower quality to train the first-stage module. At the same time, the second-stage component can be trained on large-scale untranscribed audio corpora, as Wav2Vec 2.0 embeddings are already time-aligned. This results in an increased generalization capability to out-of-vocabulary words, as well as to a better generalization to unseen speakers. We show that the proposed model not only matches the quality of state-of-the-art neural models, but also presents useful properties enabling tasks like voice conversion or zero-shot synthesis.

Our goal is to collect a large-scale audio-visual dataset with low label noise from videos in the wild using computer vision techniques. The resulting dataset can be used for training and evaluating audio recognition models. We make three contributions. First, we propose a scalable pipeline based on computer vision techniques to create an audio dataset from open-source media. Our pipeline involves obtaining videos from YouTube; using image classification algorithms to localize audio-visual correspondence; and filtering out ambient noise using audio verification. Second, we use this pipeline to curate the VGGSound dataset consisting of more than 210k videos for 310 audio classes. Third, we investigate various Convolutional Neural Network~(CNN) architectures and aggregation approaches to establish audio recognition baselines for our new dataset. Compared to existing audio datasets, VGGSound ensures audio-visual correspondence and is collected under unconstrained conditions. Code and the dataset are available at http://www.robots.ox.ac.uk/~vgg/data/vggsound/

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

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

Contrastive language-audio pretraining~(CLAP) has been developed to align the representations of audio and language, achieving remarkable performance in retrieval and classification tasks. However, current CLAP struggles to capture temporal information within audio and text features, presenting substantial limitations for tasks such as audio retrieval and generation. To address this gap, we introduce T-CLAP, a temporal-enhanced CLAP model. We use Large Language Models~(LLMs) and mixed-up strategies to generate temporal-contrastive captions for audio clips from extensive audio-text datasets. Subsequently, a new temporal-focused contrastive loss is designed to fine-tune the CLAP model by incorporating these synthetic data. We conduct comprehensive experiments and analysis in multiple downstream tasks. T-CLAP shows improved capability in capturing the temporal relationship of sound events and outperforms state-of-the-art models by a significant margin.

Music has a unique and complex structure which is challenging for both expert humans and existing AI systems to understand, and presents unique challenges relative to other forms of audio. We present LLark, an instruction-tuned multimodal model for music understanding. We detail our process for dataset creation, which involves augmenting the annotations of diverse open-source music datasets and converting them to a unified instruction-tuning format. We propose a multimodal architecture for LLark, integrating a pretrained generative model for music with a pretrained language model. In evaluations on three types of tasks (music understanding, captioning, and reasoning), we show that our model matches or outperforms existing baselines in zero-shot generalization for music understanding, and that humans show a high degree of agreement with the model's responses in captioning and reasoning tasks. LLark is trained entirely from open-source music data and models, and we make our training code available along with the release of this paper. Additional results and audio examples are at https://bit.ly/llark, and our source code is available at https://github.com/spotify-research/llark .

We introduce PixelPlayer, a system that, by leveraging large amounts of unlabeled videos, learns to locate image regions which produce sounds and separate the input sounds into a set of components that represents the sound from each pixel. Our approach capitalizes on the natural synchronization of the visual and audio modalities to learn models that jointly parse sounds and images, without requiring additional manual supervision. Experimental results on a newly collected MUSIC dataset show that our proposed Mix-and-Separate framework outperforms several baselines on source separation. Qualitative results suggest our model learns to ground sounds in vision, enabling applications such as independently adjusting the volume of sound sources.

Lyrics alignment gained considerable attention in recent years. State-of-the-art systems either re-use established speech recognition toolkits, or design end-to-end solutions involving a Connectionist Temporal Classification (CTC) loss. However, both approaches suffer from specific weaknesses: toolkits are known for their complexity, and CTC systems use a loss designed for transcription which can limit alignment accuracy. In this paper, we use instead a contrastive learning procedure that derives cross-modal embeddings linking the audio and text domains. This way, we obtain a novel system that is simple to train end-to-end, can make use of weakly annotated training data, jointly learns a powerful text model, and is tailored to alignment. The system is not only the first to yield an average absolute error below 0.2 seconds on the standard Jamendo dataset but it is also robust to other languages, even when trained on English data only. Finally, we release word-level alignments for the JamendoLyrics Multi-Lang dataset.

We examine the text-free speech representations of raw audio obtained from a self-supervised learning (SSL) model by analyzing the synthesized speech using the SSL representations instead of conventional text representations. Since raw audio does not have paired speech representations as transcribed texts do, obtaining speech representations from unpaired speech is crucial for augmenting available datasets for speech synthesis. Specifically, the proposed speech synthesis is conducted using discrete symbol representations from the SSL model in comparison with text representations, and analytical examinations of the synthesized speech have been carried out. The results empirically show that using text representations is advantageous for preserving semantic information, while using discrete symbol representations is superior for preserving acoustic content, including prosodic and intonational information.

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

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

Recent research has demonstrated impressive results in video-to-speech synthesis which involves reconstructing speech solely from visual input. However, previous works have struggled to accurately synthesize speech due to a lack of sufficient guidance for the model to infer the correct content with the appropriate sound. To resolve the issue, they have adopted an extra speaker embedding as a speaking style guidance from a reference auditory information. Nevertheless, it is not always possible to obtain the audio information from the corresponding video input, especially during the inference time. In this paper, we present a novel vision-guided speaker embedding extractor using a self-supervised pre-trained model and prompt tuning technique. In doing so, the rich speaker embedding information can be produced solely from input visual information, and the extra audio information is not necessary during the inference time. Using the extracted vision-guided speaker embedding representations, we further develop a diffusion-based video-to-speech synthesis model, so called DiffV2S, conditioned on those speaker embeddings and the visual representation extracted from the input video. The proposed DiffV2S not only maintains phoneme details contained in the input video frames, but also creates a highly intelligible mel-spectrogram in which the speaker identities of the multiple speakers are all preserved. Our experimental results show that DiffV2S achieves the state-of-the-art performance compared to the previous video-to-speech synthesis technique.

Word embedding has become an essential means for text-based information retrieval. Typically, word embeddings are learned from large quantities of general and unstructured text data. However, in the domain of music, the word embedding may have difficulty understanding musical contexts or recognizing music-related entities like artists and tracks. To address this issue, we propose a new approach called Musical Word Embedding (MWE), which involves learning from various types of texts, including both everyday and music-related vocabulary. We integrate MWE into an audio-word joint representation framework for tagging and retrieving music, using words like tag, artist, and track that have different levels of musical specificity. Our experiments show that using a more specific musical word like track results in better retrieval performance, while using a less specific term like tag leads to better tagging performance. To balance this compromise, we suggest multi-prototype training that uses words with different levels of musical specificity jointly. We evaluate both word embedding and audio-word joint embedding on four tasks (tag rank prediction, music tagging, query-by-tag, and query-by-track) across two datasets (Million Song Dataset and MTG-Jamendo). Our findings show that the suggested MWE is more efficient and robust than the conventional word embedding.

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

With the emergence of audio-language models, constructing large-scale paired audio-language datasets has become essential yet challenging for model development, primarily due to the time-intensive and labour-heavy demands involved. While large language models (LLMs) have improved the efficiency of synthetic audio caption generation, current approaches struggle to effectively extract and incorporate detailed audio information. In this paper, we propose an automated pipeline that integrates audio-language models for fine-grained content extraction, LLMs for synthetic caption generation, and a contrastive language-audio pretraining (CLAP) model-based refinement process to improve the quality of captions. Specifically, we employ prompt chaining techniques in the content extraction stage to obtain accurate and fine-grained audio information, while we use the refinement process to mitigate potential hallucinations in the generated captions. Leveraging the AudioSet dataset and the proposed approach, we create AudioSetCaps, a dataset comprising 1.9 million audio-caption pairs, the largest audio-caption dataset at the time of writing. The models trained with AudioSetCaps achieve state-of-the-art performance on audio-text retrieval with R@1 scores of 46.3% for text-to-audio and 59.7% for audio-to-text retrieval and automated audio captioning with the CIDEr score of 84.8. As our approach has shown promising results with AudioSetCaps, we create another dataset containing 4.1 million synthetic audio-language pairs based on the Youtube-8M and VGGSound datasets. To facilitate research in audio-language learning, we have made our pipeline, datasets with 6 million audio-language pairs, and pre-trained models publicly available at https://github.com/JishengBai/AudioSetCaps.

Large language models (LLMs) have significantly advanced audio processing through audio codecs that convert audio into discrete tokens, enabling the application of language modelling techniques to audio data. However, traditional codecs often operate at high bitrates or within narrow domains such as speech and lack the semantic clues required for efficient language modelling. Addressing these challenges, we introduce SemantiCodec, a novel codec designed to compress audio into fewer than a hundred tokens per second across diverse audio types, including speech, general audio, and music, without compromising quality. SemantiCodec features a dual-encoder architecture: a semantic encoder using a self-supervised AudioMAE, discretized using k-means clustering on extensive audio data, and an acoustic encoder to capture the remaining details. The semantic and acoustic encoder outputs are used to reconstruct audio via a diffusion-model-based decoder. SemantiCodec is presented in three variants with token rates of 25, 50, and 100 per second, supporting a range of ultra-low bit rates between 0.31 kbps and 1.43 kbps. Experimental results demonstrate that SemantiCodec significantly outperforms the state-of-the-art Descript codec on reconstruction quality. Our results also suggest that SemantiCodec contains significantly richer semantic information than all evaluated audio codecs, even at significantly lower bitrates. Our code and demos are available at https://haoheliu.github.io/SemantiCodec/.

Generative adversarial networks have seen rapid development in recent years and have led to remarkable improvements in generative modelling of images. However, their application in the audio domain has received limited attention, and autoregressive models, such as WaveNet, remain the state of the art in generative modelling of audio signals such as human speech. To address this paucity, we introduce GAN-TTS, a Generative Adversarial Network for Text-to-Speech. Our architecture is composed of a conditional feed-forward generator producing raw speech audio, and an ensemble of discriminators which operate on random windows of different sizes. The discriminators analyse the audio both in terms of general realism, as well as how well the audio corresponds to the utterance that should be pronounced. To measure the performance of GAN-TTS, we employ both subjective human evaluation (MOS - Mean Opinion Score), as well as novel quantitative metrics (Fr\'echet DeepSpeech Distance and Kernel DeepSpeech Distance), which we find to be well correlated with MOS. We show that GAN-TTS is capable of generating high-fidelity speech with naturalness comparable to the state-of-the-art models, and unlike autoregressive models, it is highly parallelisable thanks to an efficient feed-forward generator. Listen to GAN-TTS reading this abstract at https://storage.googleapis.com/deepmind-media/research/abstract.wav.

Automated Audio Captioning (AAC) aims to generate natural textual descriptions for input audio signals. Recent progress in audio pre-trained models and large language models (LLMs) has significantly enhanced audio understanding and textual reasoning capabilities, making improvements in AAC possible. In this paper, we propose SLAM-AAC to further enhance AAC with paraphrasing augmentation and CLAP-Refine through LLMs. Our approach uses the self-supervised EAT model to extract fine-grained audio representations, which are then aligned with textual embeddings via lightweight linear layers. The caption generation LLM is efficiently fine-tuned using the LoRA adapter. Drawing inspiration from the back-translation method in machine translation, we implement paraphrasing augmentation to expand the Clotho dataset during pre-training. This strategy helps alleviate the limitation of scarce audio-text pairs and generates more diverse captions from a small set of audio clips. During inference, we introduce the plug-and-play CLAP-Refine strategy to fully exploit multiple decoding outputs, akin to the n-best rescoring strategy in speech recognition. Using the CLAP model for audio-text similarity calculation, we could select the textual descriptions generated by multiple searching beams that best match the input audio. Experimental results show that SLAM-AAC achieves state-of-the-art performance on Clotho V2 and AudioCaps, surpassing previous mainstream 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.

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

Humans do not acquire perceptual abilities in the way we train machines. While machine learning algorithms typically operate on large collections of randomly-chosen, explicitly-labeled examples, human acquisition relies more heavily on multimodal unsupervised learning (as infants) and active learning (as children). With this motivation, we present a learning framework for sound representation and recognition that combines (i) a self-supervised objective based on a general notion of unimodal and cross-modal coincidence, (ii) a clustering objective that reflects our need to impose categorical structure on our experiences, and (iii) a cluster-based active learning procedure that solicits targeted weak supervision to consolidate categories into relevant semantic classes. By training a combined sound embedding/clustering/classification network according to these criteria, we achieve a new state-of-the-art unsupervised audio representation and demonstrate up to a 20-fold reduction in the number of labels required to reach a desired classification performance.

Although supervised deep learning has revolutionized speech and audio processing, it has necessitated the building of specialist models for individual tasks and application scenarios. It is likewise difficult to apply this to dialects and languages for which only limited labeled data is available. Self-supervised representation learning methods promise a single universal model that would benefit a wide variety of tasks and domains. Such methods have shown success in natural language processing and computer vision domains, achieving new levels of performance while reducing the number of labels required for many downstream scenarios. Speech representation learning is experiencing similar progress in three main categories: generative, contrastive, and predictive methods. Other approaches rely on multi-modal data for pre-training, mixing text or visual data streams with speech. Although self-supervised speech representation is still a nascent research area, it is closely related to acoustic word embedding and learning with zero lexical resources, both of which have seen active research for many years. This review presents approaches for self-supervised speech representation learning and their connection to other research areas. Since many current methods focus solely on automatic speech recognition as a downstream task, we review recent efforts on benchmarking learned representations to extend the application beyond speech recognition.

State-of-the-art speaker verification systems are inherently dependent on some kind of human supervision as they are trained on massive amounts of labeled data. However, manually annotating utterances is slow, expensive and not scalable to the amount of data available today. In this study, we explore self-supervised learning for speaker verification by learning representations directly from raw audio. The objective is to produce robust speaker embeddings that have small intra-speaker and large inter-speaker variance. Our approach is based on recent information maximization learning frameworks and an intensive data augmentation pre-processing step. We evaluate the ability of these methods to work without contrastive samples before showing that they achieve better performance when combined with a contrastive loss. Furthermore, we conduct experiments to show that our method reaches competitive results compared to existing techniques and can get better performances compared to a supervised baseline when fine-tuned with a small portion of labeled data.

Deep learning approaches for black-box modelling of audio effects have shown promise, however, the majority of existing work focuses on nonlinear effects with behaviour on relatively short time-scales, such as guitar amplifiers and distortion. While recurrent and convolutional architectures can theoretically be extended to capture behaviour at longer time scales, we show that simply scaling the width, depth, or dilation factor of existing architectures does not result in satisfactory performance when modelling audio effects such as fuzz and dynamic range compression. To address this, we propose the integration of time-varying feature-wise linear modulation into existing temporal convolutional backbones, an approach that enables learnable adaptation of the intermediate activations. We demonstrate that our approach more accurately captures long-range dependencies for a range of fuzz and compressor implementations across both time and frequency domain metrics. We provide sound examples, source code, and pretrained models to faciliate reproducibility.

Many applications of cross-modal music retrieval are related to connecting sheet music images to audio recordings. A typical and recent approach to this is to learn, via deep neural networks, a joint embedding space that correlates short fixed-size snippets of audio and sheet music by means of an appropriate similarity structure. However, two challenges that arise out of this strategy are the requirement of strongly aligned data to train the networks, and the inherent discrepancies of musical content between audio and sheet music snippets caused by local and global tempo differences. In this paper, we address these two shortcomings by designing a cross-modal recurrent network that learns joint embeddings that can summarize longer passages of corresponding audio and sheet music. The benefits of our method are that it only requires weakly aligned audio-sheet music pairs, as well as that the recurrent network handles the non-linearities caused by tempo variations between audio and sheet music. We conduct a number of experiments on synthetic and real piano data and scores, showing that our proposed recurrent method leads to more accurate retrieval in all possible configurations.

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

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.

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

Applications of deep learning for audio effects often focus on modeling analog effects or learning to control effects to emulate a trained audio engineer. However, deep learning approaches also have the potential to expand creativity through neural audio effects that enable new sound transformations. While recent work demonstrated that neural networks with random weights produce compelling audio effects, control of these effects is limited and unintuitive. To address this, we introduce a method for the steerable discovery of neural audio effects. This method enables the design of effects using example recordings provided by the user. We demonstrate how this method produces an effect similar to the target effect, along with interesting inaccuracies, while also providing perceptually relevant controls.

Large diffusion models have been successful in text-to-audio (T2A) synthesis tasks, but they often suffer from common issues such as semantic misalignment and poor temporal consistency due to limited natural language understanding and data scarcity. Additionally, 2D spatial structures widely used in T2A works lead to unsatisfactory audio quality when generating variable-length audio samples since they do not adequately prioritize temporal information. To address these challenges, we propose Make-an-Audio 2, a latent diffusion-based T2A method that builds on the success of Make-an-Audio. Our approach includes several techniques to improve semantic alignment and temporal consistency: Firstly, we use pre-trained large language models (LLMs) to parse the text into structured <event & order> pairs for better temporal information capture. We also introduce another structured-text encoder to aid in learning semantic alignment during the diffusion denoising process. To improve the performance of variable length generation and enhance the temporal information extraction, we design a feed-forward Transformer-based diffusion denoiser. Finally, we use LLMs to augment and transform a large amount of audio-label data into audio-text datasets to alleviate the problem of scarcity of temporal data. Extensive experiments show that our method outperforms baseline models in both objective and subjective metrics, and achieves significant gains in temporal information understanding, semantic consistency, and sound quality.

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.

Transformers have revolutionized deep learning across various tasks, including audio representation learning, due to their powerful modeling capabilities. However, they often suffer from quadratic complexity in both GPU memory usage and computational inference time, affecting their efficiency. Recently, state space models (SSMs) like Mamba have emerged as a promising alternative, offering a more efficient approach by avoiding these complexities. Given these advantages, we explore the potential of SSM-based models in audio tasks. In this paper, we introduce Self-Supervised Audio Mamba (SSAMBA), the first self-supervised, attention-free, and SSM-based model for audio representation learning. SSAMBA leverages the bidirectional Mamba to capture complex audio patterns effectively. We incorporate a self-supervised pretraining framework that optimizes both discriminative and generative objectives, enabling the model to learn robust audio representations from large-scale, unlabeled datasets. We evaluated SSAMBA on various tasks such as audio classification, keyword spotting, and speaker identification. Our results demonstrate that SSAMBA outperforms the Self-Supervised Audio Spectrogram Transformer (SSAST) in most tasks. Notably, SSAMBA is approximately 92.7% faster in batch inference speed and 95.4% more memory-efficient than SSAST for the tiny model size with an input token size of 22k. These efficiency gains, combined with superior performance, underscore the effectiveness of SSAMBA's architectural innovation, making it a compelling choice for a wide range of audio processing applications.

In language modeling based music generation, a generated waveform is represented by a sequence of hierarchical token stacks that can be decoded either in an auto-regressive manner or in parallel, depending on the codebook patterns. In particular, flattening the codebooks represents the highest quality decoding strategy, while being notoriously slow. To this end, we propose a novel stack-and-delay style of decoding strategy to improve upon the flat pattern decoding where generation speed is four times faster as opposed to vanilla flat decoding. This brings the inference time close to that of the delay decoding strategy, and allows for faster inference on GPU for small batch sizes. For the same inference efficiency budget as the delay pattern, we show that the proposed approach performs better in objective evaluations, almost closing the gap with the flat pattern in terms of quality. The results are corroborated by subjective evaluations which show that samples generated by the new model are slightly more often preferred to samples generated by the competing model given the same text prompts.

Text-to-audio generation (TTA) produces audio from a text description, learning from pairs of audio samples and hand-annotated text. However, commercializing audio generation is challenging as user-input prompts are often under-specified when compared to text descriptions used to train TTA models. In this work, we treat TTA models as a ``blackbox'' and address the user prompt challenge with two key insights: (1) User prompts are generally under-specified, leading to a large alignment gap between user prompts and training prompts. (2) There is a distribution of audio descriptions for which TTA models are better at generating higher quality audio, which we refer to as ``audionese''. To this end, we rewrite prompts with instruction-tuned models and propose utilizing text-audio alignment as feedback signals via margin ranking learning for audio improvements. On both objective and subjective human evaluations, we observed marked improvements in both text-audio alignment and music audio quality.

Neural text-to-speech (TTS) has achieved human-like synthetic speech for single-speaker, single-language synthesis. Multilingual TTS systems are limited to resource-rich languages due to the lack of large paired text and studio-quality audio data. In most cases, TTS systems are built using a single speaker's voice. However, there is growing interest in developing systems that can synthesize voices for new speakers using only a few seconds of their speech. This paper presents ZMM-TTS, a multilingual and multispeaker framework utilizing quantized latent speech representations from a large-scale, pre-trained, self-supervised model. Our paper is the first to incorporate the representations from text-based and speech-based self-supervised learning models into multilingual speech synthesis tasks. We conducted comprehensive subjective and objective evaluations through a series of experiments. Our model has been proven effective in terms of speech naturalness and similarity for both seen and unseen speakers in six high-resource languages. We also tested the efficiency of our method on two hypothetical low-resource languages. The results are promising, indicating that our proposed approach can synthesize audio that is intelligible and has a high degree of similarity to the target speaker's voice, even without any training data for the new, unseen language.

We propose using self-supervised discrete representations for the task of speech resynthesis. To generate disentangled representation, we separately extract low-bitrate representations for speech content, prosodic information, and speaker identity. This allows to synthesize speech in a controllable manner. We analyze various state-of-the-art, self-supervised representation learning methods and shed light on the advantages of each method while considering reconstruction quality and disentanglement properties. Specifically, we evaluate the F0 reconstruction, speaker identification performance (for both resynthesis and voice conversion), recordings' intelligibility, and overall quality using subjective human evaluation. Lastly, we demonstrate how these representations can be used for an ultra-lightweight speech codec. Using the obtained representations, we can get to a rate of 365 bits per second while providing better speech quality than the baseline methods. Audio samples can be found under the following link: speechbot.github.io/resynthesis.

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

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

A key function of auditory cognition is the association of characteristic sounds with their corresponding semantics over time. Humans attempting to discriminate between fine-grained audio categories, often replay the same discriminative sounds to increase their prediction confidence. We propose an end-to-end attention-based architecture that through selective repetition attends over the most discriminative sounds across the audio sequence. Our model initially uses the full audio sequence and iteratively refines the temporal segments replayed based on slot attention. At each playback, the selected segments are replayed using a smaller hop length which represents higher resolution features within these segments. We show that our method can consistently achieve state-of-the-art performance across three audio-classification benchmarks: AudioSet, VGG-Sound, and EPIC-KITCHENS-100.

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

Large language models (LLMs) prompted with text and audio represent the state of the art in various auditory tasks, including speech, music, and general audio, showing emergent abilities on unseen tasks. However, these capabilities have yet to be fully demonstrated in bioacoustics tasks, such as detecting animal vocalizations in large recordings, classifying rare and endangered species, and labeling context and behavior - tasks that are crucial for conservation, biodiversity monitoring, and the study of animal behavior. In this work, we present NatureLM-audio, the first audio-language foundation model specifically designed for bioacoustics. Our carefully curated training dataset comprises text-audio pairs spanning a diverse range of bioacoustics, speech, and music data, designed to address the challenges posed by limited annotated datasets in the field. We demonstrate successful transfer of learned representations from music and speech to bioacoustics, and our model shows promising generalization to unseen taxa and tasks. Importantly, we test NatureLM-audio on a novel benchmark (BEANS-Zero) and it sets the new state of the art (SotA) on several bioacoustics tasks, including zero-shot classification of unseen species. To advance bioacoustics research, we also open-source the code for generating training and benchmark data, as well as for training the model.

We present Synthio, a novel approach for augmenting small-scale audio classification datasets with synthetic data. Our goal is to improve audio classification accuracy with limited labeled data. Traditional data augmentation techniques, which apply artificial transformations (e.g., adding random noise or masking segments), struggle to create data that captures the true diversity present in real-world audios. To address this shortcoming, we propose to augment the dataset with synthetic audio generated from text-to-audio (T2A) diffusion models. However, synthesizing effective augmentations is challenging because not only should the generated data be acoustically consistent with the underlying small-scale dataset, but they should also have sufficient compositional diversity. To overcome the first challenge, we align the generations of the T2A model with the small-scale dataset using preference optimization. This ensures that the acoustic characteristics of the generated data remain consistent with the small-scale dataset. To address the second challenge, we propose a novel caption generation technique that leverages the reasoning capabilities of Large Language Models to (1) generate diverse and meaningful audio captions and (2) iteratively refine their quality. The generated captions are then used to prompt the aligned T2A model. We extensively evaluate Synthio on ten datasets and four simulated limited-data settings. Results indicate our method consistently outperforms all baselines by 0.1%-39% using a T2A model trained only on weakly-captioned AudioSet.

A fundamental characteristic of audio is its compositional nature. Audio-language models (ALMs) trained using a contrastive approach (e.g., CLAP) that learns a shared representation between audio and language modalities have improved performance in many downstream applications, including zero-shot audio classification, audio retrieval, etc. However, the ability of these models to effectively perform compositional reasoning remains largely unexplored and necessitates additional research. In this paper, we propose CompA, a collection of two expert-annotated benchmarks with a majority of real-world audio samples, to evaluate compositional reasoning in ALMs. Our proposed CompA-order evaluates how well an ALM understands the order or occurrence of acoustic events in audio, and CompA-attribute evaluates attribute binding of acoustic events. An instance from either benchmark consists of two audio-caption pairs, where both audios have the same acoustic events but with different compositions. An ALM is evaluated on how well it matches the right audio to the right caption. Using this benchmark, we first show that current ALMs perform only marginally better than random chance, thereby struggling with compositional reasoning. Next, we propose CompA-CLAP, where we fine-tune CLAP using a novel learning method to improve its compositional reasoning abilities. To train CompA-CLAP, we first propose improvements to contrastive training with composition-aware hard negatives, allowing for more focused training. Next, we propose a novel modular contrastive loss that helps the model learn fine-grained compositional understanding and overcomes the acute scarcity of openly available compositional audios. CompA-CLAP significantly improves over all our baseline models on the CompA benchmark, indicating its superior compositional reasoning capabilities.

The lack of data tends to limit the outcomes of deep learning research, particularly when dealing with end-to-end learning stacks processing raw data such as waveforms. In this study, 1.2M tracks annotated with musical labels are available to train our end-to-end models. This large amount of data allows us to unrestrictedly explore two different design paradigms for music auto-tagging: assumption-free models - using waveforms as input with very small convolutional filters; and models that rely on domain knowledge - log-mel spectrograms with a convolutional neural network designed to learn timbral and temporal features. Our work focuses on studying how these two types of deep architectures perform when datasets of variable size are available for training: the MagnaTagATune (25k songs), the Million Song Dataset (240k songs), and a private dataset of 1.2M songs. Our experiments suggest that music domain assumptions are relevant when not enough training data are available, thus showing how waveform-based models outperform spectrogram-based ones in large-scale data scenarios.

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

Visual Speech Recognition (VSR) differs from the common perception tasks as it requires deeper reasoning over the video sequence, even by human experts. Despite the recent advances in VSR, current approaches rely on labeled data to fully train or finetune their models predicting the target speech. This hinders their ability to generalize well beyond the training set and leads to performance degeneration under out-of-distribution challenging scenarios. Unlike previous works that involve auxiliary losses or complex training procedures and architectures, we propose a simple approach, named Lip2Vec that is based on learning a prior model. Given a robust visual speech encoder, this network maps the encoded latent representations of the lip sequence to their corresponding latents from the audio pair, which are sufficiently invariant for effective text decoding. The generated audio representation is then decoded to text using an off-the-shelf Audio Speech Recognition (ASR) model. The proposed model compares favorably with fully-supervised learning methods on the LRS3 dataset achieving 26 WER. Unlike SoTA approaches, our model keeps a reasonable performance on the VoxCeleb test set. We believe that reprogramming the VSR as an ASR task narrows the performance gap between the two and paves the way for more flexible formulations of lip reading.

In this work, we build a simple but strong baseline for sounding video generation. Given base diffusion models for audio and video, we integrate them with additional modules into a single model and train it to make the model jointly generate audio and video. To enhance alignment between audio-video pairs, we introduce two novel mechanisms in our model. The first one is timestep adjustment, which provides different timestep information to each base model. It is designed to align how samples are generated along with timesteps across modalities. The second one is a new design of the additional modules, termed Cross-Modal Conditioning as Positional Encoding (CMC-PE). In CMC-PE, cross-modal information is embedded as if it represents temporal position information, and the embeddings are fed into the model like positional encoding. Compared with the popular cross-attention mechanism, CMC-PE provides a better inductive bias for temporal alignment in the generated data. Experimental results validate the effectiveness of the two newly introduced mechanisms and also demonstrate that our method outperforms existing methods.

Vision-to-audio (V2A) synthesis has broad applications in multimedia. Recent advancements of V2A methods have made it possible to generate relevant audios from inputs of videos or still images. However, the immersiveness and expressiveness of the generation are limited. One possible problem is that existing methods solely rely on the global scene and overlook details of local sounding objects (i.e., sound sources). To address this issue, we propose a Sound Source-Aware V2A (SSV2A) generator. SSV2A is able to locally perceive multimodal sound sources from a scene with visual detection and cross-modality translation. It then contrastively learns a Cross-Modal Sound Source (CMSS) Manifold to semantically disambiguate each source. Finally, we attentively mix their CMSS semantics into a rich audio representation, from which a pretrained audio generator outputs the sound. To model the CMSS manifold, we curate a novel single-sound-source visual-audio dataset VGGS3 from VGGSound. We also design a Sound Source Matching Score to measure localized audio relevance. This is to our knowledge the first work to address V2A generation at the sound-source level. Extensive experiments show that SSV2A surpasses state-of-the-art methods in both generation fidelity and relevance. We further demonstrate SSV2A's ability to achieve intuitive V2A control by compositing vision, text, and audio conditions. Our SSV2A generation can be tried and heard at https://ssv2a.github.io/SSV2A-demo .

Existing datasets for audio understanding primarily focus on single-turn interactions (i.e. audio captioning, audio question answering) for describing audio in natural language, thus limiting understanding audio via interactive dialogue. To address this gap, we introduce Audio Dialogues: a multi-turn dialogue dataset containing 163.8k samples for general audio sounds and music. In addition to dialogues, Audio Dialogues also has question-answer pairs to understand and compare multiple input audios together. Audio Dialogues leverages a prompting-based approach and caption annotations from existing datasets to generate multi-turn dialogues using a Large Language Model (LLM). We evaluate existing audio-augmented large language models on our proposed dataset to demonstrate the complexity and applicability of Audio Dialogues. Our code for generating the dataset will be made publicly available. Detailed prompts and generated dialogues can be found on the demo website https://audiodialogues.github.io/.

We introduce StyleFusion-TTS, a prompt and/or audio referenced, style and speaker-controllable, zero-shot text-to-speech (TTS) synthesis system designed to enhance the editability and naturalness of current research literature. We propose a general front-end encoder as a compact and effective module to utilize multimodal inputs including text prompts, audio references, and speaker timbre references in a fully zero-shot manner and produce disentangled style and speaker control embeddings. Our novel approach also leverages a hierarchical conformer structure for the fusion of style and speaker control embeddings, aiming to achieve optimal feature fusion within the current advanced TTS architecture. StyleFusion-TTS is evaluated through multiple metrics, both subjectively and objectively. The system shows promising performance across our evaluations, suggesting its potential to contribute to the advancement of the field of zero-shot text-to-speech synthesis.

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.

In this work, we propose to study the performance of a model trained with a sentence embedding regression loss component for the Automated Audio Captioning task. This task aims to build systems that can describe audio content with a single sentence written in natural language. Most systems are trained with the standard Cross-Entropy loss, which does not take into account the semantic closeness of the sentence. We found that adding a sentence embedding loss term reduces overfitting, but also increased SPIDEr from 0.397 to 0.418 in our first setting on the AudioCaps corpus. When we increased the weight decay value, we found our model to be much closer to the current state-of-the-art methods, with a SPIDEr score up to 0.444 compared to a 0.475 score. Moreover, this model uses eight times less trainable parameters. In this training setting, the sentence embedding loss has no more impact on the model performance.

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.

Recently, instruction-following audio-language models have received broad attention for audio interaction with humans. However, the absence of pre-trained audio models capable of handling diverse audio types and tasks has hindered progress in this field. Consequently, most existing works have only been able to support a limited range of interaction capabilities. In this paper, we develop the Qwen-Audio model and address this limitation by scaling up audio-language pre-training to cover over 30 tasks and various audio types, such as human speech, natural sounds, music, and songs, to facilitate universal audio understanding abilities. However, directly co-training all tasks and datasets can lead to interference issues, as the textual labels associated with different datasets exhibit considerable variations due to differences in task focus, language, granularity of annotation, and text structure. To overcome the one-to-many interference, we carefully design a multi-task training framework by conditioning on a sequence of hierarchical tags to the decoder for encouraging knowledge sharing and avoiding interference through shared and specified tags respectively. Remarkably, Qwen-Audio achieves impressive performance across diverse benchmark tasks without requiring any task-specific fine-tuning, surpassing its counterparts. Building upon the capabilities of Qwen-Audio, we further develop Qwen-Audio-Chat, which allows for input from various audios and text inputs, enabling multi-turn dialogues and supporting various audio-central scenarios.

Recent advancements in deep generative models present new opportunities for music production but also pose challenges, such as high computational demands and limited audio quality. Moreover, current systems frequently rely solely on text input and typically focus on producing complete musical pieces, which is incompatible with existing workflows in music production. To address these issues, we introduce "Diff-A-Riff," a Latent Diffusion Model designed to generate high-quality instrumental accompaniments adaptable to any musical context. This model offers control through either audio references, text prompts, or both, and produces 48kHz pseudo-stereo audio while significantly reducing inference time and memory usage. We demonstrate the model's capabilities through objective metrics and subjective listening tests, with extensive examples available on the accompanying website: sonycslparis.github.io/diffariff-companion/

We introduce SONAR, a new multilingual and multimodal fixed-size sentence embedding space. Our single text encoder, covering 200 languages, substantially outperforms existing sentence embeddings such as LASER3 and LabSE on the xsim and xsim++ multilingual similarity search tasks. Speech segments can be embedded in the same SONAR embedding space using language-specific speech encoders trained in a teacher-student setting on speech transcription data. Our encoders outperform existing speech encoders on similarity search tasks. We also provide a text decoder for 200 languages, which allows us to perform text-to-text and speech-to-text machine translation, including for zero-shot language and modality combinations. Our text-to-text results are competitive compared to the state-of-the-art NLLB~1B model, despite the fixed-size bottleneck representation. Our zero-shot speech-to-text translation results compare favorably with strong supervised baselines such as Whisper.

Audio-language models (ALMs) process sounds to provide a linguistic description of sound-producing events and scenes. Recent advances in computing power and dataset creation have led to significant progress in this domain. This paper surveys existing datasets used for training audio-language models, emphasizing the recent trend towards using large, diverse datasets to enhance model performance. Key sources of these datasets include the Freesound platform and AudioSet that have contributed to the field's rapid growth. Although prior surveys primarily address techniques and training details, this survey categorizes and evaluates a wide array of datasets, addressing their origins, characteristics, and use cases. It also performs a data leak analysis to ensure dataset integrity and mitigate bias between datasets. This survey was conducted by analyzing research papers up to and including December 2023, and does not contain any papers after that period.

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

Music datasets play a crucial role in advancing research in machine learning for music. However, existing music datasets suffer from limited size, accessibility, and lack of audio resources. To address these shortcomings, we present DISCO-10M, a novel and extensive music dataset that surpasses the largest previously available music dataset by an order of magnitude. To ensure high-quality data, we implement a multi-stage filtering process. This process incorporates similarities based on textual descriptions and audio embeddings. Moreover, we provide precomputed CLAP embeddings alongside DISCO-10M, facilitating direct application on various downstream tasks. These embeddings enable efficient exploration of machine learning applications on the provided data. With DISCO-10M, we aim to democratize and facilitate new research to help advance the development of novel machine learning models for music.

Sound can convey significant information for spatial reasoning in our daily lives. To endow deep networks with such ability, we address the challenge of dense indoor prediction with sound in both 2D and 3D via cross-modal knowledge distillation. In this work, we propose a Spatial Alignment via Matching (SAM) distillation framework that elicits local correspondence between the two modalities in vision-to-audio knowledge transfer. SAM integrates audio features with visually coherent learnable spatial embeddings to resolve inconsistencies in multiple layers of a student model. Our approach does not rely on a specific input representation, allowing for flexibility in the input shapes or dimensions without performance degradation. With a newly curated benchmark named Dense Auditory Prediction of Surroundings (DAPS), we are the first to tackle dense indoor prediction of omnidirectional surroundings in both 2D and 3D with audio observations. Specifically, for audio-based depth estimation, semantic segmentation, and challenging 3D scene reconstruction, the proposed distillation framework consistently achieves state-of-the-art performance across various metrics and backbone architectures.

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

In this work, we address music representation learning using convolution-free transformers. We build on top of existing spectrogram-based audio transformers such as AST and train our models on a supervised task using patchout training similar to PaSST. In contrast to previous works, we study how specific design decisions affect downstream music tagging tasks instead of focusing on the training task. We assess the impact of initializing the models with different pre-trained weights, using various input audio segment lengths, using learned representations from different blocks and tokens of the transformer for downstream tasks, and applying patchout at inference to speed up feature extraction. We find that 1) initializing the model from ImageNet or AudioSet weights and using longer input segments are beneficial both for the training and downstream tasks, 2) the best representations for the considered downstream tasks are located in the middle blocks of the transformer, and 3) using patchout at inference allows faster processing than our convolutional baselines while maintaining superior performance. The resulting models, MAEST, are publicly available and obtain the best performance among open models in music tagging tasks.

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

With the emergence of neural audio codecs, which encode multiple streams of discrete tokens from audio, large language models have recently gained attention as a promising approach for zero-shot Text-to-Speech (TTS) synthesis. Despite the ongoing rush towards scaling paradigms, audio tokenization ironically amplifies the scalability challenge, stemming from its long sequence length and the complexity of modelling the multiple sequences. To mitigate these issues, we present CLaM-TTS that employs a probabilistic residual vector quantization to (1) achieve superior compression in the token length, and (2) allow a language model to generate multiple tokens at once, thereby eliminating the need for cascaded modeling to handle the number of token streams. Our experimental results demonstrate that CLaM-TTS is better than or comparable to state-of-the-art neural codec-based TTS models regarding naturalness, intelligibility, speaker similarity, and inference speed. In addition, we examine the impact of the pretraining extent of the language models and their text tokenization strategies on performances.

Audio-based generative models for music have seen great strides recently, but so far have not managed to produce full-length music tracks with coherent musical structure. We show that by training a generative model on long temporal contexts it is possible to produce long-form music of up to 4m45s. Our model consists of a diffusion-transformer operating on a highly downsampled continuous latent representation (latent rate of 21.5Hz). It obtains state-of-the-art generations according to metrics on audio quality and prompt alignment, and subjective tests reveal that it produces full-length music with coherent structure.

Self-supervised learning (SSL) has recently emerged as a promising paradigm for training generalisable models on large-scale data in the fields of vision, text, and speech. Although SSL has been proven effective in speech and audio, its application to music audio has yet to be thoroughly explored. This is primarily due to the distinctive challenges associated with modelling musical knowledge, particularly its tonal and pitched characteristics of music. To address this research gap, we propose an acoustic Music undERstanding model with large-scale self-supervised Training (MERT), which incorporates teacher models to provide pseudo labels in the masked language modelling (MLM) style acoustic pre-training. In our exploration, we identified a superior combination of teacher models, which outperforms conventional speech and audio approaches in terms of performance. This combination includes an acoustic teacher based on Residual Vector Quantization - Variational AutoEncoder (RVQ-VAE) and a musical teacher based on the Constant-Q Transform (CQT). These teachers effectively guide our student model, a BERT-style transformer encoder, to better model music audio. In addition, we introduce an in-batch noise mixture augmentation to enhance the representation robustness. Furthermore, we explore a wide range of settings to overcome the instability in acoustic language model pre-training, which allows our designed paradigm to scale from 95M to 330M parameters. Experimental results indicate that our model can generalise and perform well on 14 music understanding tasks and attains state-of-the-art (SOTA) overall scores. The code and models are online: https://github.com/yizhilll/MERT.

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

Can we leverage the audiovisual information already present in video to improve self-supervised representation learning? To answer this question, we study various pretraining architectures and objectives within the masked autoencoding framework, motivated by the success of similar methods in natural language and image understanding. We show that we can achieve significant improvements on audiovisual downstream classification tasks, surpassing the state-of-the-art on VGGSound and AudioSet. Furthermore, we can leverage our audiovisual pretraining scheme for multiple unimodal downstream tasks using a single audiovisual pretrained model. We additionally demonstrate the transferability of our representations, achieving state-of-the-art audiovisual results on Epic Kitchens without pretraining specifically for this dataset.

Perceiving and understanding non-speech sounds and non-verbal speech is essential to making decisions that help us interact with our surroundings. In this paper, we propose GAMA, a novel General-purpose Large Audio-Language Model (LALM) with Advanced Audio Understanding and Complex Reasoning Abilities. We build GAMA by integrating an LLM with multiple types of audio representations, including features from a custom Audio Q-Former, a multi-layer aggregator that aggregates features from multiple layers of an audio encoder. We fine-tune GAMA on a large-scale audio-language dataset, which augments it with audio understanding capabilities. Next, we propose CompA-R (Instruction-Tuning for Complex Audio Reasoning), a synthetically generated instruction-tuning (IT) dataset with instructions that require the model to perform complex reasoning on the input audio. We instruction-tune GAMA with CompA-R to endow it with complex reasoning abilities, where we further add a soft prompt as input with high-level semantic evidence by leveraging event tags of the input audio. Finally, we also propose CompA-R-test, a human-labeled evaluation dataset for evaluating the capabilities of LALMs on open-ended audio question-answering that requires complex reasoning. Through automated and expert human evaluations, we show that GAMA outperforms all other LALMs in literature on diverse audio understanding tasks by margins of 1%-84%. Further, GAMA IT-ed on CompA-R proves to be superior in its complex reasoning and instruction following capabilities.

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

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

It is an open challenge to obtain high quality training data, especially captions, for text-to-audio models. Although prior methods have leveraged text-only language models to augment and improve captions, such methods have limitations related to scale and coherence between audio and captions. In this work, we propose an audio captioning pipeline that uses an audio language model to synthesize accurate and diverse captions for audio at scale. We leverage this pipeline to produce a dataset of synthetic captions for AudioSet, named AF-AudioSet, and then evaluate the benefit of pre-training text-to-audio models on these synthetic captions. Through systematic evaluations on AudioCaps and MusicCaps, we find leveraging our pipeline and synthetic captions leads to significant improvements on audio generation quality, achieving a new state-of-the-art.

We present DenseAV, a novel dual encoder grounding architecture that learns high-resolution, semantically meaningful, and audio-visually aligned features solely through watching videos. We show that DenseAV can discover the ``meaning'' of words and the ``location'' of sounds without explicit localization supervision. Furthermore, it automatically discovers and distinguishes between these two types of associations without supervision. We show that DenseAV's localization abilities arise from a new multi-head feature aggregation operator that directly compares dense image and audio representations for contrastive learning. In contrast, many other systems that learn ``global'' audio and video representations cannot localize words and sound. Finally, we contribute two new datasets to improve the evaluation of AV representations through speech and sound prompted semantic segmentation. On these and other datasets we show DenseAV dramatically outperforms the prior art on speech and sound prompted semantic segmentation. DenseAV outperforms the previous state-of-the-art, ImageBind, on cross-modal retrieval using fewer than half of the parameters. Project Page: https://aka.ms/denseav{https://aka.ms/denseav}