Daily Papers

Fall detection for the elderly is a well-researched problem with several proposed solutions, including wearable and non-wearable techniques. While the existing techniques have excellent detection rates, their adoption by the target population is lacking due to the need for wearing devices and user privacy concerns. Our paper provides a novel, non-wearable, non-intrusive, and scalable solution for fall detection, deployed on an autonomous mobile robot equipped with a microphone. The proposed method uses ambient sound input recorded in people's homes. We specifically target the bathroom environment as it is highly prone to falls and where existing techniques cannot be deployed without jeopardizing user privacy. The present work develops a solution based on a Transformer architecture that takes noisy sound input from bathrooms and classifies it into fall/no-fall class with an accuracy of 0.8673. Further, the proposed approach is extendable to other indoor environments, besides bathrooms and is suitable for deploying in elderly homes, hospitals, and rehabilitation facilities without requiring the user to wear any device or be constantly "watched" by the sensors.

From whirling ceiling fans to ticking clocks, the sounds that we hear subtly vary as we move through a scene. We ask whether these ambient sounds convey information about 3D scene structure and, if so, whether they provide a useful learning signal for multimodal models. To study this, we collect a dataset of paired audio and RGB-D recordings from a variety of quiet indoor scenes. We then train models that estimate the distance to nearby walls, given only audio as input. We also use these recordings to learn multimodal representations through self-supervision, by training a network to associate images with their corresponding sounds. These results suggest that ambient sound conveys a surprising amount of information about scene structure, and that it is a useful signal for learning multimodal features.

With the rapid development of spatial audio technologies today, applications in AR, VR, and other scenarios have garnered extensive attention. Unlike traditional mono sound, spatial audio offers a more realistic and immersive auditory experience. Despite notable progress in the field, there remains a lack of comprehensive surveys that systematically organize and analyze these methods and their underlying technologies. In this paper, we provide a comprehensive overview of spatial audio and systematically review recent literature in the area. To address this, we chronologically outlining existing work related to spatial audio and categorize these studies based on input-output representations, as well as generation and understanding tasks, thereby summarizing various research aspects of spatial audio. In addition, we review related datasets, evaluation metrics, and benchmarks, offering insights from both training and evaluation perspectives. Related materials are available at https://github.com/dieKarotte/ASAudio.

Formalized in ISO 12913, the "soundscape" approach is a paradigmatic shift towards perception-based urban sound management, aiming to alleviate the substantial socioeconomic costs of noise pollution to advance the United Nations Sustainable Development Goals. Focusing on traffic-exposed outdoor residential sites, we implemented an automatic masker selection system (AMSS) utilizing natural sounds to mask (or augment) traffic soundscapes. We employed a pre-trained AI model to automatically select the optimal masker and adjust its playback level, adapting to changes over time in the ambient environment to maximize "Pleasantness", a perceptual dimension of soundscape quality in ISO 12913. Our validation study involving (N=68) residents revealed a significant 14.6 % enhancement in "Pleasantness" after intervention, correlating with increased restorativeness and positive affect. Perceptual enhancements at the traffic-exposed site matched those at a quieter control site with 6 dB(A) lower L_A,eq and road traffic noise dominance, affirming the efficacy of AMSS as a soundscape intervention, while streamlining the labour-intensive assessment of "Pleasantness" with probabilistic AI prediction.

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

Generating ambient sounds and effects is a challenging problem due to data scarcity and often insufficient caption quality, making it difficult to employ large-scale generative models for the task. In this work, we tackle the problem by introducing two new models. First, we propose AutoCap, a high-quality and efficient automatic audio captioning model. We show that by leveraging metadata available with the audio modality, we can substantially improve the quality of captions. AutoCap reaches CIDEr score of 83.2, marking a 3.2% improvement from the best available captioning model at four times faster inference speed. We then use AutoCap to caption clips from existing datasets, obtaining 761,000 audio clips with high-quality captions, forming the largest available audio-text dataset. Second, we propose GenAu, a scalable transformer-based audio generation architecture that we scale up to 1.25B parameters and train with our new dataset. When compared to state-of-the-art audio generators, GenAu obtains significant improvements of 15.7% in FAD score, 22.7% in IS, and 13.5% in CLAP score, indicating significantly improved quality of generated audio compared to previous works. This shows that the quality of data is often as important as its quantity. Besides, since AutoCap is fully automatic, new audio samples can be added to the training dataset, unlocking the training of even larger generative models for audio synthesis.

This report presents the dataset and baseline of Task 3 of the DCASE2021 Challenge on Sound Event Localization and Detection (SELD). The dataset is based on emulation of real recordings of static or moving sound events under real conditions of reverberation and ambient noise, using spatial room impulse responses captured in a variety of rooms and delivered in two spatial formats. The acoustical synthesis remains the same as in the previous iteration of the challenge, however the new dataset brings more challenging conditions of polyphony and overlapping instances of the same class. The most important difference of the new dataset is the introduction of directional interferers, meaning sound events that are localized in space but do not belong to the target classes to be detected and are not annotated. Since such interfering events are expected in every real-world scenario of SELD, the new dataset aims to promote systems that deal with this condition effectively. A modified SELDnet baseline employing the recent ACCDOA representation of SELD problems accompanies the dataset and it is shown to outperform the previous one. The new dataset is shown to be significantly more challenging for both baselines according to all considered metrics. To investigate the individual and combined effects of ambient noise, interferers, and reverberation, we study the performance of the baseline on different versions of the dataset excluding or including combinations of these factors. The results indicate that by far the most detrimental effects are caused by directional interferers.

Choosing optimal maskers for existing soundscapes to effect a desired perceptual change via soundscape augmentation is non-trivial due to extensive varieties of maskers and a dearth of benchmark datasets with which to compare and develop soundscape augmentation models. To address this problem, we make publicly available the ARAUS (Affective Responses to Augmented Urban Soundscapes) dataset, which comprises a five-fold cross-validation set and independent test set totaling 25,440 unique subjective perceptual responses to augmented soundscapes presented as audio-visual stimuli. Each augmented soundscape is made by digitally adding "maskers" (bird, water, wind, traffic, construction, or silence) to urban soundscape recordings at fixed soundscape-to-masker ratios. Responses were then collected by asking participants to rate how pleasant, annoying, eventful, uneventful, vibrant, monotonous, chaotic, calm, and appropriate each augmented soundscape was, in accordance with ISO 12913-2:2018. Participants also provided relevant demographic information and completed standard psychological questionnaires. We perform exploratory and statistical analysis of the responses obtained to verify internal consistency and agreement with known results in the literature. Finally, we demonstrate the benchmarking capability of the dataset by training and comparing four baseline models for urban soundscape pleasantness: a low-parameter regression model, a high-parameter convolutional neural network, and two attention-based networks in the literature.

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/

Effectively steering hearable devices requires understanding the acoustic environment around the user. In the computational analysis of sound scenes, foundation models have emerged as the state of the art to produce high-performance, robust, multi-purpose audio representations. We introduce and release Deep Evaluation of Audio Representations (DEAR), the first dataset and benchmark to evaluate the efficacy of foundation models in capturing essential acoustic properties for hearables. The dataset includes 1,158 audio tracks, each 30 seconds long, created by spatially mixing proprietary monologues with commercial, high-quality recordings of everyday acoustic scenes. Our benchmark encompasses eight tasks that assess the general context, speech sources, and technical acoustic properties of the audio scenes. Through our evaluation of four general-purpose audio representation models, we demonstrate that the BEATs model significantly surpasses its counterparts. This superiority underscores the advantage of models trained on diverse audio collections, confirming their applicability to a wide array of auditory tasks, including encoding the environment properties necessary for hearable steering. The DEAR dataset and associated code are available at https://dear-dataset.github.io.

In crowded settings, the human brain can focus on speech from a target speaker, given prior knowledge of how they sound. We introduce a novel intelligent hearable system that achieves this capability, enabling target speech hearing to ignore all interfering speech and noise, but the target speaker. A naive approach is to require a clean speech example to enroll the target speaker. This is however not well aligned with the hearable application domain since obtaining a clean example is challenging in real world scenarios, creating a unique user interface problem. We present the first enrollment interface where the wearer looks at the target speaker for a few seconds to capture a single, short, highly noisy, binaural example of the target speaker. This noisy example is used for enrollment and subsequent speech extraction in the presence of interfering speakers and noise. Our system achieves a signal quality improvement of 7.01 dB using less than 5 seconds of noisy enrollment audio and can process 8 ms of audio chunks in 6.24 ms on an embedded CPU. Our user studies demonstrate generalization to real-world static and mobile speakers in previously unseen indoor and outdoor multipath environments. Finally, our enrollment interface for noisy examples does not cause performance degradation compared to clean examples, while being convenient and user-friendly. Taking a step back, this paper takes an important step towards enhancing the human auditory perception with artificial intelligence. We provide code and data at: https://github.com/vb000/LookOnceToHear.

Despite progress in video-to-audio generation, the field focuses predominantly on mono output, lacking spatial immersion. Existing binaural approaches remain constrained by a two-stage pipeline that first generates mono audio and then performs spatialization, often resulting in error accumulation and spatio-temporal inconsistencies. To address this limitation, we introduce the task of end-to-end binaural spatial audio generation directly from silent video. To support this task, we present the BiAudio dataset, comprising approximately 97K video-binaural audio pairs spanning diverse real-world scenes and camera rotation trajectories, constructed through a semi-automated pipeline. Furthermore, we propose ViSAudio, an end-to-end framework that employs conditional flow matching with a dual-branch audio generation architecture, where two dedicated branches model the audio latent flows. Integrated with a conditional spacetime module, it balances consistency between channels while preserving distinctive spatial characteristics, ensuring precise spatio-temporal alignment between audio and the input video. Comprehensive experiments demonstrate that ViSAudio outperforms existing state-of-the-art methods across both objective metrics and subjective evaluations, generating high-quality binaural audio with spatial immersion that adapts effectively to viewpoint changes, sound-source motion, and diverse acoustic environments. Project website: https://kszpxxzmc.github.io/ViSAudio-project.

Soundscape augmentation or "masking" introduces wanted sounds into the acoustic environment to improve acoustic comfort. Usually, the masker selection and playback strategies are either arbitrary or based on simple rules (e.g. -3 dBA), which may lead to sub-optimal increment or even reduction in acoustic comfort for dynamic acoustic environments. To reduce ambiguity in the selection of maskers, an automatic masker selection system (AMSS) was recently developed. The AMSS uses a deep-learning model trained on a large-scale dataset of subjective responses to maximize the derived ISO pleasantness (ISO 12913-2). Hence, this study investigates the short-term in situ performance of the AMSS implemented in a gazebo in an urban park. Firstly, the predicted ISO pleasantness from the AMSS is evaluated in comparison to the in situ subjective evaluation scores. Secondly, the effect of various masker selection schemes on the perceived affective quality and appropriateness would be evaluated. In total, each participant evaluated 6 conditions: (1) ambient environment with no maskers; (2) AMSS; (3) bird and (4) water masker from prior art; (5) random selection from same pool of maskers used to train the AMSS; and (6) selection of best-performing maskers based on the analysis of the dataset used to train the AMSS.

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.

This report presents the dataset and the evaluation setup of the Sound Event Localization & Detection (SELD) task for the DCASE 2020 Challenge. The SELD task refers to the problem of trying to simultaneously classify a known set of sound event classes, detect their temporal activations, and estimate their spatial directions or locations while they are active. To train and test SELD systems, datasets of diverse sound events occurring under realistic acoustic conditions are needed. Compared to the previous challenge, a significantly more complex dataset was created for DCASE 2020. The two key differences are a more diverse range of acoustical conditions, and dynamic conditions, i.e. moving sources. The spatial sound scenes are created using real room impulse responses captured in a continuous manner with a slowly moving excitation source. Both static and moving sound events are synthesized from them. Ambient noise recorded on location is added to complete the generation of scene recordings. A baseline SELD method accompanies the dataset, based on a convolutional recurrent neural network, to provide benchmark scores for the task. The baseline is an updated version of the one used in the previous challenge, with input features and training modifications to improve its performance.

PlugSonic is a suite of web- and mobile-based applications for the curation and experience of binaural interactive soundscapes and sonic narratives. It was developed as part of the PLUGGY EU project (Pluggable Social Platform for Heritage Awareness and Participation) and consists of two main applications: PlugSonic Sample, to edit and apply audio effects, and PlugSonic Soundscape, to create and experience binaural soundscapes. The audio processing within PlugSonic is based on the Web Audio API and the 3D Tune-In Toolkit, while the exploration of soundscapes in a physical space is obtained using Apple's ARKit. In this paper we present the design choices, the user involvement processes and the implementation details. The main goal of PlugSonic is technology democratisation; PlugSonic users - whether institutions or citizens - are all given the instruments needed to create, process and experience 3D soundscapes and sonic narrative; without the need for specific devices, external tools (software and/or hardware), specialised knowledge or custom development. The evaluation, which was conducted with inexperienced users on three tasks - creation, curation and experience - demonstrates how PlugSonic is indeed a simple, effective, yet powerful tool.

Soundscape augmentation is an emerging approach for noise mitigation by introducing additional sounds known as "maskers" to increase acoustic comfort. Traditionally, the choice of maskers is often predicated on expert guidance or post-hoc analysis which can be time-consuming and sometimes arbitrary. Moreover, this often results in a static set of maskers that are inflexible to the dynamic nature of real-world acoustic environments. Overcoming the inflexibility of traditional soundscape augmentation is twofold. First, given a snapshot of a soundscape, the system must be able to select an optimal masker without human supervision. Second, the system must also be able to react to changes in the acoustic environment with near real-time latency. In this work, we harness the combined prowess of cloud computing and the Internet of Things (IoT) to allow in-situ listening and playback using microcontrollers while delegating computationally expensive inference tasks to the cloud. In particular, a serverless cloud architecture was used for inference, ensuring near real-time latency and scalability without the need to provision computing resources. A working prototype of the system is currently being deployed in a public area experiencing high traffic noise, as well as undergoing public evaluation for future improvements.

Footsteps are among the most ubiquitous sound effects in multimedia applications. There is substantial research into understanding the acoustic features and developing synthesis models for footstep sound effects. In this paper, we present a first attempt at adopting neural synthesis for this task. We implemented two GAN-based architectures and compared the results with real recordings as well as six traditional sound synthesis methods. Our architectures reached realism scores as high as recorded samples, showing encouraging results for the task at hand.

This paper introduces SINGA:PURA, a strongly labelled polyphonic urban sound dataset with spatiotemporal context. The data were collected via several recording units deployed across Singapore as a part of a wireless acoustic sensor network. These recordings were made as part of a project to identify and mitigate noise sources in Singapore, but also possess a wider applicability to sound event detection, classification, and localization. This paper introduces an accompanying hierarchical label taxonomy, which has been designed to be compatible with other existing datasets for urban sound tagging while also able to capture sound events unique to the Singaporean context. This paper details the data collection, annotation, and processing methodologies for the creation of the dataset. We further perform exploratory data analysis and include the performance of a baseline model on the dataset as a benchmark.

Recently, diffusion models have achieved great success in mono-channel audio generation. However, when it comes to stereo audio generation, the soundscapes often have a complex scene of multiple objects and directions. Controlling stereo audio with spatial contexts remains challenging due to high data costs and unstable generative models. To the best of our knowledge, this work represents the first attempt to address these issues. We first construct a large-scale, simulation-based, and GPT-assisted dataset, BEWO-1M, with abundant soundscapes and descriptions even including moving and multiple sources. Beyond text modality, we have also acquired a set of images and rationally paired stereo audios through retrieval to advance multimodal generation. Existing audio generation models tend to generate rather random and indistinct spatial audio. To provide accurate guidance for Latent Diffusion Models, we introduce the SpatialSonic model utilizing spatial-aware encoders and azimuth state matrices to reveal reasonable spatial guidance. By leveraging spatial guidance, our model not only achieves the objective of generating immersive and controllable spatial audio from text but also extends to other modalities as the pioneer attempt. Finally, under fair settings, we conduct subjective and objective evaluations on simulated and real-world data to compare our approach with prevailing methods. The results demonstrate the effectiveness of our method, highlighting its capability to generate spatial audio that adheres to physical rules.

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

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.

This report presents the Sony-TAu Realistic Spatial Soundscapes 2022 (STARS22) dataset for sound event localization and detection, comprised of spatial recordings of real scenes collected in various interiors of two different sites. The dataset is captured with a high resolution spherical microphone array and delivered in two 4-channel formats, first-order Ambisonics and tetrahedral microphone array. Sound events in the dataset belonging to 13 target sound classes are annotated both temporally and spatially through a combination of human annotation and optical tracking. The dataset serves as the development and evaluation dataset for the Task 3 of the DCASE2022 Challenge on Sound Event Localization and Detection and introduces significant new challenges for the task compared to the previous iterations, which were based on synthetic spatialized sound scene recordings. Dataset specifications are detailed including recording and annotation process, target classes and their presence, and details on the development and evaluation splits. Additionally, the report presents the baseline system that accompanies the dataset in the challenge with emphasis on the differences with the baseline of the previous iterations; namely, introduction of the multi-ACCDOA representation to handle multiple simultaneous occurences of events of the same class, and support for additional improved input features for the microphone array format. Results of the baseline indicate that with a suitable training strategy a reasonable detection and localization performance can be achieved on real sound scene recordings. The dataset is available in https://zenodo.org/record/6387880.

Autonomous soundscape augmentation systems typically use trained models to pick optimal maskers to effect a desired perceptual change. While acoustic information is paramount to such systems, contextual information, including participant demographics and the visual environment, also influences acoustic perception. Hence, we propose modular modifications to an existing attention-based deep neural network, to allow early, mid-level, and late feature fusion of participant-linked, visual, and acoustic features. Ablation studies on module configurations and corresponding fusion methods using the ARAUS dataset show that contextual features improve the model performance in a statistically significant manner on the normalized ISO Pleasantness, to a mean squared error of 0.1194pm0.0012 for the best-performing all-modality model, against 0.1217pm0.0009 for the audio-only model. Soundscape augmentation systems can thereby leverage multimodal inputs for improved performance. We also investigate the impact of individual participant-linked factors using trained models to illustrate improvements in model explainability.

Audio generation systems now create very realistic soundscapes that can enhance media production, but also pose potential risks. Several studies have examined deepfakes in speech or singing voice. However, environmental sounds have different characteristics, which may make methods for detecting speech and singing deepfakes less effective for real-world sounds. In addition, existing datasets for environmental sound deepfake detection are limited in scale and audio types. To address this gap, we introduce EnvSDD, the first large-scale curated dataset designed for this task, consisting of 45.25 hours of real and 316.74 hours of fake audio. The test set includes diverse conditions to evaluate the generalizability, such as unseen generation models and unseen datasets. We also propose an audio deepfake detection system, based on a pre-trained audio foundation model. Results on EnvSDD show that our proposed system outperforms the state-of-the-art systems from speech and singing domains.

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

Recent progress in separating the speech signals from multiple overlapping speakers using a single audio channel has brought us closer to solving the cocktail party problem. However, most studies in this area use a constrained problem setup, comparing performance when speakers overlap almost completely, at artificially low sampling rates, and with no external background noise. In this paper, we strive to move the field towards more realistic and challenging scenarios. To that end, we created the WSJ0 Hipster Ambient Mixtures (WHAM!) dataset, consisting of two speaker mixtures from the wsj0-2mix dataset combined with real ambient noise samples. The samples were collected in coffee shops, restaurants, and bars in the San Francisco Bay Area, and are made publicly available. We benchmark various speech separation architectures and objective functions to evaluate their robustness to noise. While separation performance decreases as a result of noise, we still observe substantial gains relative to the noisy signals for most approaches.

In daily life, we encounter a variety of sounds, both desirable and undesirable, with limited control over their presence and volume. Our work introduces "Listen, Chat, and Edit" (LCE), a novel multimodal sound mixture editor that modifies each sound source in a mixture based on user-provided text instructions. LCE distinguishes itself with a user-friendly chat interface and its unique ability to edit multiple sound sources simultaneously within a mixture, without needing to separate them. Users input open-vocabulary text prompts, which are interpreted by a large language model to create a semantic filter for editing the sound mixture. The system then decomposes the mixture into its components, applies the semantic filter, and reassembles it into the desired output. We developed a 160-hour dataset with over 100k mixtures, including speech and various audio sources, along with text prompts for diverse editing tasks like extraction, removal, and volume control. Our experiments demonstrate significant improvements in signal quality across all editing tasks and robust performance in zero-shot scenarios with varying numbers and types of sound sources.

Generating accurate sounds for complex audio-visual scenes is challenging, especially in the presence of multiple objects and sound sources. In this paper, we propose an {\em interactive object-aware audio generation} model that grounds sound generation in user-selected visual objects within images. Our method integrates object-centric learning into a conditional latent diffusion model, which learns to associate image regions with their corresponding sounds through multi-modal attention. At test time, our model employs image segmentation to allow users to interactively generate sounds at the {\em object} level. We theoretically validate that our attention mechanism functionally approximates test-time segmentation masks, ensuring the generated audio aligns with selected objects. Quantitative and qualitative evaluations show that our model outperforms baselines, achieving better alignment between objects and their associated sounds. Project page: https://tinglok.netlify.app/files/avobject/

To enhance immersive experiences, binaural audio offers spatial awareness of sounding objects in AR, VR, and embodied AI applications. While existing audio spatialization methods can generally map any available monaural audio to binaural audio signals, they often lack the flexible and interactive control needed in complex multi-object user-interactive environments. To address this, we propose a Text-guided Audio Spatialization (TAS) framework that utilizes flexible text prompts and evaluates our model from unified generation and comprehension perspectives. Due to the limited availability of premium and large-scale stereo data, we construct the SpatialTAS dataset, which encompasses 376,000 simulated binaural audio samples to facilitate the training of our model. Our model learns binaural differences guided by 3D spatial location and relative position prompts, augmented by flipped-channel audio. It outperforms existing methods on both simulated and real-recorded datasets, demonstrating superior generalization and accuracy. Besides, we develop an assessment model based on Llama-3.1-8B, which evaluates the spatial semantic coherence between our generated binaural audio and text prompts through a spatial reasoning task. Results demonstrate that text prompts provide flexible and interactive control to generate binaural audio with excellent quality and semantic consistency in spatial locations. Dataset is available at https://github.com/Alice01010101/TASU

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

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

Recent advancements in audio-aware large language models (ALLMs) enable them to process and understand audio inputs. However, these models often hallucinate non-existent sound events, reducing their reliability in real-world applications. To address this, we propose LISTEN (Learning to Identify Sounds Through Extended Negative Samples), a contrastive-like training method that enhances ALLMs' ability to distinguish between present and absent sounds using synthesized data from the backbone LLM. Unlike prior approaches, our method requires no modification to LLM parameters and efficiently integrates audio representations via a lightweight adapter. Experiments show that LISTEN effectively mitigates hallucinations while maintaining impressive performance on existing audio question and reasoning benchmarks. At the same time, it is more efficient in both data and computation.

Large audio-language models (LALMs) unify speech and text processing, but their robustness in noisy real-world settings remains underexplored. We investigate how irrelevant audio, such as silence, synthetic noise, and environmental sounds, affects text reasoning tasks where audio is unnecessary. Across three text-based benchmarks, we find that even non-informative audio reduces accuracy and increases prediction volatility; the severity of interference scales with longer durations, higher amplitudes, and elevated decoding temperatures. Silence, often assumed neutral, destabilizes outputs as strongly as synthetic noise. While larger models show greater resilience, vulnerabilities persist across all evaluated systems. We further test mitigation strategies and find that prompting shows limited effectiveness, whereas self-consistency improves stability at the cost of increased computation. Our results reveal cross-modal interference as a key robustness challenge and highlight the need for efficient fusion strategies that preserve reasoning performance in the presence of irrelevant inputs.

To increase the availability and adoption of the soundscape standard, a low-cost calibration procedure for reproduction of audio stimuli over headphones was proposed as part of the global ``Soundscape Attributes Translation Project'' (SATP) for validating ISO/TS~12913-2:2018 perceived affective quality (PAQ) attribute translations. A previous preliminary study revealed significant deviations from the intended equivalent continuous A-weighted sound pressure levels (L_{A,eq}) using the open-circuit voltage (OCV) calibration procedure. For a more holistic human-centric perspective, the OCV method is further investigated here in terms of psychoacoustic parameters, including relevant exceedance levels to account for temporal effects on the same 27 stimuli from the SATP. Moreover, a within-subjects experiment with 36 participants was conducted to examine the effects of OCV calibration on the PAQ attributes in ISO/TS~12913-2:2018. Bland-Altman analysis of the objective indicators revealed large biases in the OCV method across all weighted sound level and loudness indicators; and roughness indicators at 5{\%} and 10{\%} exceedance levels. Significant perceptual differences due to the OCV method were observed in about 20{\%} of the stimuli, which did not correspond clearly with the biased acoustic indicators. A cautioned interpretation of the objective and perceptual differences due to small and unpaired samples nevertheless provide grounds for further investigation.

Humans rely on multisensory integration to perceive spatial environments, where auditory cues enable sound source localization in three-dimensional space. Despite the critical role of spatial audio in immersive technologies such as VR/AR, most existing multimodal datasets provide only monaural audio, which limits the development of spatial audio generation and understanding. To address these challenges, we introduce MRSAudio, a large-scale multimodal spatial audio dataset designed to advance research in spatial audio understanding and generation. MRSAudio spans four distinct components: MRSLife, MRSSpeech, MRSMusic, and MRSSing, covering diverse real-world scenarios. The dataset includes synchronized binaural and ambisonic audio, exocentric and egocentric video, motion trajectories, and fine-grained annotations such as transcripts, phoneme boundaries, lyrics, scores, and prompts. To demonstrate the utility and versatility of MRSAudio, we establish five foundational tasks: audio spatialization, and spatial text to speech, spatial singing voice synthesis, spatial music generation and sound event localization and detection. Results show that MRSAudio enables high-quality spatial modeling and supports a broad range of spatial audio research. Demos and dataset access are available at https://mrsaudio.github.io.

The selection of maskers and playback gain levels in a soundscape augmentation system is crucial to its effectiveness in improving the overall acoustic comfort of a given environment. Traditionally, the selection of appropriate maskers and gain levels has been informed by expert opinion, which may not representative of the target population, or by listening tests, which can be time-consuming and labour-intensive. Furthermore, the resulting static choices of masker and gain are often inflexible to the dynamic nature of real-world soundscapes. In this work, we utilized a deep learning model to perform joint selection of the optimal masker and its gain level for a given soundscape. The proposed model was designed with highly modular building blocks, allowing for an optimized inference process that can quickly search through a large number of masker and gain combinations. In addition, we introduced the use of feature-domain soundscape augmentation conditioned on the digital gain level, eliminating the computationally expensive waveform-domain mixing process during inference time, as well as the tedious pre-calibration process required for new maskers. The proposed system was validated on a large-scale dataset of subjective responses to augmented soundscapes with more than 440 participants, ensuring the ability of the model to predict combined effect of the masker and its gain level on the perceptual pleasantness level.

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.

Measuring the acoustic characteristics of a space is often done by capturing its impulse response (IR), a representation of how a full-range stimulus sound excites it. This work generates an IR from a single image, which can then be applied to other signals using convolution, simulating the reverberant characteristics of the space shown in the image. Recording these IRs is both time-intensive and expensive, and often infeasible for inaccessible locations. We use an end-to-end neural network architecture to generate plausible audio impulse responses from single images of acoustic environments. We evaluate our method both by comparisons to ground truth data and by human expert evaluation. We demonstrate our approach by generating plausible impulse responses from diverse settings and formats including well known places, musical halls, rooms in paintings, images from animations and computer games, synthetic environments generated from text, panoramic images, and video conference backgrounds.

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.

A room's acoustic properties are a product of the room's geometry, the objects within the room, and their specific positions. A room's acoustic properties can be characterized by its impulse response (RIR) between a source and listener location, or roughly inferred from recordings of natural signals present in the room. Variations in the positions of objects in a room can effect measurable changes in the room's acoustic properties, as characterized by the RIR. Existing datasets of RIRs either do not systematically vary positions of objects in an environment, or they consist of only simulated RIRs. We present SoundCam, the largest dataset of unique RIRs from in-the-wild rooms publicly released to date. It includes 5,000 10-channel real-world measurements of room impulse responses and 2,000 10-channel recordings of music in three different rooms, including a controlled acoustic lab, an in-the-wild living room, and a conference room, with different humans in positions throughout each room. We show that these measurements can be used for interesting tasks, such as detecting and identifying humans, and tracking their positions.

Our environment is filled with rich and dynamic acoustic information. When we walk into a cathedral, the reverberations as much as appearance inform us of the sanctuary's wide open space. Similarly, as an object moves around us, we expect the sound emitted to also exhibit this movement. While recent advances in learned implicit functions have led to increasingly higher quality representations of the visual world, there have not been commensurate advances in learning spatial auditory representations. To address this gap, we introduce Neural Acoustic Fields (NAFs), an implicit representation that captures how sounds propagate in a physical scene. By modeling acoustic propagation in a scene as a linear time-invariant system, NAFs learn to continuously map all emitter and listener location pairs to a neural impulse response function that can then be applied to arbitrary sounds. We demonstrate that the continuous nature of NAFs enables us to render spatial acoustics for a listener at an arbitrary location, and can predict sound propagation at novel locations. We further show that the representation learned by NAFs can help improve visual learning with sparse views. Finally, we show that a representation informative of scene structure emerges during the learning of NAFs.

Spatial sound reasoning is a fundamental human skill, enabling us to navigate and interpret our surroundings based on sound. In this paper we present BAT, which combines the spatial sound perception ability of a binaural acoustic scene analysis model with the natural language reasoning capabilities of a large language model (LLM) to replicate this innate ability. To address the lack of existing datasets of in-the-wild spatial sounds, we synthesized a binaural audio dataset using AudioSet and SoundSpaces 2.0. Next, we developed SpatialSoundQA, a spatial sound-based question-answering dataset, offering a range of QA tasks that train BAT in various aspects of spatial sound perception and reasoning. The acoustic front end encoder of BAT is a novel spatial audio encoder named Spatial Audio Spectrogram Transformer, or Spatial-AST, which by itself achieves strong performance across sound event detection, spatial localization, and distance estimation. By integrating Spatial-AST with LLaMA-2 7B model, BAT transcends standard Sound Event Localization and Detection (SELD) tasks, enabling the model to reason about the relationships between the sounds in its environment. Our experiments demonstrate BAT's superior performance on both spatial sound perception and reasoning, showcasing the immense potential of LLMs in navigating and interpreting complex spatial audio environments.

We present an open, reproducible reference for automotive sound quality that connects standardized psychoacoustic metrics with lightweight AI/ML baselines, with a specific focus on electric vehicles (EVs). We implement loudness (ISO 532-1/2), tonality (DIN 45681), and modulation-based descriptors (roughness, fluctuation strength), and document assumptions and parameterizations for reliable reuse. For modeling, we provide simple, fully reproducible baselines (logistic regression, random forest, SVM) on synthetic EV-like cases using fixed splits and seeds, reporting accuracy and rank correlations as examples of end-to-end workflows rather than a comparative benchmark. Program-level normalization is reported in LUFS via ITU-R BS.1770, while psychoacoustic analysis uses ISO-532 loudness (sones). All figures and tables are regenerated by scripts with pinned environments; code and minimal audio stimuli are released under permissive licenses to support teaching, replication, and extension to EV-specific noise phenomena (e.g., inverter whine, reduced masking).

We introduce UniVerse-1, a unified, Veo-3-like model capable of simultaneously generating coordinated audio and video. To enhance training efficiency, we bypass training from scratch and instead employ a stitching of experts (SoE) technique. This approach deeply fuses the corresponding blocks of pre-trained video and music generation experts models, thereby fully leveraging their foundational capabilities. To ensure accurate annotations and temporal alignment for both ambient sounds and speech with video content, we developed an online annotation pipeline that processes the required training data and generates labels during training process. This strategy circumvents the performance degradation often caused by misalignment text-based annotations. Through the synergy of these techniques, our model, after being finetuned on approximately 7,600 hours of audio-video data, produces results with well-coordinated audio-visuals for ambient sounds generation and strong alignment for speech generation. To systematically evaluate our proposed method, we introduce Verse-Bench, a new benchmark dataset. In an effort to advance research in audio-video generation and to close the performance gap with state-of-the-art models such as Veo3, we make our model and code publicly available. We hope this contribution will benefit the broader research community. Project page: https://dorniwang.github.io/UniVerse-1/.

While recent work in controllable text-to-audio (TTA) generation has achieved fine-grained control through timestamp conditioning, its scope remains limited by audio quality and input format. These models often suffer from poor audio quality in real datasets due to sole reliance on synthetic data. Moreover, some models are constrained to a closed vocabulary of sound events, preventing them from controlling audio generation for open-ended, free-text queries. This paper introduces PicoAudio2, a framework that advances temporal-controllable TTA by mitigating these data and architectural limitations. Specifically, we use a grounding model to annotate event timestamps of real audio-text datasets to curate temporally-strong real data, in addition to simulation data from existing works. The model is trained on the combination of real and simulation data. Moreover, we propose an enhanced architecture that integrates the fine-grained information from a timestamp matrix with coarse-grained free-text input. Experiments show that PicoAudio2 exhibits superior performance in terms of temporal controllability and audio quality.

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.

Spatial audio quality is a highly multifaceted concept, with many interactions between environmental, geometrical, anatomical, psychological, and contextual considerations. Methods for characterization or evaluation of the geometrical components of spatial audio quality, however, remain scarce, despite being perhaps the least subjective aspect of spatial audio quality to quantify. By considering interchannel time and level differences relative to a reference signal, it is possible to construct a signal model to isolate some of the spatial distortion. By using a combination of least-square optimization and heuristics, we propose a signal decomposition method to isolate the spatial error from a processed signal, in terms of interchannel gain leakages and changes in relative delays. This allows the computation of simple energy-ratio metrics, providing objective measures of spatial and non-spatial signal qualities, with minimal assumptions and no dataset dependency. Experiments demonstrate the robustness of the method against common spatial signal degradation introduced by, e.g., audio compression and music source separation. Implementation is available at https://github.com/karnwatcharasupat/spauq.

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/

Recent advances in visually-induced audio generation are based on sampling short, low-fidelity, and one-class sounds. Moreover, sampling 1 second of audio from the state-of-the-art model takes minutes on a high-end GPU. In this work, we propose a single model capable of generating visually relevant, high-fidelity sounds prompted with a set of frames from open-domain videos in less time than it takes to play it on a single GPU. We train a transformer to sample a new spectrogram from the pre-trained spectrogram codebook given the set of video features. The codebook is obtained using a variant of VQGAN trained to produce a compact sampling space with a novel spectrogram-based perceptual loss. The generated spectrogram is transformed into a waveform using a window-based GAN that significantly speeds up generation. Considering the lack of metrics for automatic evaluation of generated spectrograms, we also build a family of metrics called FID and MKL. These metrics are based on a novel sound classifier, called Melception, and designed to evaluate the fidelity and relevance of open-domain samples. Both qualitative and quantitative studies are conducted on small- and large-scale datasets to evaluate the fidelity and relevance of generated samples. We also compare our model to the state-of-the-art and observe a substantial improvement in quality, size, and computation time. Code, demo, and samples: v-iashin.github.io/SpecVQGAN

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.

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.

Binaural rendering aims to synthesize binaural audio that mimics natural hearing based on a mono audio and the locations of the speaker and listener. Although many methods have been proposed to solve this problem, they struggle with rendering quality and streamable inference. Synthesizing high-quality binaural audio that is indistinguishable from real-world recordings requires precise modeling of binaural cues, room reverb, and ambient sounds. Additionally, real-world applications demand streaming inference. To address these challenges, we propose a flow matching based streaming binaural speech synthesis framework called BinauralFlow. We consider binaural rendering to be a generation problem rather than a regression problem and design a conditional flow matching model to render high-quality audio. Moreover, we design a causal U-Net architecture that estimates the current audio frame solely based on past information to tailor generative models for streaming inference. Finally, we introduce a continuous inference pipeline incorporating streaming STFT/ISTFT operations, a buffer bank, a midpoint solver, and an early skip schedule to improve rendering continuity and speed. Quantitative and qualitative evaluations demonstrate the superiority of our method over SOTA approaches. A perceptual study further reveals that our model is nearly indistinguishable from real-world recordings, with a 42% confusion rate.

The introduction of ISO 12913-2:2018 has provided a framework for standardized data collection and reporting procedures for soundscape practitioners. A strong emphasis was placed on the use of calibrated head and torso simulators (HATS) for binaural audio capture to obtain an accurate subjective impression and acoustic measure of the soundscape under evaluation. To auralise the binaural recordings as recorded or at set levels, the audio stimuli and the headphone setup are usually calibrated with a HATS. However, calibrated HATS are too financially prohibitive for most research teams, inevitably diminishing the availability of the soundscape standard. With the increasing availability of soundscape binaural recording datasets, and the importance of cross-cultural validation of the soundscape ISO standards, e.g.\ via the Soundscape Attributes Translation Project (SATP), it is imperative to assess the suitability of cost-effective headphone calibration methods to maximise availability without severely compromising on accuracy. Hence, this study objectively examines an open-circuit voltage (OCV) calibration method in comparison to a calibrated HATS on various soundcard and headphone combinations. Preliminary experiments found that calibration with the OCV method differed significantly from the reference binaural recordings in sound pressure levels, whereas negligible differences in levels were observed with the HATS calibration.

This work aims to advance sound event detection (SED) research by presenting a new large language model (LLM)-powered dataset namely wild domestic environment sound event detection (WildDESED). It is crafted as an extension to the original DESED dataset to reflect diverse acoustic variability and complex noises in home settings. We leveraged LLMs to generate eight different domestic scenarios based on target sound categories of the DESED dataset. Then we enriched the scenarios with a carefully tailored mixture of noises selected from AudioSet and ensured no overlap with target sound. We consider widely popular convolutional neural recurrent network to study WildDESED dataset, which depicts its challenging nature. We then apply curriculum learning by gradually increasing noise complexity to enhance the model's generalization capabilities across various noise levels. Our results with this approach show improvements within the noisy environment, validating the effectiveness on the WildDESED dataset promoting noise-robust SED advancements.

Spectrograms are 2D representations of sound that look very different from the images found in our visual world. And natural images, when played as spectrograms, make unnatural sounds. In this paper, we show that it is possible to synthesize spectrograms that simultaneously look like natural images and sound like natural audio. We call these spectrograms images that sound. Our approach is simple and zero-shot, and it leverages pre-trained text-to-image and text-to-spectrogram diffusion models that operate in a shared latent space. During the reverse process, we denoise noisy latents with both the audio and image diffusion models in parallel, resulting in a sample that is likely under both models. Through quantitative evaluations and perceptual studies, we find that our method successfully generates spectrograms that align with a desired audio prompt while also taking the visual appearance of a desired image prompt. Please see our project page for video results: https://ificl.github.io/images-that-sound/

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.

Even though they differ in the physical domain, digital video and audio share many characteristics. Both are temporal data streams often stored in buffers with 8-bit values. This paper investigates a method for creating harmonic sounds with a video signal as input. A musical instrument is proposed, that utilizes video in both a sound synthesis method, and in a controller interface for selecting musical notes at specific velocities. The resulting instrument was informally determined by the author to sound both pleasant and interesting, but hard to control, and therefore suited for synth pad sounds.

With the growth of the Internet of Things and the rise of Big Data, data processing and machine learning applications are being moved to cheap and low size, weight, and power (SWaP) devices at the edge, often in the form of mobile phones, embedded systems, or microcontrollers. The field of Cyber-Physical Measurements and Signature Intelligence (MASINT) makes use of these devices to analyze and exploit data in ways not otherwise possible, which results in increased data quality, increased security, and decreased bandwidth. However, methods to train and deploy models at the edge are limited, and models with sufficient accuracy are often too large for the edge device. Therefore, there is a clear need for techniques to create efficient AI/ML at the edge. This work presents training techniques for audio models in the field of environmental sound classification at the edge. Specifically, we design and train Transformers to classify office sounds in audio clips. Results show that a BERT-based Transformer, trained on Mel spectrograms, can outperform a CNN using 99.85% fewer parameters. To achieve this result, we first tested several audio feature extraction techniques designed for Transformers, using ESC-50 for evaluation, along with various augmentations. Our final model outperforms the state-of-the-art MFCC-based CNN on the office sounds dataset, using just over 6,000 parameters -- small enough to run on a microcontroller.

Imagine being in a crowded space where people speak a different language and having hearables that transform the auditory space into your native language, while preserving the spatial cues for all speakers. We introduce spatial speech translation, a novel concept for hearables that translate speakers in the wearer's environment, while maintaining the direction and unique voice characteristics of each speaker in the binaural output. To achieve this, we tackle several technical challenges spanning blind source separation, localization, real-time expressive translation, and binaural rendering to preserve the speaker directions in the translated audio, while achieving real-time inference on the Apple M2 silicon. Our proof-of-concept evaluation with a prototype binaural headset shows that, unlike existing models, which fail in the presence of interference, we achieve a BLEU score of up to 22.01 when translating between languages, despite strong interference from other speakers in the environment. User studies further confirm the system's effectiveness in spatially rendering the translated speech in previously unseen real-world reverberant environments. Taking a step back, this work marks the first step towards integrating spatial perception into speech translation.

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

This paper presents a configurable version of Extreme Bandwidth Extension Network (EBEN), a Generative Adversarial Network (GAN) designed to improve audio captured with body-conduction microphones. We show that although these microphones significantly reduce environmental noise, this insensitivity to ambient noise happens at the expense of the bandwidth of the speech signal acquired by the wearer of the devices. The obtained captured signals therefore require the use of signal enhancement techniques to recover the full-bandwidth speech. EBEN leverages a configurable multiband decomposition of the raw captured signal. This decomposition allows the data time domain dimensions to be reduced and the full band signal to be better controlled. The multiband representation of the captured signal is processed through a U-Net-like model, which combines feature and adversarial losses to generate an enhanced speech signal. We also benefit from this original representation in the proposed configurable discriminators architecture. The configurable EBEN approach can achieve state-of-the-art enhancement results on synthetic data with a lightweight generator that allows real-time processing.

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

Recent advances in audio generation have focused on text-to-audio (T2A) and video-to-audio (V2A) tasks. However, T2A or V2A methods cannot generate holistic sounds (onscreen and off-screen). This is because T2A cannot generate sounds aligning with onscreen objects, while V2A cannot generate semantically complete (offscreen sounds missing). In this work, we address the task of holistic audio generation: given a video and a text prompt, we aim to generate both onscreen and offscreen sounds that are temporally synchronized with the video and semantically aligned with text and video. Previous approaches for joint text and video-to-audio generation often suffer from modality bias, favoring one modality over the other. To overcome this limitation, we introduce VinTAGe, a flow-based transformer model that jointly considers text and video to guide audio generation. Our framework comprises two key components: a Visual-Text Encoder and a Joint VT-SiT model. To reduce modality bias and improve generation quality, we employ pretrained uni-modal text-to-audio and video-to-audio generation models for additional guidance. Due to the lack of appropriate benchmarks, we also introduce VinTAGe-Bench, a dataset of 636 video-text-audio pairs containing both onscreen and offscreen sounds. Our comprehensive experiments on VinTAGe-Bench demonstrate that joint text and visual interaction is necessary for holistic audio generation. Furthermore, VinTAGe achieves state-of-the-art results on the VGGSound benchmark. Our source code and pre-trained models will be released. Demo is available at: https://www.youtube.com/watch?v=QmqWhUjPkJI.

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.

Multimodal generative models have shown impressive advances with the help of powerful diffusion models. Despite the progress, generating sound solely from text poses challenges in ensuring comprehensive scene depiction and temporal alignment. Meanwhile, video-to-sound generation limits the flexibility to prioritize sound synthesis for specific objects within the scene. To tackle these challenges, we propose a novel video-and-text-to-sound generation method, called ReWaS, where video serves as a conditional control for a text-to-audio generation model. Our method estimates the structural information of audio (namely, energy) from the video while receiving key content cues from a user prompt. We employ a well-performing text-to-sound model to consolidate the video control, which is much more efficient for training multimodal diffusion models with massive triplet-paired (audio-video-text) data. In addition, by separating the generative components of audio, it becomes a more flexible system that allows users to freely adjust the energy, surrounding environment, and primary sound source according to their preferences. Experimental results demonstrate that our method shows superiority in terms of quality, controllability, and training efficiency. Our demo is available at https://naver-ai.github.io/rewas

In recent decades, neuroscientific and psychological research has traced direct relationships between taste and auditory perceptions. This article explores multimodal generative models capable of converting taste information into music, building on this foundational research. We provide a brief review of the state of the art in this field, highlighting key findings and methodologies. We present an experiment in which a fine-tuned version of a generative music model (MusicGEN) is used to generate music based on detailed taste descriptions provided for each musical piece. The results are promising: according the participants' (n=111) evaluation, the fine-tuned model produces music that more coherently reflects the input taste descriptions compared to the non-fine-tuned model. This study represents a significant step towards understanding and developing embodied interactions between AI, sound, and taste, opening new possibilities in the field of generative AI. We release our dataset, code and pre-trained model at: https://osf.io/xs5jy/.

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.

Text-to-music generation models are now capable of generating high-quality music audio in broad styles. However, text control is primarily suitable for the manipulation of global musical attributes like genre, mood, and tempo, and is less suitable for precise control over time-varying attributes such as the positions of beats in time or the changing dynamics of the music. We propose Music ControlNet, a diffusion-based music generation model that offers multiple precise, time-varying controls over generated audio. To imbue text-to-music models with time-varying control, we propose an approach analogous to pixel-wise control of the image-domain ControlNet method. Specifically, we extract controls from training audio yielding paired data, and fine-tune a diffusion-based conditional generative model over audio spectrograms given melody, dynamics, and rhythm controls. While the image-domain Uni-ControlNet method already allows generation with any subset of controls, we devise a new strategy to allow creators to input controls that are only partially specified in time. We evaluate both on controls extracted from audio and controls we expect creators to provide, demonstrating that we can generate realistic music that corresponds to control inputs in both settings. While few comparable music generation models exist, we benchmark against MusicGen, a recent model that accepts text and melody input, and show that our model generates music that is 49% more faithful to input melodies despite having 35x fewer parameters, training on 11x less data, and enabling two additional forms of time-varying control. Sound examples can be found at https://MusicControlNet.github.io/web/.

We introduce HiFi-HARP, a large-scale dataset of 7th-order Higher-Order Ambisonic Room Impulse Responses (HOA-RIRs) consisting of more than 100,000 RIRs generated via a hybrid acoustic simulation in realistic indoor scenes. HiFi-HARP combines geometrically complex, furnished room models from the 3D-FRONT repository with a hybrid simulation pipeline: low-frequency wave-based simulation (finite-difference time-domain) up to 900 Hz is used, while high frequencies above 900 Hz are simulated using a ray-tracing approach. The combined raw RIRs are encoded into the spherical-harmonic domain (AmbiX ACN) for direct auralization. Our dataset extends prior work by providing 7th-order Ambisonic RIRs that combine wave-theoretic accuracy with realistic room content. We detail the generation pipeline (scene and material selection, array design, hybrid simulation, ambisonic encoding) and provide dataset statistics (room volumes, RT60 distributions, absorption properties). A comparison table highlights the novelty of HiFi-HARP relative to existing RIR collections. Finally, we outline potential benchmarks such as FOA-to-HOA upsampling, source localization, and dereverberation. We discuss machine learning use cases (spatial audio rendering, acoustic parameter estimation) and limitations (e.g., simulation approximations, static scenes). Overall, HiFi-HARP offers a rich resource for developing spatial audio and acoustics algorithms in complex environments.

In this paper, we propose the use of spatial and harmonic features in combination with long short term memory (LSTM) recurrent neural network (RNN) for automatic sound event detection (SED) task. Real life sound recordings typically have many overlapping sound events, making it hard to recognize with just mono channel audio. Human listeners have been successfully recognizing the mixture of overlapping sound events using pitch cues and exploiting the stereo (multichannel) audio signal available at their ears to spatially localize these events. Traditionally SED systems have only been using mono channel audio, motivated by the human listener we propose to extend them to use multichannel audio. The proposed SED system is compared against the state of the art mono channel method on the development subset of TUT sound events detection 2016 database. The usage of spatial and harmonic features are shown to improve the performance of SED.

While rendering and animation of photorealistic 3D human body models have matured and reached an impressive quality over the past years, modeling the spatial audio associated with such full body models has been largely ignored so far. In this work, we present a framework that allows for high-quality spatial audio generation, capable of rendering the full 3D soundfield generated by a human body, including speech, footsteps, hand-body interactions, and others. Given a basic audio-visual representation of the body in form of 3D body pose and audio from a head-mounted microphone, we demonstrate that we can render the full acoustic scene at any point in 3D space efficiently and accurately. To enable near-field and realtime rendering of sound, we borrow the idea of volumetric primitives from graphical neural rendering and transfer them into the acoustic domain. Our acoustic primitives result in an order of magnitude smaller soundfield representations and overcome deficiencies in near-field rendering compared to previous approaches.

Even without directly hearing sounds, humans can effortlessly reason about auditory properties, such as pitch, loudness, or sound-source associations, drawing on auditory commonsense. In contrast, language models often lack this capability, limiting their effectiveness in multimodal interactions. As an initial step to address this gap, we present AuditoryBench++, a comprehensive benchmark for evaluating auditory knowledge and reasoning in text-only settings. The benchmark encompasses tasks that range from basic auditory comparisons to contextually grounded reasoning, enabling fine-grained analysis of how models process and integrate auditory concepts. In addition, we introduce AIR-CoT, a novel auditory imagination reasoning method that generates and integrates auditory information during inference through span detection with special tokens and knowledge injection. Extensive experiments with recent LLMs and Multimodal LLMs demonstrate that AIR-CoT generally outperforms both the off-the-shelf models and those augmented with auditory knowledge. The project page is available at https://auditorybenchpp.github.io.

While direction of arrival (DOA) of sound events is generally estimated from multichannel audio data recorded in a microphone array, sound events usually derive from visually perceptible source objects, e.g., sounds of footsteps come from the feet of a walker. This paper proposes an audio-visual sound event localization and detection (SELD) task, which uses multichannel audio and video information to estimate the temporal activation and DOA of target sound events. Audio-visual SELD systems can detect and localize sound events using signals from a microphone array and audio-visual correspondence. We also introduce an audio-visual dataset, Sony-TAu Realistic Spatial Soundscapes 2023 (STARSS23), which consists of multichannel audio data recorded with a microphone array, video data, and spatiotemporal annotation of sound events. Sound scenes in STARSS23 are recorded with instructions, which guide recording participants to ensure adequate activity and occurrences of sound events. STARSS23 also serves human-annotated temporal activation labels and human-confirmed DOA labels, which are based on tracking results of a motion capture system. Our benchmark results demonstrate the benefits of using visual object positions in audio-visual SELD tasks. The data is available at https://zenodo.org/record/7880637.

End-to-end (E2E) spoken dialogue systems are increasingly replacing cascaded pipelines for voice-based human-AI interaction, processing raw audio directly without intermediate transcription. Existing benchmarks primarily evaluate these models on synthetic speech and single-turn tasks, leaving realistic multi-turn conversational ability underexplored. We introduce Audio MultiChallenge, an open-source benchmark to evaluate E2E spoken dialogue systems under natural multi-turn interaction patterns. Building on the text-based MultiChallenge framework, which evaluates Inference Memory, Instruction Retention, and Self Coherence, we introduce a new axis Voice Editing that tests robustness to mid-utterance speech repairs and backtracking. We further augment each axis to the audio modality, such as introducing Audio-Cue challenges for Inference Memory that require recalling ambient sounds and paralinguistic signals beyond semantic content. We curate 452 conversations from 47 speakers with 1,712 instance-specific rubrics through a hybrid audio-native agentic and human-in-the-loop pipeline that exposes model failures at scale while preserving natural disfluencies found in unscripted human speech. Our evaluation of proprietary and open-source models reveals that even frontier models struggle on our benchmark, with Gemini 3 Pro Preview (Thinking), our highest-performing model achieving a 54.65% pass rate. Error analysis shows that models fail most often on our new axes and that Self Coherence degrades with longer audio context. These failures reflect difficulty of tracking edits, audio cues, and long-range context in natural spoken dialogue. Audio MultiChallenge provides a reproducible testbed to quantify them and drive improvements in audio-native multi-turn interaction capability.

We introduce BeepBank-500, a compact, fully synthetic earcon/alert dataset (300-500 clips) designed for rapid, rights-clean experimentation in human-computer interaction and audio machine learning. Each clip is generated from a parametric recipe controlling waveform family (sine, square, triangle, FM), fundamental frequency, duration, amplitude envelope, amplitude modulation (AM), and lightweight Schroeder-style reverberation. We use three reverberation settings: dry, and two synthetic rooms denoted 'rir small' ('small') and 'rir medium' ('medium') throughout the paper and in the metadata. We release mono 48 kHz WAV audio (16-bit), a rich metadata table (signal/spectral features), and tiny reproducible baselines for (i) waveform-family classification and (ii) f0 regression on single tones. The corpus targets tasks such as earcon classification, timbre analyses, and onset detection, with clearly stated licensing and limitations. Audio is dedicated to the public domain via CC0-1.0; code is under MIT. Data DOI: https://doi.org/10.5281/zenodo.17172015. Code: https://github.com/mandip42/earcons-mini-500.

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.

Recent breakthroughs in language-queried audio source separation (LASS) have shown that generative models can achieve higher separation audio quality than traditional masking-based approaches. However, two key limitations restrict their practical use: (1) users often require operations beyond separation, such as sound removal; and (2) relying solely on text prompts can be unintuitive for specifying sound sources. In this paper, we propose PromptSep to extend LASS into a broader framework for general-purpose sound separation. PromptSep leverages a conditional diffusion model enhanced with elaborated data simulation to enable both audio extraction and sound removal. To move beyond text-only queries, we incorporate vocal imitation as an additional and more intuitive conditioning modality for our model, by incorporating Sketch2Sound as a data augmentation strategy. Both objective and subjective evaluations on multiple benchmarks demonstrate that PromptSep achieves state-of-the-art performance in sound removal and vocal-imitation-guided source separation, while maintaining competitive results on language-queried source separation.

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.

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.

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 .

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.

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

Neural audio synthesis methods now allow specifying ideas in natural language. However, these methods produce results that cannot be easily tweaked, as they are based on large latent spaces and up to billions of uninterpretable parameters. We propose a text-to-audio generation method that leverages a virtual modular sound synthesizer with only 78 parameters. Synthesizers have long been used by skilled sound designers for media like music and film due to their flexibility and intuitive controls. Our method, CTAG, iteratively updates a synthesizer's parameters to produce high-quality audio renderings of text prompts that can be easily inspected and tweaked. Sounds produced this way are also more abstract, capturing essential conceptual features over fine-grained acoustic details, akin to how simple sketches can vividly convey visual concepts. Our results show how CTAG produces sounds that are distinctive, perceived as artistic, and yet similarly identifiable to recent neural audio synthesis models, positioning it as a valuable and complementary tool.

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.

Style Transfer with Inference-Time Optimisation (ST-ITO) is a recent approach for transferring the applied effects of a reference audio to a raw audio track. It optimises the effect parameters to minimise the distance between the style embeddings of the processed audio and the reference. However, this method treats all possible configurations equally and relies solely on the embedding space, which can lead to unrealistic or biased results. We address this pitfall by introducing a Gaussian prior derived from a vocal preset dataset, DiffVox, over the parameter space. The resulting optimisation is equivalent to maximum-a-posteriori estimation. Evaluations on vocal effects transfer on the MedleyDB dataset show significant improvements across metrics compared to baselines, including a blind audio effects estimator, nearest-neighbour approaches, and uncalibrated ST-ITO. The proposed calibration reduces parameter mean squared error by up to 33% and matches the reference style better. Subjective evaluations with 16 participants confirm our method's superiority, especially in limited data regimes. This work demonstrates how incorporating prior knowledge in inference time enhances audio effects transfer, paving the way for more effective and realistic audio processing systems.

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

Sound content is an indispensable element for multimedia works such as video games, music, and films. Recent high-quality diffusion-based sound generation models can serve as valuable tools for the creators. However, despite producing high-quality sounds, these models often suffer from slow inference speeds. This drawback burdens creators, who typically refine their sounds through trial and error to align them with their artistic intentions. To address this issue, we introduce Sound Consistency Trajectory Models (SoundCTM). Our model enables flexible transitioning between high-quality 1-step sound generation and superior sound quality through multi-step generation. This allows creators to initially control sounds with 1-step samples before refining them through multi-step generation. While CTM fundamentally achieves flexible 1-step and multi-step generation, its impressive performance heavily depends on an additional pretrained feature extractor and an adversarial loss, which are expensive to train and not always available in other domains. Thus, we reframe CTM's training framework and introduce a novel feature distance by utilizing the teacher's network for a distillation loss. Additionally, while distilling classifier-free guided trajectories, we train conditional and unconditional student models simultaneously and interpolate between these models during inference. We also propose training-free controllable frameworks for SoundCTM, leveraging its flexible sampling capability. SoundCTM achieves both promising 1-step and multi-step real-time sound generation without using any extra off-the-shelf networks. Furthermore, we demonstrate SoundCTM's capability of controllable sound generation in a training-free manner.

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/

The ecological validity of soundscape studies usually rests on a choice of soundscapes that are representative of the perceptual space under investigation. For example, a soundscape pleasantness study might investigate locations with soundscapes ranging from "pleasant" to "annoying". The choice of soundscapes is typically researcher-led, but a participant-led process can reduce selection bias and improve result reliability. Hence, we propose a robust participant-led method to pinpoint characteristic soundscapes possessing arbitrary perceptual attributes. We validate our method by identifying Singaporean soundscapes spanning the perceptual quadrants generated from the "Pleasantness" and "Eventfulness" axes of the ISO 12913-2 circumplex model of soundscape perception, as perceived by local experts. From memory and experience, 67 participants first selected locations corresponding to each perceptual quadrant in each major planning region of Singapore. We then performed weighted k-means clustering on the selected locations, with weights for each location derived from previous frequencies and durations spent in each location by each participant. Weights hence acted as proxies for participant confidence. In total, 62 locations were thereby identified as suitable locations with characteristic soundscapes for further research utilizing the ISO 12913-2 perceptual quadrants. Audio-visual recordings and acoustic characterization of the soundscapes will be made in a future study.

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

Novel view acoustic synthesis (NVAS) aims to render binaural audio at any target viewpoint, given a mono audio emitted by a sound source at a 3D scene. Existing methods have proposed NeRF-based implicit models to exploit visual cues as a condition for synthesizing binaural audio. However, in addition to low efficiency originating from heavy NeRF rendering, these methods all have a limited ability of characterizing the entire scene environment such as room geometry, material properties, and the spatial relation between the listener and sound source. To address these issues, we propose a novel Audio-Visual Gaussian Splatting (AV-GS) model. To obtain a material-aware and geometry-aware condition for audio synthesis, we learn an explicit point-based scene representation with an audio-guidance parameter on locally initialized Gaussian points, taking into account the space relation from the listener and sound source. To make the visual scene model audio adaptive, we propose a point densification and pruning strategy to optimally distribute the Gaussian points, with the per-point contribution in sound propagation (e.g., more points needed for texture-less wall surfaces as they affect sound path diversion). Extensive experiments validate the superiority of our AV-GS over existing alternatives on the real-world RWAS and simulation-based SoundSpaces datasets.

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.

There has been a growing interest in the task of generating sound for silent videos, primarily because of its practicality in streamlining video post-production. However, existing methods for video-sound generation attempt to directly create sound from visual representations, which can be challenging due to the difficulty of aligning visual representations with audio representations. In this paper, we present SonicVisionLM, a novel framework aimed at generating a wide range of sound effects by leveraging vision-language models(VLMs). Instead of generating audio directly from video, we use the capabilities of powerful VLMs. When provided with a silent video, our approach first identifies events within the video using a VLM to suggest possible sounds that match the video content. This shift in approach transforms the challenging task of aligning image and audio into more well-studied sub-problems of aligning image-to-text and text-to-audio through the popular diffusion models. To improve the quality of audio recommendations with LLMs, we have collected an extensive dataset that maps text descriptions to specific sound effects and developed a time-controlled audio adapter. Our approach surpasses current state-of-the-art methods for converting video to audio, enhancing synchronization with the visuals, and improving alignment between audio and video components. Project page: https://yusiissy.github.io/SonicVisionLM.github.io/

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

Aerial scene recognition is a fundamental task in remote sensing and has recently received increased interest. While the visual information from overhead images with powerful models and efficient algorithms yields considerable performance on scene recognition, it still suffers from the variation of ground objects, lighting conditions etc. Inspired by the multi-channel perception theory in cognition science, in this paper, for improving the performance on the aerial scene recognition, we explore a novel audiovisual aerial scene recognition task using both images and sounds as input. Based on an observation that some specific sound events are more likely to be heard at a given geographic location, we propose to exploit the knowledge from the sound events to improve the performance on the aerial scene recognition. For this purpose, we have constructed a new dataset named AuDio Visual Aerial sceNe reCognition datasEt (ADVANCE). With the help of this dataset, we evaluate three proposed approaches for transferring the sound event knowledge to the aerial scene recognition task in a multimodal learning framework, and show the benefit of exploiting the audio information for the aerial scene recognition. The source code is publicly available for reproducibility purposes.

Sound plays a major role in human perception. Along with vision, it provides essential information for understanding our surroundings. Despite advances in neural implicit representations, learning acoustics that align with visual scenes remains a challenge. We propose NeRAF, a method that jointly learns acoustic and radiance fields. NeRAF synthesizes both novel views and spatialized room impulse responses (RIR) at new positions by conditioning the acoustic field on 3D scene geometric and appearance priors from the radiance field. The generated RIR can be applied to auralize any audio signal. Each modality can be rendered independently and at spatially distinct positions, offering greater versatility. We demonstrate that NeRAF generates high-quality audio on SoundSpaces and RAF datasets, achieving significant performance improvements over prior methods while being more data-efficient. Additionally, NeRAF enhances novel view synthesis of complex scenes trained with sparse data through cross-modal learning. NeRAF is designed as a Nerfstudio module, providing convenient access to realistic audio-visual generation.

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.

Scene recognition of audiologically relevant environments is important for hearing aids; however, it is challenging, in part because of the limitations of existing datasets. Datasets often lack public accessibility, completeness, or audiologically relevant labels, hindering systematic comparison of machine learning models. Deploying these models on resource-constrained edge devices presents another challenge. Our solution is two-fold: we leverage several open source datasets to create AHEAD-DS, a dataset designed for scene recognition of audiologically relevant environments, and introduce YAMNet+, a sound recognition model. AHEAD-DS aims to provide a standardised, publicly available dataset with consistent labels relevant to hearing aids, facilitating model comparison. YAMNet+ is designed for deployment on edge devices like smartphones connected to hearing devices, such as hearing aids and wireless earphones with hearing aid functionality; serving as a baseline model for sound-based scene recognition. YAMNet+ achieved a mean average precision of 0.83 and accuracy of 0.93 on the testing set of AHEAD-DS across fourteen categories of audiologically relevant environments. We found that applying transfer learning from the pretrained YAMNet model was essential. We demonstrated real-time sound-based scene recognition capabilities on edge devices by deploying YAMNet+ to an Android smartphone. Even with a Google Pixel 3 (a phone with modest specifications, released in 2018), the model processes audio with approximately 50ms of latency to load the model, and an approximate linear increase of 30ms per 1 second of audio. Our website and code https://github.com/Australian-Future-Hearing-Initiative .

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

We present a fast, simple method for automated data acquisition and visualization of sound directivity, made convenient and accessible via a smartphone app, "Polar Pattern Plotter." The app synchronizes measurements of sound volume with the phone's angular orientation obtained from either compass, gyroscope or accelerometer sensors and produces a graph and exportable data file. It is generalizable to various sound sources and receivers via the use of an input-jack-adaptor to supplant the smartphone's (omnidirectional) microphone. Results provide both a visual and quantitative representation of sound fields and device responses, adequate for introductory physics experiments.

We address the challenge of sound propagation simulations in 3D virtual rooms with moving sources, which have applications in virtual/augmented reality, game audio, and spatial computing. Solutions to the wave equation can describe wave phenomena such as diffraction and interference. However, simulating them using conventional numerical discretization methods with hundreds of source and receiver positions is intractable, making stimulating a sound field with moving sources impractical. To overcome this limitation, we propose using deep operator networks to approximate linear wave-equation operators. This enables the rapid prediction of sound propagation in realistic 3D acoustic scenes with moving sources, achieving millisecond-scale computations. By learning a compact surrogate model, we avoid the offline calculation and storage of impulse responses for all relevant source/listener pairs. Our experiments, including various complex scene geometries, show good agreement with reference solutions, with root mean squared errors ranging from 0.02 Pa to 0.10 Pa. Notably, our method signifies a paradigm shift as no prior machine learning approach has achieved precise predictions of complete wave fields within realistic domains. We anticipate that our findings will drive further exploration of deep neural operator methods, advancing research in immersive user experiences within virtual environments.

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

Deep neural networks have shown promise for music audio signal processing applications, often surpassing prior approaches, particularly as end-to-end models in the waveform domain. Yet results to date have tended to be constrained by low sample rates, noise, narrow domains of signal types, and/or lack of parameterized controls (i.e. "knobs"), making their suitability for professional audio engineering workflows still lacking. This work expands on prior research published on modeling nonlinear time-dependent signal processing effects associated with music production by means of a deep neural network, one which includes the ability to emulate the parameterized settings you would see on an analog piece of equipment, with the goal of eventually producing commercially viable, high quality audio, i.e. 44.1 kHz sampling rate at 16-bit resolution. The results in this paper highlight progress in modeling these effects through architecture and optimization changes, towards increasing computational efficiency, lowering signal-to-noise ratio, and extending to a larger variety of nonlinear audio effects. Toward these ends, the strategies employed involved a three-pronged approach: model speed, model accuracy, and model generalizability. Most of the presented methods provide marginal or no increase in output accuracy over the original model, with the exception of dataset manipulation. We found that limiting the audio content of the dataset, for example using datasets of just a single instrument, provided a significant improvement in model accuracy over models trained on more general datasets.

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.

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/.

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

We introduce MusicLM, a model generating high-fidelity music from text descriptions such as "a calming violin melody backed by a distorted guitar riff". MusicLM casts the process of conditional music generation as a hierarchical sequence-to-sequence modeling task, and it generates music at 24 kHz that remains consistent over several minutes. Our experiments show that MusicLM outperforms previous systems both in audio quality and adherence to the text description. Moreover, we demonstrate that MusicLM can be conditioned on both text and a melody in that it can transform whistled and hummed melodies according to the style described in a text caption. To support future research, we publicly release MusicCaps, a dataset composed of 5.5k music-text pairs, with rich text descriptions provided by human experts.

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.

Recently, instruction-following audio-language models have received broad attention for human-audio interaction. However, the absence of benchmarks capable of evaluating audio-centric interaction capabilities has impeded advancements in this field. Previous models primarily focus on assessing different fundamental tasks, such as Automatic Speech Recognition (ASR), and lack an assessment of the open-ended generative capabilities centered around audio. Thus, it is challenging to track the progression in the Large Audio-Language Models (LALMs) domain and to provide guidance for future improvement. In this paper, we introduce AIR-Bench (Audio InstRuction Benchmark), the first benchmark designed to evaluate the ability of LALMs to understand various types of audio signals (including human speech, natural sounds, and music), and furthermore, to interact with humans in the textual format. AIR-Bench encompasses two dimensions: foundation and chat benchmarks. The former consists of 19 tasks with approximately 19k single-choice questions, intending to inspect the basic single-task ability of LALMs. The latter one contains 2k instances of open-ended question-and-answer data, directly assessing the comprehension of the model on complex audio and its capacity to follow instructions. Both benchmarks require the model to generate hypotheses directly. We design a unified framework that leverages advanced language models, such as GPT-4, to evaluate the scores of generated hypotheses given the meta-information of the audio. Experimental results demonstrate a high level of consistency between GPT-4-based evaluation and human evaluation. By revealing the limitations of existing LALMs through evaluation results, AIR-Bench can provide insights into the direction of future research.

Learning to localize the sound source in videos without explicit annotations is a novel area of audio-visual research. Existing work in this area focuses on creating attention maps to capture the correlation between the two modalities to localize the source of the sound. In a video, oftentimes, the objects exhibiting movement are the ones generating the sound. In this work, we capture this characteristic by modeling the optical flow in a video as a prior to better aid in localizing the sound source. We further demonstrate that the addition of flow-based attention substantially improves visual sound source localization. Finally, we benchmark our method on standard sound source localization datasets and achieve state-of-the-art performance on the Soundnet Flickr and VGG Sound Source datasets. Code: https://github.com/denfed/heartheflow.

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.

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

We present a causal speech enhancement model working on the raw waveform that runs in real-time on a laptop CPU. The proposed model is based on an encoder-decoder architecture with skip-connections. It is optimized on both time and frequency domains, using multiple loss functions. Empirical evidence shows that it is capable of removing various kinds of background noise including stationary and non-stationary noises, as well as room reverb. Additionally, we suggest a set of data augmentation techniques applied directly on the raw waveform which further improve model performance and its generalization abilities. We perform evaluations on several standard benchmarks, both using objective metrics and human judgements. The proposed model matches state-of-the-art performance of both causal and non causal methods while working directly on the raw waveform.

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

Realistic audio synthesis that captures accurate acoustic phenomena is essential for creating immersive experiences in virtual and augmented reality. Synthesizing the sound received at any position relies on the estimation of impulse response (IR), which characterizes how sound propagates in one scene along different paths before arriving at the listener's position. In this paper, we present Acoustic Volume Rendering (AVR), a novel approach that adapts volume rendering techniques to model acoustic impulse responses. While volume rendering has been successful in modeling radiance fields for images and neural scene representations, IRs present unique challenges as time-series signals. To address these challenges, we introduce frequency-domain volume rendering and use spherical integration to fit the IR measurements. Our method constructs an impulse response field that inherently encodes wave propagation principles and achieves state-of-the-art performance in synthesizing impulse responses for novel poses. Experiments show that AVR surpasses current leading methods by a substantial margin. Additionally, we develop an acoustic simulation platform, AcoustiX, which provides more accurate and realistic IR simulations than existing simulators. Code for AVR and AcoustiX are available at https://zitonglan.github.io/avr.

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.

Information on liquid jet stream flow is crucial in many real world applications. In a large number of cases, these flows fall directly onto free surfaces (e.g. pools), creating a splash with accompanying splashing sounds. The sound produced is supplied by energy interactions between the liquid jet stream and the passive free surface. In this investigation, we collect the sound of a water jet of varying flowrate falling into a pool of water, and use this sound to predict the flowrate and flowrate trajectory involved. Two approaches are employed: one uses machine-learning models trained using audio features extracted from the collected sound to predict the flowrate (and subsequently the flowrate trajectory). In contrast, the second method directly uses acoustic parameters related to the spectral energy of the liquid-liquid interaction to estimate the flowrate trajectory. The actual flowrate, however, is determined directly using a gravimetric method: tracking the change in mass of the pooling liquid over time. We show here that the two methods agree well with the actual flowrate and offer comparable performance in accurately predicting the flowrate trajectory, and accordingly offer insights for potential real-life applications using sound.

Casual conversations involving multiple speakers and noises from surrounding devices are common in everyday environments, which degrades the performances of automatic speech recognition systems. These challenging characteristics of environments are the target of the CHiME-5 challenge. By employing a convolutional neural network (CNN)-based multichannel end-to-end speech recognition system, this study attempts to overcome the presents difficulties in everyday environments. The system comprises of an attention-based encoder-decoder neural network that directly generates a text as an output from a sound input. The multichannel CNN encoder, which uses residual connections and batch renormalization, is trained with augmented data, including white noise injection. The experimental results show that the word error rate is reduced by 8.5% and 0.6% absolute from a single channel end-to-end and the best baseline (LF-MMI TDNN) on the CHiME-5 corpus, respectively.