Daily Papers

End-to-end human animation with rich multi-modal conditions, e.g., text, image and audio has achieved remarkable advancements in recent years. However, most existing methods could only animate a single subject and inject conditions in a global manner, ignoring scenarios that multiple concepts could appears in the same video with rich human-human interactions and human-object interactions. Such global assumption prevents precise and per-identity control of multiple concepts including humans and objects, therefore hinders applications. In this work, we discard the single-entity assumption and introduce a novel framework that enforces strong, region-specific binding of conditions from modalities to each identity's spatiotemporal footprint. Given reference images of multiple concepts, our method could automatically infer layout information by leveraging a mask predictor to match appearance cues between the denoised video and each reference appearance. Furthermore, we inject local audio condition into its corresponding region to ensure layout-aligned modality matching in a iterative manner. This design enables the high-quality generation of controllable multi-concept human-centric videos. Empirical results and ablation studies validate the effectiveness of our explicit layout control for multi-modal conditions compared to implicit counterparts and other existing methods.

The generation and editing of audio-conditioned talking portraits guided by multimodal inputs, including text, images, and videos, remains under explored. In this paper, we present SkyReels-Audio, a unified framework for synthesizing high-fidelity and temporally coherent talking portrait videos. Built upon pretrained video diffusion transformers, our framework supports infinite-length generation and editing, while enabling diverse and controllable conditioning through multimodal inputs. We employ a hybrid curriculum learning strategy to progressively align audio with facial motion, enabling fine-grained multimodal control over long video sequences. To enhance local facial coherence, we introduce a facial mask loss and an audio-guided classifier-free guidance mechanism. A sliding-window denoising approach further fuses latent representations across temporal segments, ensuring visual fidelity and temporal consistency across extended durations and diverse identities. More importantly, we construct a dedicated data pipeline for curating high-quality triplets consisting of synchronized audio, video, and textual descriptions. Comprehensive benchmark evaluations show that SkyReels-Audio achieves superior performance in lip-sync accuracy, identity consistency, and realistic facial dynamics, particularly under complex and challenging conditions.

We present JASCO, a temporally controlled text-to-music generation model utilizing both symbolic and audio-based conditions. JASCO can generate high-quality music samples conditioned on global text descriptions along with fine-grained local controls. JASCO is based on the Flow Matching modeling paradigm together with a novel conditioning method. This allows music generation controlled both locally (e.g., chords) and globally (text description). Specifically, we apply information bottleneck layers in conjunction with temporal blurring to extract relevant information with respect to specific controls. This allows the incorporation of both symbolic and audio-based conditions in the same text-to-music model. We experiment with various symbolic control signals (e.g., chords, melody), as well as with audio representations (e.g., separated drum tracks, full-mix). We evaluate JASCO considering both generation quality and condition adherence, using both objective metrics and human studies. Results suggest that JASCO is comparable to the evaluated baselines considering generation quality while allowing significantly better and more versatile controls over the generated music. Samples are available on our demo page https://pages.cs.huji.ac.il/adiyoss-lab/JASCO.

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

In this work, we study Human-Object Interaction Video Generation (HOIVG), which aims to synthesize high-quality human-object interaction videos conditioned on text, reference images, audio, and pose. This task holds significant practical value for automating content creation in real-world applications, such as e-commerce demonstrations, short video production, and interactive entertainment. However, existing approaches fail to accommodate all these requisite conditions. We present OmniShow, an end-to-end framework tailored for this practical yet challenging task, capable of harmonizing multimodal conditions and delivering industry-grade performance. To overcome the trade-off between controllability and quality, we introduce Unified Channel-wise Conditioning for efficient image and pose injection, and Gated Local-Context Attention to ensure precise audio-visual synchronization. To effectively address data scarcity, we develop a Decoupled-Then-Joint Training strategy that leverages a multi-stage training process with model merging to efficiently harness heterogeneous sub-task datasets. Furthermore, to fill the evaluation gap in this field, we establish HOIVG-Bench, a dedicated and comprehensive benchmark for HOIVG. Extensive experiments demonstrate that OmniShow achieves overall state-of-the-art performance across various multimodal conditioning settings, setting a solid standard for the emerging HOIVG task.

In this study, we examine the efficacy of post-hoc local attribution methods in identifying features with predictive power from irrelevant ones in domains characterized by a low signal-to-noise ratio (SNR), a common scenario in real-world machine learning applications. We developed synthetic datasets encompassing symbolic functional, image, and audio data, incorporating a benchmark on the {\it (Model \(\times\) Attribution\(\times\) Noise Condition)} triplet. By rigorously testing various classic models trained from scratch, we gained valuable insights into the performance of these attribution methods in multiple conditions. Based on these findings, we introduce a novel extension to the notable recursive feature elimination (RFE) algorithm, enhancing its applicability for neural networks. Our experiments highlight its strengths in prediction and feature selection, alongside limitations in scalability. Further details and additional minor findings are included in the appendix, with extensive discussions. The codes and resources are available at https://github.com/geshijoker/ChaosMining/{URL}.

Randomized controlled trials (RCTs) are the benchmark for causal inference, yet field implementation can deviate. We here present a remote audit - a design-based, preregistrable diagnostic that uses only pre-treatment satellite imagery to test whether assignment is independent of local conditions. The conditional randomization test of the remote audit evaluates whether treatment assignment is more predictable from pre-treatment satellite features than expected under the experiment's registered mechanism, providing a finite-sample valid, design-based diagnostic that requires no parametric assumptions. The procedure is finite-sample valid, honors blocks and clusters, and controls multiplicity across image models and resolutions via a max-statistic. We illustrate with two RCTs: Uganda's Youth Opportunities Program, where the audit corroborates randomization and flags selection and missing-data risks; and a school-based trial in Bangladesh, where assignment is highly predictable from pre-treatment features relative to the stated design, consistent with independent concerns about irregularities. Remote audits complement balance tests, lower early-stage costs, and enable rapid design checks when baseline surveys are expensive or infeasible.

The task of Visual Sound Source Localization (VSSL) involves identifying the location of sound sources in visual scenes, integrating audio-visual data for enhanced scene understanding. Despite advancements in state-of-the-art (SOTA) models, we observe three critical flaws: i) The evaluation of the models is mainly focused in sounds produced by objects that are visible in the image, ii) The evaluation often assumes a prior knowledge of the size of the sounding object, and iii) No universal threshold for localization in real-world scenarios is established, as previous approaches only consider positive examples without accounting for both positive and negative cases. In this paper, we introduce a novel test set and metrics designed to complete the current standard evaluation of VSSL models by testing them in scenarios where none of the objects in the image corresponds to the audio input, i.e. a negative audio. We consider three types of negative audio: silence, noise and offscreen. Our analysis reveals that numerous SOTA models fail to appropriately adjust their predictions based on audio input, suggesting that these models may not be leveraging audio information as intended. Additionally, we provide a comprehensive analysis of the range of maximum values in the estimated audio-visual similarity maps, in both positive and negative audio cases, and show that most of the models are not discriminative enough, making them unfit to choose a universal threshold appropriate to perform sound localization without any a priori information of the sounding object, that is, object size and visibility.

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

Audio in the real world may be perturbed due to numerous factors, causing the audio quality to be degraded. The following work presents an audio restoration model tailored for high-res music at 44.1kHz. Our model, Audio-to-Audio Schrodinger Bridges (A2SB), is capable of both bandwidth extension (predicting high-frequency components) and inpainting (re-generating missing segments). Critically, A2SB is end-to-end without need of a vocoder to predict waveform outputs, able to restore hour-long audio inputs, and trained on permissively licensed music data. A2SB is capable of achieving state-of-the-art bandwidth extension and inpainting quality on several out-of-distribution music test sets. Our demo website is https: //research.nvidia.com/labs/adlr/A2SB/.

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/

Visual sound source localization is a fundamental perception task that aims to detect the location of sounding sources in a video given its audio. Despite recent progress, we identify two shortcomings in current methods: 1) most approaches perform poorly in cases with low audio-visual semantic correspondence such as silence, noise, and offscreen sounds, i.e. in the presence of negative audio; and 2) most prior evaluations are limited to positive cases, where both datasets and metrics convey scenarios with a single visible sound source in the scene. To address this, we introduce three key contributions. First, we propose a new training strategy that incorporates silence and noise, which improves performance in positive cases, while being more robust against negative sounds. Our resulting self-supervised model, SSL-SaN, achieves state-of-the-art performance compared to other self-supervised models, both in sound localization and cross-modal retrieval. Second, we propose a new metric that quantifies the trade-off between alignment and separability of auditory and visual features across positive and negative audio-visual pairs. Third, we present IS3+, an extended and improved version of the IS3 synthetic dataset with negative audio. Our data, metrics and code are available on the https://xavijuanola.github.io/SSL-SaN/.

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.

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

Research into the prediction and analysis of perceived audio quality is hampered by the scarcity of openly available datasets of audio signals accompanied by corresponding subjective quality scores. To address this problem, we present the Open Dataset of Audio Quality (ODAQ), a new dataset containing the results of a MUSHRA listening test conducted with expert listeners from 2 international laboratories. ODAQ contains 240 audio samples and corresponding quality scores. Each audio sample is rated by 26 listeners. The audio samples are stereo audio signals sampled at 44.1 or 48 kHz and are processed by a total of 6 method classes, each operating at different quality levels. The processing method classes are designed to generate quality degradations possibly encountered during audio coding and source separation, and the quality levels for each method class span the entire quality range. The diversity of the processing methods, the large span of quality levels, the high sampling frequency, and the pool of international listeners make ODAQ particularly suited for further research into subjective and objective audio quality. The dataset is released with permissive licenses, and the software used to conduct the listening test is also made publicly available.

Audio classifiers frequently face domain shift, when models trained on one dataset lose accuracy on data recorded in acoustically different conditions. Previous Test-Time Adaptation (TTA) research in speech and sound analysis often evaluates models under fixed or mismatched noise settings, that fail to mimic real-world variability. To overcome these limitations, this paper presents DHAuDS (Dynamic and Heterogeneous Audio Domain Shift), a benchmark designed to assess TTA approaches under more realistic and diverse acoustic shifts. DHAuDS comprises four standardized benchmarks: UrbanSound8K-C, SpeechCommandsV2-C, VocalSound-C, and ReefSet-C, each constructed with dynamic corruption severity levels and heterogeneous noise types to simulate authentic audio degradation scenarios. The framework defines 14 evaluation criteria for each benchmark (8 for UrbanSound8K-C), resulting in 50 unrepeated criteria (124 experiments) that collectively enable fair, reproducible, and cross-domain comparison of TTA algorithms. Through the inclusion of dynamic and mixed-domain noise settings, DHAuDS offers a consistent and publicly reproducible testbed to support ongoing studies in robust and adaptive audio modeling.

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.

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.

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.

A large and growing amount of speech content in real-life scenarios is being recorded on consumer-grade devices in uncontrolled environments, resulting in degraded speech quality. Transforming such low-quality device-degraded speech into high-quality speech is a goal of speech enhancement (SE). This paper introduces a new speech dataset, DDS, to facilitate the research on SE. DDS provides aligned parallel recordings of high-quality speech (recorded in professional studios) and a number of versions of low-quality speech, producing approximately 2,000 hours speech data. The DDS dataset covers 27 realistic recording conditions by combining diverse acoustic environments and microphone devices, and each version of a condition consists of multiple recordings from six microphone positions to simulate different noise and reverberation levels. We also test several SE baseline systems on the DDS dataset and show the impact of recording diversity on performance.

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.

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.

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

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.

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

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.

Large Audio-Language Models (ALMs) have recently demonstrated remarkable capabilities in holistic audio understanding, yet they remain unreliable for temporal grounding, i.e., the task of pinpointing exactly when an event occurs within long-form audio. This limitation stems from two factors: training data dominated by clip-level supervision lacking precise timestamps, and benchmarks that fail to simulate real-world scenarios where short events are obscured by dense background sounds. In this paper, we introduce SpotSound, an audio language model designed for grounding audio events. SpotSound incorporates a novel training objective, specifically designed to suppress hallucinated timestamps for events absent from the input. Additionally, we present SpotSound-Bench, a challenging temporal grounding benchmark where target events occupy less than ~10\% of each clip, creating a rigorous `needle-in-a-haystack' evaluation. Experiments demonstrate that SpotSound achieves state-of-the-art results on temporal grounding benchmarks while maintaining robust performance across general downstream audio-language tasks. Code, models and benchmark are released on https://loiesun.github.io/spotsound/

Speech enhancement methods are commonly believed to improve the performance of automatic speech recognition (ASR) in noisy environments. However, the effectiveness of these techniques cannot be taken for granted in the case of modern large-scale ASR models trained on diverse, noisy data. We present a systematic evaluation of MetricGAN-plus-voicebank denoising on four state-of-the-art ASR systems: OpenAI Whisper, NVIDIA Parakeet, Google Gemini Flash 2.0, Parrotlet-a using 500 medical speech recordings under nine noise conditions. ASR performance is measured using semantic WER (semWER), a normalized word error rate (WER) metric accounting for domain-specific normalizations. Our results reveal a counterintuitive finding: speech enhancement preprocessing degrades ASR performance across all noise conditions and models. Original noisy audio achieves lower semWER than enhanced audio in all 40 tested configurations (4 models x 10 conditions), with degradations ranging from 1.1% to 46.6% absolute semWER increase. These findings suggest that modern ASR models possess sufficient internal noise robustness and that traditional speech enhancement may remove acoustic features critical for ASR. For practitioners deploying medical scribe systems in noisy clinical environments, our results indicate that preprocessing audio with noise reduction techniques might not just be computationally wasteful but also be potentially harmful to the transcription accuracy.

The training of deep learning-based multichannel speech enhancement and source localization systems relies heavily on the simulation of room impulse response and multichannel diffuse noise, due to the lack of large-scale real-recorded datasets. However, the acoustic mismatch between simulated and real-world data could degrade the model performance when applying in real-world scenarios. To bridge this simulation-to-real gap, this paper presents a new relatively large-scale Real-recorded and annotated Microphone Array speech&Noise (RealMAN) dataset. The proposed dataset is valuable in two aspects: 1) benchmarking speech enhancement and localization algorithms in real scenarios; 2) offering a substantial amount of real-world training data for potentially improving the performance of real-world applications. Specifically, a 32-channel array with high-fidelity microphones is used for recording. A loudspeaker is used for playing source speech signals. A total of 83-hour speech signals (48 hours for static speaker and 35 hours for moving speaker) are recorded in 32 different scenes, and 144 hours of background noise are recorded in 31 different scenes. Both speech and noise recording scenes cover various common indoor, outdoor, semi-outdoor and transportation environments, which enables the training of general-purpose speech enhancement and source localization networks. To obtain the task-specific annotations, the azimuth angle of the loudspeaker is annotated with an omni-direction fisheye camera by automatically detecting the loudspeaker. The direct-path signal is set as the target clean speech for speech enhancement, which is obtained by filtering the source speech signal with an estimated direct-path propagation filter.

This study presents a large scale benchmarking on cloud based Speech-To-Text systems: {Google Cloud Speech-To-Text}, {Microsoft Azure Cognitive Services}, {Amazon Transcribe}, {IBM Watson Speech to Text}. For each systems, 40158 clean and noisy speech files about 101 hours are tested. Effect of background noise on STT quality is also evaluated with 5 different Signal-to-noise ratios from 40dB to 0dB. Results showed that {Microsoft Azure} provided lowest transcription error rate 9.09% on clean speech, with high robustness to noisy environment. {Google Cloud} and {Amazon Transcribe} gave similar performance, but the latter is very limited for time-constraint usage. Though {IBM Watson} could work correctly in quiet conditions, it is highly sensible to noisy speech which could strongly limit its application in real life situations.

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.

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.

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.

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 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.

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.

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.

We introduce a novel pipeline for joint audio-visual editing that enhances the coherence between edited video and its accompanying audio. Our approach first applies state-of-the-art video editing techniques to produce the target video, then performs audio editing to align with the visual changes. To achieve this, we present a new video-to-audio generation model that conditions on the source audio, target video, and a text prompt. We extend the model architecture to incorporate conditional audio input and propose a data augmentation strategy that improves training efficiency. Furthermore, our model dynamically adjusts the influence of the source audio based on the complexity of the edits, preserving the original audio structure where possible. Experimental results demonstrate that our method outperforms existing approaches in maintaining audio-visual alignment and content integrity.

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.

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

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/

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

This paper presents a unified AI framework for high-accuracy audio anomaly detection by integrating advanced noise reduction, feature extraction, and machine learning modeling techniques. The approach combines spectral subtraction and adaptive filtering to enhance audio quality, followed by feature extraction using traditional methods like MFCCs and deep embeddings from pre-trained models such as OpenL3. The modeling pipeline incorporates classical models (SVM, Random Forest), deep learning architectures (CNNs), and ensemble methods to boost robustness and accuracy. Evaluated on benchmark datasets including TORGO and LibriSpeech, the proposed framework demonstrates superior performance in precision, recall, and classification of slurred vs. normal speech. This work addresses challenges in noisy environments and real-time applications and provides a scalable solution for audio-based anomaly detection.

Audio super-resolution is a fundamental task that predicts high-frequency components for low-resolution audio, enhancing audio quality in digital applications. Previous methods have limitations such as the limited scope of audio types (e.g., music, speech) and specific bandwidth settings they can handle (e.g., 4kHz to 8kHz). In this paper, we introduce a diffusion-based generative model, AudioSR, that is capable of performing robust audio super-resolution on versatile audio types, including sound effects, music, and speech. Specifically, AudioSR can upsample any input audio signal within the bandwidth range of 2kHz to 16kHz to a high-resolution audio signal at 24kHz bandwidth with a sampling rate of 48kHz. Extensive objective evaluation on various audio super-resolution benchmarks demonstrates the strong result achieved by the proposed model. In addition, our subjective evaluation shows that AudioSR can acts as a plug-and-play module to enhance the generation quality of a wide range of audio generative models, including AudioLDM, Fastspeech2, and MusicGen. Our code and demo are available at https://audioldm.github.io/audiosr.

Deepfakes have become a universal and rapidly intensifying concern of generative AI across various media types such as images, audio, and videos. Among these, audio deepfakes have been of particular concern due to the ease of high-quality voice synthesis and distribution via platforms such as social media and robocalls. Consequently, detecting audio deepfakes plays a critical role in combating the growing misuse of AI-synthesized speech. However, real-world scenarios often introduce various audio corruptions, such as noise, modification, and compression, that may significantly impact detection performance. This work systematically evaluates the robustness of 10 audio deepfake detection models against 16 common corruptions, categorized into noise perturbation, audio modification, and compression. Using both traditional deep learning models and state-of-the-art foundation models, we make four unique observations. First, our findings show that while most models demonstrate strong robustness to noise, they are notably more vulnerable to modifications and compression, especially when neural codecs are applied. Second, speech foundation models generally outperform traditional models across most scenarios, likely due to their self-supervised learning paradigm and large-scale pre-training. Third, our results show that increasing model size improves robustness, albeit with diminishing returns. Fourth, we demonstrate how targeted data augmentation during training can enhance model resilience to unseen perturbations. A case study on political speech deepfakes highlights the effectiveness of foundation models in achieving high accuracy under real-world conditions. These findings emphasize the importance of developing more robust detection frameworks to ensure reliability in practical deployment settings.

Hearables are becoming ubiquitous, yet their sound controls remain blunt: users can either enable global noise suppression or focus on a single target sound. Real-world acoustic scenes, however, contain many simultaneous sources that users may want to adjust independently. We introduce Aurchestra, the first system to provide fine-grained, real-time soundscape control on resource-constrained hearables. Our system has two key components: (1) a dynamic interface that surfaces only active sound classes and (2) a real-time, on-device multi-output extraction network that generates separate streams for each selected class, achieving robust performance for upto 5 overlapping target sounds, and letting users mix their environment by customizing per-class volumes, much like an audio engineer mixes tracks. We optimize the model architecture for multiple compute-limited platforms and demonstrate real-time performance on 6 ms streaming audio chunks. Across real-world environments in previously unseen indoor and outdoor scenarios, our system enables expressive per-class sound control and achieves substantial improvements in target-class enhancement and interference suppression. Our results show that the world need not be heard as a single, undifferentiated stream: with Aurchestra, the soundscape becomes truly programmable.

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

We 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.

Most automatic speech processing systems are sensitive to the acoustic environment, with degraded performance when applied to noisy or reverberant speech. But how can one tell whether speech is noisy or reverberant? We propose Brouhaha, a pipeline to simulate audio segments recorded in noisy and reverberant conditions. We then use the simulated audio to jointly train the Brouhaha model for voice activity detection, signal-to-noise ratio estimation, and C50 room acoustics prediction. We show how the predicted SNR and C50 values can be used to investigate and help diagnose errors made by automatic speech processing tools (such as pyannote.audio for speaker diarization or OpenAI's Whisper for automatic speech recognition). Both our pipeline and a pretrained model are open source and shared with the speech community.

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

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

We present ClearBuds, the first hardware and software system that utilizes a neural network to enhance speech streamed from two wireless earbuds. Real-time speech enhancement for wireless earbuds requires high-quality sound separation and background cancellation, operating in real-time and on a mobile phone. Clear-Buds bridges state-of-the-art deep learning for blind audio source separation and in-ear mobile systems by making two key technical contributions: 1) a new wireless earbud design capable of operating as a synchronized, binaural microphone array, and 2) a lightweight dual-channel speech enhancement neural network that runs on a mobile device. Our neural network has a novel cascaded architecture that combines a time-domain conventional neural network with a spectrogram-based frequency masking neural network to reduce the artifacts in the audio output. Results show that our wireless earbuds achieve a synchronization error less than 64 microseconds and our network has a runtime of 21.4 milliseconds on an accompanying mobile phone. In-the-wild evaluation with eight users in previously unseen indoor and outdoor multipath scenarios demonstrates that our neural network generalizes to learn both spatial and acoustic cues to perform noise suppression and background speech removal. In a user-study with 37 participants who spent over 15.4 hours rating 1041 audio samples collected in-the-wild, our system achieves improved mean opinion score and background noise suppression. Project page with demos: https://clearbuds.cs.washington.edu

This work introduces a new task, text-conditioned selective video-to-audio (V2A) generation, which produces only the user-intended sound from a multi-object video. This capability is especially crucial in multimedia production, where audio tracks are handled individually for each sound source for precise editing, mixing, and creative control. However, current approaches generate single source-mixed sounds at once, largely because visual features are entangled, and region cues or prompts often fail to specify the source. We propose SelVA, a novel text-conditioned V2A model that treats the text prompt as an explicit selector of target source and modulates video encoder to distinctly extract prompt-relevant video features. The proposed supplementary tokens promote cross-attention by suppressing text-irrelevant activations with efficient parameter tuning, yielding robust semantic and temporal grounding. SelVA further employs a self-augmentation scheme to overcome the lack of mono audio track supervision. We evaluate SelVA on VGG-MONOAUDIO, a curated benchmark of clean single-source videos for such a task. Extensive experiments and ablations consistently verify its effectiveness across audio quality, semantic alignment, and temporal synchronization. Code and demo are available at https://jnwnlee.github.io/selva-demo/.

This paper explores a novel perspective to speech quality assessment by leveraging natural language descriptions, offering richer, more nuanced insights than traditional numerical scoring methods. Natural language feedback provides instructive recommendations and detailed evaluations, yet existing datasets lack the comprehensive annotations needed for this approach. To bridge this gap, we introduce QualiSpeech, a comprehensive low-level speech quality assessment dataset encompassing 11 key aspects and detailed natural language comments that include reasoning and contextual insights. Additionally, we propose the QualiSpeech Benchmark to evaluate the low-level speech understanding capabilities of auditory large language models (LLMs). Experimental results demonstrate that finetuned auditory LLMs can reliably generate detailed descriptions of noise and distortion, effectively identifying their types and temporal characteristics. The results further highlight the potential for incorporating reasoning to enhance the accuracy and reliability of quality assessments. The dataset will be released at https://huggingface.co/datasets/tsinghua-ee/QualiSpeech.

Despite decades of research on reverberant speech, comparing methods remains difficult because most corpora lack per-file acoustic annotations or provide limited documentation for reproduction. We present RIR-Mega-Speech, a corpus of approximately 117.5 hours created by convolving LibriSpeech utterances with roughly 5,000 simulated room impulse responses from the RIR-Mega collection. Every file includes RT60, direct-to-reverberant ratio (DRR), and clarity index (C_{50}) computed from the source RIR using clearly defined, reproducible procedures. We also provide scripts to rebuild the dataset and reproduce all evaluation results. Using Whisper small on 1,500 paired utterances, we measure 5.20% WER (95% CI: 4.69--5.78) on clean speech and 7.70% (7.04--8.35) on reverberant versions, corresponding to a paired increase of 2.50 percentage points (2.06--2.98). This represents a 48% relative degradation. WER increases monotonically with RT60 and decreases with DRR, consistent with prior perceptual studies. While the core finding that reverberation harms recognition is well established, we aim to provide the community with a standardized resource where acoustic conditions are transparent and results can be verified independently. The repository includes one-command rebuild instructions for both Windows and Linux environments.

The ability to accurately recognize, localize and separate sound sources is fundamental to any audio-visual perception task. Historically, these abilities were tackled separately, with several methods developed independently for each task. However, given the interconnected nature of source localization, separation, and recognition, independent models are likely to yield suboptimal performance as they fail to capture the interdependence between these tasks. To address this problem, we propose a unified audio-visual learning framework (dubbed OneAVM) that integrates audio and visual cues for joint localization, separation, and recognition. OneAVM comprises a shared audio-visual encoder and task-specific decoders trained with three objectives. The first objective aligns audio and visual representations through a localized audio-visual correspondence loss. The second tackles visual source separation using a traditional mix-and-separate framework. Finally, the third objective reinforces visual feature separation and localization by mixing images in pixel space and aligning their representations with those of all corresponding sound sources. Extensive experiments on MUSIC, VGG-Instruments, VGG-Music, and VGGSound datasets demonstrate the effectiveness of OneAVM for all three tasks, audio-visual source localization, separation, and nearest neighbor recognition, and empirically demonstrate a strong positive transfer between them.

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

Existing video-to-audio (V2A) generation methods predominantly rely on text prompts alongside visual information to synthesize audio. However, two critical bottlenecks persist: semantic granularity gaps in training data, such as conflating acoustically distinct sounds under coarse labels, and textual ambiguity in describing micro-acoustic features. These bottlenecks make it difficult to perform fine-grained sound synthesis using text-controlled modes. To address these limitations, we propose AC-Foley, an audio-conditioned V2A model that directly leverages reference audio to achieve precise and fine-grained control over generated sounds. This approach enables fine-grained sound synthesis, timbre transfer, zero-shot sound generation, and improved audio quality. By directly conditioning on audio signals, our approach bypasses the semantic ambiguities of text descriptions while enabling precise manipulation of acoustic attributes. Empirically, AC-Foley achieves state-of-the-art performance for Foley generation when conditioned on reference audio, while remaining competitive with state-of-the-art video-to-audio methods even without audio conditioning.

Large audio-language models are advancing rapidly, yet most evaluations emphasize speech or globally sourced sounds, overlooking culturally distinctive cues. This gap raises a critical question: can current models generalize to localized, non-semantic audio that communities instantly recognize but outsiders do not? To address this, we present TAU (Taiwan Audio Understanding), a benchmark of everyday Taiwanese "soundmarks." TAU is built through a pipeline combining curated sources, human editing, and LLM-assisted question generation, producing 702 clips and 1,794 multiple-choice items that cannot be solved by transcripts alone. Experiments show that state-of-the-art LALMs, including Gemini 2.5 and Qwen2-Audio, perform far below local humans. TAU demonstrates the need for localized benchmarks to reveal cultural blind spots, guide more equitable multimodal evaluation, and ensure models serve communities beyond the global mainstream.

In speech quality estimation for speech enhancement (SE) systems, subjective listening tests so far are considered as the gold standard. This should be even more true considering the large influx of new generative or hybrid methods into the field, revealing issues of some objective metrics. Efforts such as the Interspeech 2025 URGENT Speech Enhancement Challenge also involving non-English datasets add the aspect of multilinguality to the testing procedure. In this paper, we provide a brief recap of the ITU-T P.808 crowdsourced subjective listening test method. A first novel contribution is our proposed process of localizing both text and audio components of Naderi and Cutler's implementation of crowdsourced subjective absolute category rating (ACR) listening tests involving text-to-speech (TTS). Further, we provide surprising analyses of and insights into URGENT Challenge results, tackling the reliability of (P.808) ACR subjective testing as gold standard in the age of generative AI. Particularly, it seems that for generative SE methods, subjective (ACR MOS) and objective (DNSMOS, NISQA) reference-free metrics should be accompanied by objective phone fidelity metrics to reliably detect hallucinations. Finally, in the accepted version, we will release our localization scripts and methods for easy deployment for new multilingual speech enhancement subjective evaluations according to ITU-T P.808.

The sound codec's dual roles in minimizing data transmission latency and serving as tokenizers underscore its critical importance. Recent years have witnessed significant developments in codec models. The ideal sound codec should preserve content, paralinguistics, speakers, and audio information. However, the question of which codec achieves optimal sound information preservation remains unanswered, as in different papers, models are evaluated on their selected experimental settings. This study introduces Codec-SUPERB, an acronym for Codec sound processing Universal PERformance Benchmark. It is an ecosystem designed to assess codec models across representative sound applications and signal-level metrics rooted in sound domain knowledge.Codec-SUPERB simplifies result sharing through an online leaderboard, promoting collaboration within a community-driven benchmark database, thereby stimulating new development cycles for codecs. Furthermore, we undertake an in-depth analysis to offer insights into codec models from both application and signal perspectives, diverging from previous codec papers mainly concentrating on signal-level comparisons. Finally, we will release codes, the leaderboard, and data to accelerate progress within the community.

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.

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/

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.

Audio and speech coding lack unified evaluation and open-source testing. Many candidate systems were evaluated on proprietary, non-reproducible, or small data, and machine learning-based codecs are often tested on datasets with similar distributions as trained on, which is unfairly compared to digital signal processing-based codecs that usually work well with unseen data. This paper presents a full-band audio and speech coding quality benchmark with more variable content types, including traditional open test vectors. An example use case of audio coding quality assessment is presented with open-source Opus, 3GPP's EVS, and recent ETSI's LC3 with LC3+ used in Bluetooth LE Audio profiles. Besides, quality variations of emotional speech encoding at 16 kbps are shown. The proposed open-source benchmark contributes to audio and speech coding democratization and is available at https://github.com/JozefColdenhoff/OpenACE.

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

The audio research community depends on open generative models as foundational tools for building novel approaches and establishing baselines. In this report, we present Woosh, Sony AI's publicly released sound effect foundation model, detailing its architecture, training process, and an evaluation against other popular open models. Being optimized for sound effects, we provide (1) a high-quality audio encoder/decoder model and (2) a text-audio alignment model for conditioning, together with (3) text-to-audio and (4) video-to-audio generative models. Distilled text-to-audio and video-to-audio models are also included in the release, allowing for low-resource operation and fast inference. Our evaluation on both public and private data shows competitive or better performance for each module when compared to existing open alternatives like StableAudio-Open and TangoFlux. Inference code and model weights are available at https://github.com/SonyResearch/Woosh. Demo samples can be found at https://sonyresearch.github.io/Woosh/.

The URGENT 2024 Challenge aims to foster speech enhancement (SE) techniques with great universality, robustness, and generalizability, featuring a broader task definition, large-scale multi-domain data, and comprehensive evaluation metrics. Nourished by the challenge outcomes, this paper presents an in-depth analysis of two key, yet understudied, issues in SE system development: data cleaning and evaluation metrics. We highlight several overlooked problems in traditional SE pipelines: (1) mismatches between declared and effective audio bandwidths, along with label noise even in various "high-quality" speech corpora; (2) lack of both effective SE systems to conquer the hardest conditions (e.g., speech overlap, strong noise / reverberation) and reliable measure of speech sample difficulty; (3) importance of combining multifaceted metrics for a comprehensive evaluation correlating well with human judgment. We hope that this endeavor can inspire improved SE pipeline designs in the future.

The rapid advancement and expanding applications of Audio Large Language Models (ALLMs) demand a rigorous understanding of their trustworthiness. However, systematic research on evaluating these models, particularly concerning risks unique to the audio modality, remains largely unexplored. Existing evaluation frameworks primarily focus on the text modality or address only a restricted set of safety dimensions, failing to adequately account for the unique characteristics and application scenarios inherent to the audio modality. We introduce AudioTrust-the first multifaceted trustworthiness evaluation framework and benchmark specifically designed for ALLMs. AudioTrust facilitates assessments across six key dimensions: fairness, hallucination, safety, privacy, robustness, and authentication. To comprehensively evaluate these dimensions, AudioTrust is structured around 18 distinct experimental setups. Its core is a meticulously constructed dataset of over 4,420 audio/text samples, drawn from real-world scenarios (e.g., daily conversations, emergency calls, voice assistant interactions), specifically designed to probe the multifaceted trustworthiness of ALLMs. For assessment, the benchmark carefully designs 9 audio-specific evaluation metrics, and we employ a large-scale automated pipeline for objective and scalable scoring of model outputs. Experimental results reveal the trustworthiness boundaries and limitations of current state-of-the-art open-source and closed-source ALLMs when confronted with various high-risk audio scenarios, offering valuable insights for the secure and trustworthy deployment of future audio models. Our platform and benchmark are available at https://github.com/JusperLee/AudioTrust.

A novel sparsity-based algorithm for audio inpainting is proposed. It is an adaptation of the SPADE algorithm by Kiti\'c et al., originally developed for audio declipping, to the task of audio inpainting. The new SPAIN (SParse Audio INpainter) comes in synthesis and analysis variants. Experiments show that both A-SPAIN and S-SPAIN outperform other sparsity-based inpainting algorithms. Moreover, A-SPAIN performs on a par with the state-of-the-art method based on linear prediction in terms of the SNR, and, for larger gaps, SPAIN is even slightly better in terms of the PEMO-Q psychoacoustic criterion.

The development of audio foundation models has accelerated rapidly since the emergence of GPT-4o. However, the lack of comprehensive evaluation has become a critical bottleneck for further progress in the field, particularly in audio generation. Current audio evaluation faces three major challenges: (1) audio evaluation lacks a unified framework, with datasets and code scattered across various sources, hindering fair and efficient cross-model comparison;(2) audio codecs, as a key component of audio foundation models, lack a widely accepted and holistic evaluation methodology; (3) existing speech benchmarks are heavily reliant on English, making it challenging to objectively assess models' performance on Chinese. To address the first issue, we introduce UltraEval-Audio, a unified evaluation framework for audio foundation models, specifically designed for both audio understanding and generation tasks. UltraEval-Audio features a modular architecture, supporting 10 languages and 14 core task categories, while seamlessly integrating 24 mainstream models and 36 authoritative benchmarks. To enhance research efficiency, the framework provides a one-command evaluation feature, accompanied by real-time public leaderboards. For the second challenge, UltraEval-Audio adopts a novel comprehensive evaluation scheme for audio codecs, evaluating performance across three key dimensions: semantic accuracy, timbre fidelity, and acoustic quality. To address the third issue, we propose two new Chinese benchmarks, SpeechCMMLU and SpeechHSK, designed to assess Chinese knowledge proficiency and language fluency. We wish that UltraEval-Audio will provide both academia and industry with a transparent, efficient, and fair platform for comparison of audio models. Our code, benchmarks, and leaderboards are available at https://github.com/OpenBMB/UltraEval-Audio.

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).

In the rapidly evolving field of speech generative models, there is a pressing need to ensure audio authenticity against the risks of voice cloning. We present AudioSeal, the first audio watermarking technique designed specifically for localized detection of AI-generated speech. AudioSeal employs a generator/detector architecture trained jointly with a localization loss to enable localized watermark detection up to the sample level, and a novel perceptual loss inspired by auditory masking, that enables AudioSeal to achieve better imperceptibility. AudioSeal achieves state-of-the-art performance in terms of robustness to real life audio manipulations and imperceptibility based on automatic and human evaluation metrics. Additionally, AudioSeal is designed with a fast, single-pass detector, that significantly surpasses existing models in speed - achieving detection up to two orders of magnitude faster, making it ideal for large-scale and real-time applications.

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.

We propose to synthesize high-quality and synchronized audio, given video and optional text conditions, using a novel multimodal joint training framework MMAudio. In contrast to single-modality training conditioned on (limited) video data only, MMAudio is jointly trained with larger-scale, readily available text-audio data to learn to generate semantically aligned high-quality audio samples. Additionally, we improve audio-visual synchrony with a conditional synchronization module that aligns video conditions with audio latents at the frame level. Trained with a flow matching objective, MMAudio achieves new video-to-audio state-of-the-art among public models in terms of audio quality, semantic alignment, and audio-visual synchronization, while having a low inference time (1.23s to generate an 8s clip) and just 157M parameters. MMAudio also achieves surprisingly competitive performance in text-to-audio generation, showing that joint training does not hinder single-modality performance. Code and demo are available at: https://hkchengrex.github.io/MMAudio

Wearable devices such as AI glasses are transforming voice assistants into always-available, hands-free collaborators that integrate seamlessly with daily life, but they also introduce challenges like egocentric audio affected by motion and noise, rapid micro-interactions, and the need to distinguish device-directed speech from background conversations. Existing benchmarks largely overlook these complexities, focusing instead on clean or generic conversational audio. To bridge this gap, we present WearVox, the first benchmark designed to rigorously evaluate voice assistants in realistic wearable scenarios. WearVox comprises 3,842 multi-channel, egocentric audio recordings collected via AI glasses across five diverse tasks including Search-Grounded QA, Closed-Book QA, Side-Talk Rejection, Tool Calling, and Speech Translation, spanning a wide range of indoor and outdoor environments and acoustic conditions. Each recording is accompanied by rich metadata, enabling nuanced analysis of model performance under real-world constraints. We benchmark leading proprietary and open-source speech Large Language Models (SLLMs) and find that most real-time SLLMs achieve accuracies on WearVox ranging from 29% to 59%, with substantial performance degradation on noisy outdoor audio, underscoring the difficulty and realism of the benchmark. Additionally, we conduct a case study with two new SLLMs that perform inference with single-channel and multi-channel audio, demonstrating that multi-channel audio inputs significantly enhance model robustness to environmental noise and improve discrimination between device-directed and background speech. Our results highlight the critical importance of spatial audio cues for context-aware voice assistants and establish WearVox as a comprehensive testbed for advancing wearable voice AI research.

Supervised models for speech enhancement are trained using artificially generated mixtures of clean speech and noise signals. However, the synthetic training conditions may not accurately reflect real-world conditions encountered during testing. This discrepancy can result in poor performance when the test domain significantly differs from the synthetic training domain. To tackle this issue, the UDASE task of the 7th CHiME challenge aimed to leverage real-world noisy speech recordings from the test domain for unsupervised domain adaptation of speech enhancement models. Specifically, this test domain corresponds to the CHiME-5 dataset, characterized by real multi-speaker and conversational speech recordings made in noisy and reverberant domestic environments, for which ground-truth clean speech signals are not available. In this paper, we present the objective and subjective evaluations of the systems that were submitted to the CHiME-7 UDASE task, and we provide an analysis of the results. This analysis reveals a limited correlation between subjective ratings and several supervised nonintrusive performance metrics recently proposed for speech enhancement. Conversely, the results suggest that more traditional intrusive objective metrics can be used for in-domain performance evaluation using the reverberant LibriCHiME-5 dataset developed for the challenge. The subjective evaluation indicates that all systems successfully reduced the background noise, but always at the expense of increased distortion. Out of the four speech enhancement methods evaluated subjectively, only one demonstrated an improvement in overall quality compared to the unprocessed noisy speech, highlighting the difficulty of the task. The tools and audio material created for the CHiME-7 UDASE task are shared with the community.

Audio super-resolution is challenging owing to its ill-posed nature. Recently, the application of diffusion models in audio super-resolution has shown promising results in alleviating this challenge. However, diffusion-based models have limitations, primarily the necessity for numerous sampling steps, which causes significantly increased latency when synthesizing high-quality audio samples. In this paper, we propose FLowHigh, a novel approach that integrates flow matching, a highly efficient generative model, into audio super-resolution. We also explore probability paths specially tailored for audio super-resolution, which effectively capture high-resolution audio distributions, thereby enhancing reconstruction quality. The proposed method generates high-fidelity, high-resolution audio through a single-step sampling process across various input sampling rates. The experimental results on the VCTK benchmark dataset demonstrate that FLowHigh achieves state-of-the-art performance in audio super-resolution, as evaluated by log-spectral distance and ViSQOL while maintaining computational efficiency with only a single-step sampling process.

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.

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.

Modern multimodal large language models often claim "video understanding," yet most evaluations use muted videos or simply discard audio. We ask a direct question: how much does audio actually matter for contemporary Video-LLMs and the benchmarks that certify them? We audit widely used suites and observe that many items are even solvable from a single frame, rendering audio largely redundant. Building on LLaVA-OneVision architecture, we attach a speech/audio encoder (e.g., Whisper) and analyze when audio helps, while addressing audio token explosion with a lightweight Mamba-based state-space token compressor. We find that audio yields minimal gains on recent video benchmarks but is decisive on curated, audio-sensitive subsets. To enable faithful evaluation, we release AVQA-Hard and Music-AVQA-Hard, our model, and code. Our findings surface a growing gap between current academic practice and real-world expectations, and provide practical tools for scalable audio-visual Video-LLMs. We will fully open-source our work at https://github.com/naver-ai/LLaVA-AV-SSM.

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

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.

Several methods have been developed to assess the perceptual quality of audio under transforms like lossy compression. However, they require paired reference signals of the unaltered content, limiting their use in applications where references are unavailable. This has hindered progress in audio generation and style transfer, where a no-reference quality assessment method would allow more reproducible comparisons across methods. We propose training a GAN on a large music library, and using its discriminator as a no-reference quality assessment measure of the perceived quality of music. This method is unsupervised, needs no access to degraded material and can be tuned for various domains of music. In a listening test with 448 human subjects, where participants rated professionally produced music tracks degraded with different levels and types of signal degradations such as waveshaping distortion and low-pass filtering, we establish a dataset of human rated material. By using the human rated dataset we show that the discriminator score correlates significantly with the subjective ratings, suggesting that the proposed method can be used to create a no-reference musical audio quality assessment measure.

Audio editing is applicable for various purposes, such as adding background sound effects, replacing a musical instrument, and repairing damaged audio. Recently, some diffusion-based methods achieved zero-shot audio editing by using a diffusion and denoising process conditioned on the text description of the output audio. However, these methods still have some problems: 1) they have not been trained on editing tasks and cannot ensure good editing effects; 2) they can erroneously modify audio segments that do not require editing; 3) they need a complete description of the output audio, which is not always available or necessary in practical scenarios. In this work, we propose AUDIT, an instruction-guided audio editing model based on latent diffusion models. Specifically, AUDIT has three main design features: 1) we construct triplet training data (instruction, input audio, output audio) for different audio editing tasks and train a diffusion model using instruction and input (to be edited) audio as conditions and generating output (edited) audio; 2) it can automatically learn to only modify segments that need to be edited by comparing the difference between the input and output audio; 3) it only needs edit instructions instead of full target audio descriptions as text input. AUDIT achieves state-of-the-art results in both objective and subjective metrics for several audio editing tasks (e.g., adding, dropping, replacement, inpainting, super-resolution). Demo samples are available at https://audit-demo.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.

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.

Query-based universal sound separation is fundamental to intelligent auditory systems, aiming to isolate specific sources from mixtures. Despite recent advances, existing methods continue to suffer from residual interference in complex acoustic scenes. This performance limitation stems largely from a data bottleneck: in-the-wild datasets contain weak labels and severe co-occurrence of events. These flaws induce models to learn spurious correlations between background noise and target categories instead of robust acoustic features. To address this, we propose an automated pipeline that eliminates co-occurrence of events by mining high-purity single-event segments from in-the-wild datasets via a semantically consistent synthesis protocol. Utilizing this pipeline, we constructed Hive, a high-quality synthetic dataset comprising 2.4k hours of raw audio. Experimental results demonstrate that, compared with the state-of-the-art model SAM-Audio which was trained on a huge dataset sim500 times larger than Hive, certain open-source models trained on Hive achieve competitive separation accuracy and perceptual quality. Moreover, these models exhibited remarkable zero-shot generalization on out-of-distribution evaluation benchmarks. These findings highlight that prioritizing purity of supervised signals enables significant data efficiency, offering a new paradigm for training robust auditory foundation models with reduced computational costs. Code and dataset are available at https://shandaai.github.io/Hive.

This paper describes our submitted systems to the ASVspoof 5 Challenge Track 1: Speech Deepfake Detection - Open Condition, which consists of a stand-alone speech deepfake (bonafide vs spoof) detection task. Recently, large-scale self-supervised models become a standard in Automatic Speech Recognition (ASR) and other speech processing tasks. Thus, we leverage a pre-trained WavLM as a front-end model and pool its representations with different back-end techniques. The complete framework is fine-tuned using only the trained dataset of the challenge, similar to the close condition. Besides, we adopt data-augmentation by adding noise and reverberation using MUSAN noise and RIR datasets. We also experiment with codec augmentations to increase the performance of our method. Ultimately, we use the Bosaris toolkit for score calibration and system fusion to get better Cllr scores. Our fused system achieves 0.0937 minDCF, 3.42% EER, 0.1927 Cllr, and 0.1375 actDCF.

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.

Personalized Head-Related Transfer Functions (HRTFs) are starting to be introduced in many commercial immersive audio applications and are crucial for realistic spatial audio rendering. However, one of the main hesitations regarding their introduction is that creating personalized HRTFs is impractical at scale due to the complexities of the HRTF measurement process. To mitigate this drawback, HRTF spatial upsampling has been proposed with the aim of reducing measurements required. While prior work has seen success with different machine learning (ML) approaches, these models often struggle with long-range spatial consistency and generalization at high upsampling factors. In this paper, we propose a novel transformer-based architecture for HRTF upsampling, leveraging the attention mechanism to better capture spatial correlations across the HRTF sphere. Working in the spherical harmonic (SH) domain, our model learns to reconstruct high-resolution HRTFs from sparse input measurements with significantly improved accuracy. To enhance spatial coherence, we introduce a neighbor dissimilarity loss that promotes magnitude smoothness, yielding more realistic upsampling. We evaluate our method using both perceptual localization models and objective spectral distortion metrics. Experiments show that our model surpasses leading methods by a substantial margin in generating realistic, high-fidelity HRTFs.

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.

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.

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

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

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

We propose Kling-Foley, a large-scale multimodal Video-to-Audio generation model that synthesizes high-quality audio synchronized with video content. In Kling-Foley, we introduce multimodal diffusion transformers to model the interactions between video, audio, and text modalities, and combine it with a visual semantic representation module and an audio-visual synchronization module to enhance alignment capabilities. Specifically, these modules align video conditions with latent audio elements at the frame level, thereby improving semantic alignment and audio-visual synchronization. Together with text conditions, this integrated approach enables precise generation of video-matching sound effects. In addition, we propose a universal latent audio codec that can achieve high-quality modeling in various scenarios such as sound effects, speech, singing, and music. We employ a stereo rendering method that imbues synthesized audio with a spatial presence. At the same time, in order to make up for the incomplete types and annotations of the open-source benchmark, we also open-source an industrial-level benchmark Kling-Audio-Eval. Our experiments show that Kling-Foley trained with the flow matching objective achieves new audio-visual SOTA performance among public models in terms of distribution matching, semantic alignment, temporal alignment and audio quality.

In this paper, we present a vocoder-free framework for audio super-resolution that employs a flow matching generative model to capture the conditional distribution of complex-valued spectral coefficients. Unlike conventional two-stage diffusion-based approaches that predict a mel-spectrogram and then rely on a pre-trained neural vocoder to synthesize waveforms, our method directly reconstructs waveforms via the inverse Short-Time Fourier Transform (iSTFT), thereby eliminating the dependence on a separate vocoder. This design not only simplifies end-to-end optimization but also overcomes a critical bottleneck of two-stage pipelines, where the final audio quality is fundamentally constrained by vocoder performance. Experiments show that our model consistently produces high-fidelity 48 kHz audio across diverse upsampling factors, achieving state-of-the-art performance on both speech and general audio datasets.

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

We present AdVerb, a novel audio-visual dereverberation framework that uses visual cues in addition to the reverberant sound to estimate clean audio. Although audio-only dereverberation is a well-studied problem, our approach incorporates the complementary visual modality to perform audio dereverberation. Given an image of the environment where the reverberated sound signal has been recorded, AdVerb employs a novel geometry-aware cross-modal transformer architecture that captures scene geometry and audio-visual cross-modal relationship to generate a complex ideal ratio mask, which, when applied to the reverberant audio predicts the clean sound. The effectiveness of our method is demonstrated through extensive quantitative and qualitative evaluations. Our approach significantly outperforms traditional audio-only and audio-visual baselines on three downstream tasks: speech enhancement, speech recognition, and speaker verification, with relative improvements in the range of 18% - 82% on the LibriSpeech test-clean set. We also achieve highly satisfactory RT60 error scores on the AVSpeech dataset.

In this paper, we propose a vocoder based on a pair of forward and reverse-time linear stochastic differential equations (SDE). The solutions of this SDE pair are two stochastic processes, one of which turns the distribution of wave, that we want to generate, into a simple and tractable distribution. The other is the generation procedure that turns this tractable simple signal into the target wave. The model is called It\^oWave. It\^oWave use the Wiener process as a driver to gradually subtract the excess signal from the noise signal to generate realistic corresponding meaningful audio respectively, under the conditional inputs of original mel spectrogram. The results of the experiment show that the mean opinion scores (MOS) of It\^oWave can exceed the current state-of-the-art (SOTA) methods, and reached 4.35pm0.115. The generated audio samples are available online.

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

We present VCNAC, a variable channel neural audio codec. Our approach features a single encoder and decoder parametrization that enables native inference for different channel setups, from mono speech to cinematic 5.1 channel surround audio. Channel compatibility objectives ensure that multi-channel content maintains perceptual quality when decoded to fewer channels. The shared representation enables training of generative language models on a single set of codebooks while supporting inference-time scalability across modalities and channel configurations. Evaluation using objective spatial audio metrics and subjective listening tests demonstrates that our unified approach maintains high reconstruction quality across mono, stereo, and surround audio configurations.

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.

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

Recent advancements in 4D generation have demonstrated its remarkable capability in synthesizing photorealistic renderings of dynamic 3D scenes. However, despite achieving impressive visual performance, almost all existing methods overlook the generation of spatial audio aligned with the corresponding 4D scenes, posing a significant limitation to truly immersive audiovisual experiences. To mitigate this issue, we propose Sonic4D, a novel framework that enables spatial audio generation for immersive exploration of 4D scenes. Specifically, our method is composed of three stages: 1) To capture both the dynamic visual content and raw auditory information from a monocular video, we first employ pre-trained expert models to generate the 4D scene and its corresponding monaural audio. 2) Subsequently, to transform the monaural audio into spatial audio, we localize and track the sound sources within the 4D scene, where their 3D spatial coordinates at different timestamps are estimated via a pixel-level visual grounding strategy. 3) Based on the estimated sound source locations, we further synthesize plausible spatial audio that varies across different viewpoints and timestamps using physics-based simulation. Extensive experiments have demonstrated that our proposed method generates realistic spatial audio consistent with the synthesized 4D scene in a training-free manner, significantly enhancing the immersive experience for users. Generated audio and video examples are available at https://x-drunker.github.io/Sonic4D-project-page.

Multimodal large language models can exhibit text dominance, over-relying on linguistic priors instead of grounding predictions in non-text inputs. One example is large audio-language models (LALMs) where decisive audio evidence can be under-utilized even when it contains important information. To address this issue we use mechanistic interpretability to identify a small set of audio-specialist attention heads whose audio attention yields a ``listening'' signal. We show that this signal increases when audio evidence affects the model's output, providing an indicator of audio engagement under standard prompting. Leveraging this localization, we construct an audio--silence steering direction and apply an inference-time activation intervention to the final representation, amplifying the model's audio effect. To demonstrate the utility of this intervention, we show on MMAU that this improves accuracy by up to +8.0 percentage points on two Qwen-based LALMs, without any parameter updates.

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.

Real-world speech recordings suffer from degradations such as background noise and reverberation. Speech enhancement aims to mitigate these issues by generating clean high-fidelity signals. While recent generative approaches for speech enhancement have shown promising results, they still face two major challenges: (1) content hallucination, where plausible phonemes generated differ from the original utterance; and (2) inconsistency, failing to preserve speaker's identity and paralinguistic features from the input speech. In this work, we introduce DiTSE (Diffusion Transformer for Speech Enhancement), which addresses quality issues of degraded speech in full bandwidth. Our approach employs a latent diffusion transformer model together with robust conditioning features, effectively addressing these challenges while remaining computationally efficient. Experimental results from both subjective and objective evaluations demonstrate that DiTSE achieves state-of-the-art audio quality that, for the first time, matches real studio-quality audio from the DAPS dataset. Furthermore, DiTSE significantly improves the preservation of speaker identity and content fidelity, reducing hallucinations across datasets compared to state-of-the-art enhancers. Audio samples are available at: http://hguimaraes.me/DiTSE

Recent years have seen a significant increase in video content creation and consumption. Crafting engaging content requires the careful curation of both visual and audio elements. While visual cue curation, through techniques like optimal viewpoint selection or post-editing, has been central to media production, its natural counterpart, audio, has not undergone equivalent advancements. This often results in a disconnect between visual and acoustic saliency. To bridge this gap, we introduce a novel task: visually-guided acoustic highlighting, which aims to transform audio to deliver appropriate highlighting effects guided by the accompanying video, ultimately creating a more harmonious audio-visual experience. We propose a flexible, transformer-based multimodal framework to solve this task. To train our model, we also introduce a new dataset -- the muddy mix dataset, leveraging the meticulous audio and video crafting found in movies, which provides a form of free supervision. We develop a pseudo-data generation process to simulate poorly mixed audio, mimicking real-world scenarios through a three-step process -- separation, adjustment, and remixing. Our approach consistently outperforms several baselines in both quantitative and subjective evaluation. We also systematically study the impact of different types of contextual guidance and difficulty levels of the dataset. Our project page is here: https://wikichao.github.io/VisAH/.

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.

Vocal recordings on consumer devices commonly suffer from multiple concurrent degradations: noise, reverberation, band-limiting, and clipping. We present Smule Renaissance Small (SRS), a compact single-stage model that performs end-to-end vocal restoration directly in the complex STFT domain. By incorporating phase-aware losses, SRS enables large analysis windows for improved frequency resolution while achieving 10.5x real-time inference on iPhone 12 CPU at 48 kHz. On the DNS 5 Challenge blind set, despite no speech training, SRS outperforms a strong GAN baseline and closely matches a computationally expensive flow-matching system. To enable evaluation under realistic multi-degradation scenarios, we introduce the Extreme Degradation Bench (EDB): 87 singing and speech recordings captured under severe acoustic conditions. On EDB, SRS surpasses all open-source baselines on singing and matches commercial systems, while remaining competitive on speech despite no speech-specific training. We release both SRS and EDB under the MIT License.

This paper tackles the problem of the heavy dependence of clean speech data required by deep learning based audio-denoising methods by showing that it is possible to train deep speech denoising networks using only noisy speech samples. Conventional wisdom dictates that in order to achieve good speech denoising performance, there is a requirement for a large quantity of both noisy speech samples and perfectly clean speech samples, resulting in a need for expensive audio recording equipment and extremely controlled soundproof recording studios. These requirements pose significant challenges in data collection, especially in economically disadvantaged regions and for low resource languages. This work shows that speech denoising deep neural networks can be successfully trained utilizing only noisy training audio. Furthermore it is revealed that such training regimes achieve superior denoising performance over conventional training regimes utilizing clean training audio targets, in cases involving complex noise distributions and low Signal-to-Noise ratios (high noise environments). This is demonstrated through experiments studying the efficacy of our proposed approach over both real-world noises and synthetic noises using the 20 layered Deep Complex U-Net architecture.

Text-to-speech(TTS) has undergone remarkable improvements in performance, particularly with the advent of Denoising Diffusion Probabilistic Models (DDPMs). However, the perceived quality of audio depends not solely on its content, pitch, rhythm, and energy, but also on the physical environment. In this work, we propose ViT-TTS, the first visual TTS model with scalable diffusion transformers. ViT-TTS complement the phoneme sequence with the visual information to generate high-perceived audio, opening up new avenues for practical applications of AR and VR to allow a more immersive and realistic audio experience. To mitigate the data scarcity in learning visual acoustic information, we 1) introduce a self-supervised learning framework to enhance both the visual-text encoder and denoiser decoder; 2) leverage the diffusion transformer scalable in terms of parameters and capacity to learn visual scene information. Experimental results demonstrate that ViT-TTS achieves new state-of-the-art results, outperforming cascaded systems and other baselines regardless of the visibility of the scene. With low-resource data (1h, 2h, 5h), ViT-TTS achieves comparative results with rich-resource baselines.~Audio samples are available at \url{https://ViT-TTS.github.io/.}

Speech quality assessment typically requires evaluating audio from multiple aspects, such as mean opinion score (MOS) and speaker similarity (SIM) \etc., which can be challenging to cover using one small model designed for a single task. In this paper, we propose leveraging recently introduced auditory large language models (LLMs) for automatic speech quality assessment. By employing task-specific prompts, auditory LLMs are finetuned to predict MOS, SIM and A/B testing results, which are commonly used for evaluating text-to-speech systems. Additionally, the finetuned auditory LLM is able to generate natural language descriptions assessing aspects like noisiness, distortion, discontinuity, and overall quality, providing more interpretable outputs. Extensive experiments have been performed on the NISQA, BVCC, SOMOS and VoxSim speech quality datasets, using open-source auditory LLMs such as SALMONN, Qwen-Audio, and Qwen2-Audio. For the natural language descriptions task, a commercial model Google Gemini 1.5 Pro is also evaluated. The results demonstrate that auditory LLMs achieve competitive performance compared to state-of-the-art task-specific small models in predicting MOS and SIM, while also delivering promising results in A/B testing and natural language descriptions. Our data processing scripts and finetuned model checkpoints can be found at https://github.com/bytedance/SALMONN.

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/

While recent audio-visual models have demonstrated impressive performance, their robustness to distributional shifts at test-time remains not fully understood. Existing robustness benchmarks mainly focus on single modalities, making them insufficient for thoroughly assessing the robustness of audio-visual models. Motivated by real-world scenarios where shifts can occur simultaneously in both audio and visual modalities, we introduce AVROBUSTBENCH, a comprehensive benchmark designed to evaluate the test-time robustness of audio-visual recognition models. AVROBUSTBENCH comprises four audio-visual benchmark datasets, AUDIOSET-2C, VGGSOUND-2C, KINETICS-2C, and EPICKITCHENS-2C, each incorporating 75 bimodal audio-visual corruptions that are co-occurring and correlated. Through extensive evaluations, we observe that state-of-the-art supervised and self-supervised audio-visual models exhibit declining robustness as corruption severity increases. Furthermore, online test-time adaptation (TTA) methods, on VGGSOUND-2C and KINETICS-2C, offer minimal improvements in performance under bimodal corruptions. We further propose AV2C, a simple TTA approach enabling on-the-fly cross-modal fusion by penalizing high-entropy samples, which achieves improvements on VGGSOUND-2C. We hope that AVROBUSTBENCH will steer the development of more effective and robust audio-visual TTA approaches. Our code is available https://github.com/sarthaxxxxx/AV-C-Robustness-Benchmark{here}.

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.

The recent progress in text-based audio retrieval was largely propelled by the release of suitable datasets. Since the manual creation of such datasets is a laborious task, obtaining data from online resources can be a cheap solution to create large-scale datasets. We study the recently proposed SoundDesc benchmark dataset, which was automatically sourced from the BBC Sound Effects web page. In our analysis, we find that SoundDesc contains several duplicates that cause leakage of training data to the evaluation data. This data leakage ultimately leads to overly optimistic retrieval performance estimates in previous benchmarks. We propose new training, validation, and testing splits for the dataset that we make available online. To avoid weak contamination of the test data, we pool audio files that share similar recording setups. In our experiments, we find that the new splits serve as a more challenging benchmark.

Speech enhancement systems are typically trained using pairs of clean and noisy speech. In audio-visual speech enhancement (AVSE), there is not as much ground-truth clean data available; most audio-visual datasets are collected in real-world environments with background noise and reverberation, hampering the development of AVSE. In this work, we introduce AV2Wav, a resynthesis-based audio-visual speech enhancement approach that can generate clean speech despite the challenges of real-world training data. We obtain a subset of nearly clean speech from an audio-visual corpus using a neural quality estimator, and then train a diffusion model on this subset to generate waveforms conditioned on continuous speech representations from AV-HuBERT with noise-robust training. We use continuous rather than discrete representations to retain prosody and speaker information. With this vocoding task alone, the model can perform speech enhancement better than a masking-based baseline. We further fine-tune the diffusion model on clean/noisy utterance pairs to improve the performance. Our approach outperforms a masking-based baseline in terms of both automatic metrics and a human listening test and is close in quality to the target speech in the listening test. Audio samples can be found at https://home.ttic.edu/~jcchou/demo/avse/avse_demo.html.