Daily Papers

We propose FlowDec, a neural full-band audio codec for general audio sampled at 48 kHz that combines non-adversarial codec training with a stochastic postfilter based on a novel conditional flow matching method. Compared to the prior work ScoreDec which is based on score matching, we generalize from speech to general audio and move from 24 kbit/s to as low as 4 kbit/s, while improving output quality and reducing the required postfilter DNN evaluations from 60 to 6 without any fine-tuning or distillation techniques. We provide theoretical insights and geometric intuitions for our approach in comparison to ScoreDec as well as another recent work that uses flow matching, and conduct ablation studies on our proposed components. We show that FlowDec is a competitive alternative to the recent GAN-dominated stream of neural codecs, achieving FAD scores better than those of the established GAN-based codec DAC and listening test scores that are on par, and producing qualitatively more natural reconstructions for speech and harmonic structures in music.

We propose SpectroStream, a full-band multi-channel neural audio codec. Successor to the well-established SoundStream, SpectroStream extends its capability beyond 24 kHz monophonic audio and enables high-quality reconstruction of 48 kHz stereo music at bit rates of 4--16 kbps. This is accomplished with a new neural architecture that leverages audio representation in the time-frequency domain, which leads to better audio quality especially at higher sample rate. The model also uses a delayed-fusion strategy to handle multi-channel audio, which is crucial in balancing per-channel acoustic quality and cross-channel phase consistency.

Neural audio codecs have been widely adopted in audio-generative tasks because their compact and discrete representations are suitable for both large-language-model-style and regression-based generative models. However, most neural codecs struggle to model out-of-domain audio, resulting in error propagations to downstream generative tasks. In this paper, we first argue that information loss from codec compression degrades out-of-domain robustness. Then, we propose full-band 48~kHz ComplexDec with complex spectral input and output to ease the information loss while adopting the same 24~kbps bitrate as the baseline AuidoDec and ScoreDec. Objective and subjective evaluations demonstrate the out-of-domain robustness of ComplexDec trained using only the 30-hour VCTK corpus.

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

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

Neural audio codecs have recently gained traction for their ability to compress high-fidelity audio and generate discrete tokens that can be utilized in downstream generative modeling tasks. However, leading approaches often rely on resource-intensive models and multi-quantizer architectures, resulting in considerable computational overhead and constrained real-world applicability. In this paper, we present SQCodec, a lightweight neural audio codec that leverages a single quantizer to address these limitations. SQCodec explores streamlined convolutional networks and local Transformer modules, alongside TConv, a novel mechanism designed to capture acoustic variations across multiple temporal scales, thereby enhancing reconstruction fidelity while reducing model complexity. Extensive experiments across diverse datasets show that SQCodec achieves audio quality comparable to multi-quantizer baselines, while its single-quantizer design offers enhanced adaptability and its lightweight architecture reduces resource consumption by an order of magnitude. The source code is publicly available at https://github.com/zhai-lw/SQCodec.

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

Neural audio codecs are initially introduced to compress audio data into compact codes to reduce transmission latency. Researchers recently discovered the potential of codecs as suitable tokenizers for converting continuous audio into discrete codes, which can be employed to develop audio language models (LMs). Numerous high-performance neural audio codecs and codec-based LMs have been developed. The paper aims to provide a thorough and systematic overview of the neural audio codec models and codec-based LMs.

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.

Existing neural audio codecs usually sacrifice computational complexity for audio quality. They build the feature transformation layers mainly on convolutional blocks, which are not inherently appropriate for capturing local redundancies of audio signals. As compensation, either adversarial losses from a discriminator or a large number of model parameters are required to improve the codec. To that end, we propose Efficient Speech Codec (ESC), a lightweight parameter-efficient codec laid on cross-scale residual vector quantization and transformers. Our model leverages mirrored hierarchical window-attention transformer blocks and performs step-wise decoding from coarse-to-fine feature representations. To enhance codebook utilization, we design a learning paradigm that involves a pre-training stage to assist with codec training. Extensive results show that ESC can achieve high audio quality with much lower complexity, which is a prospective alternative in place of existing codecs.

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

We present BigCodec, a low-bitrate neural speech codec. While recent neural speech codecs have shown impressive progress, their performance significantly deteriorates at low bitrates (around 1 kbps). Although a low bitrate inherently restricts performance, other factors, such as model capacity, also hinder further improvements. To address this problem, we scale up the model size to 159M parameters that is more than 10 times larger than popular codecs with about 10M parameters. Besides, we integrate sequential models into traditional convolutional architectures to better capture temporal dependency and adopt low-dimensional vector quantization to ensure a high code utilization. Comprehensive objective and subjective evaluations show that BigCodec, with a bitrate of 1.04 kbps, significantly outperforms several existing low-bitrate codecs. Furthermore, BigCodec achieves objective performance comparable to popular codecs operating at 4-6 times higher bitrates, and even delivers better subjective perceptual quality than the ground truth.

Neural audio codecs have recently gained popularity because they can represent audio signals with high fidelity at very low bitrates, making it feasible to use language modeling approaches for audio generation and understanding. Residual Vector Quantization (RVQ) has become the standard technique for neural audio compression using a cascade of VQ codebooks. This paper proposes the Multi-Scale Neural Audio Codec, a simple extension of RVQ where the quantizers can operate at different temporal resolutions. By applying a hierarchy of quantizers at variable frame rates, the codec adapts to the audio structure across multiple timescales. This leads to more efficient compression, as demonstrated by extensive objective and subjective evaluations. The code and model weights are open-sourced at https://github.com/hubertsiuzdak/snac.

The residual vector quantization (RVQ) technique plays a central role in recent advances in neural audio codecs. These models effectively synthesize high-fidelity audio from a limited number of codes due to the hierarchical structure among quantization levels. In this paper, we propose an encoding algorithm to further enhance the synthesis quality of RVQ-based neural codecs at test-time. Firstly, we point out the suboptimal nature of quantized vectors generated by conventional methods. We demonstrate that quantization error can be mitigated by selecting a different set of codes. Subsequently, we present our encoding algorithm, designed to identify a set of discrete codes that achieve a lower quantization error. We then apply the proposed method to pre-trained models and evaluate its efficacy using diverse metrics. Our experimental findings validate that our method not only reduces quantization errors, but also improves synthesis quality.

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

Large language models (LLMs) have significantly advanced audio processing through audio codecs that convert audio into discrete tokens, enabling the application of language modeling techniques to audio data. However, audio codecs often operate at high frame rates, resulting in slow training and inference, especially for autoregressive models. To address this challenge, we present the Low Frame-rate Speech Codec (LFSC): a neural audio codec that leverages finite scalar quantization and adversarial training with large speech language models to achieve high-quality audio compression with a 1.89 kbps bitrate and 21.5 frames per second. We demonstrate that our novel codec can make the inference of LLM-based text-to-speech models around three times faster while improving intelligibility and producing quality comparable to previous models.

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.

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

Achieving high-fidelity audio compression while preserving perceptual quality across diverse content remains a key challenge in Neural Audio Coding (NAC). We introduce MUFFIN, a fully convolutional Neural Psychoacoustic Coding (NPC) framework that leverages psychoacoustically guided multi-band frequency reconstruction. At its core is a Multi-Band Spectral Residual Vector Quantization (MBS-RVQ) module that allocates bitrate across frequency bands based on perceptual salience. This design enables efficient compression while disentangling speaker identity from content using distinct codebooks. MUFFIN incorporates a transformer-inspired convolutional backbone and a modified snake activation to enhance resolution in fine-grained spectral regions. Experimental results on multiple benchmarks demonstrate that MUFFIN consistently outperforms existing approaches in reconstruction quality. A high-compression variant achieves a state-of-the-art 12.5 Hz rate with minimal loss. MUFFIN also proves effective in downstream generative tasks, highlighting its promise as a token representation for integration with language models. Audio samples and code are available.

Discrete speech tokenization is a fundamental component in speech codecs. However, in large-scale speech-to-speech systems, the complexity of parallel streams from multiple quantizers and the computational cost of high-time-dimensional codecs pose significant challenges. In this paper, we introduce HH-Codec, a neural codec that achieves extreme compression at 24 tokens per second for 24 kHz audio while relying on single-quantizer inference. Our approach involves a carefully designed Vector Quantization space for Spoken Language Modeling, optimizing compression efficiency while minimizing information loss. Building on this, we propose an asymmetric encoder-decoder architecture (Audio-VQ-Mel-Audio) that leverages dual supervision and progressive training to enhance reconstruction stability and fidelity. HH-Codec achieves state-of-the-art performance in speech reconstruction with an ultra-low bandwidth of 0.3 kbps. We further evaluate its effectiveness in codebook utilization and generative model adaptation, with extensive ablations validating the necessity of each module. HH-Codec is available at https://github.com/opendilab/HH-Codec.

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

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

Neural audio codecs have made significant strides in efficiently mapping raw audio waveforms into discrete token representations, which are foundational for contemporary audio generative models. However, most existing codecs are optimized primarily for reconstruction quality, often at the expense of the downstream modelability of the encoded tokens. Motivated by the need to overcome this bottleneck, we introduce MagiCodec, a novel single-layer, streaming Transformer-based audio codec. MagiCodec is designed with a multistage training pipeline that incorporates Gaussian noise injection and latent regularization, explicitly targeting the enhancement of semantic expressiveness in the generated codes while preserving high reconstruction fidelity. We analytically derive the effect of noise injection in the frequency domain, demonstrating its efficacy in attenuating high-frequency components and fostering robust tokenization. Extensive experimental evaluations show that MagiCodec surpasses state-of-the-art codecs in both reconstruction quality and downstream tasks. Notably, the tokens produced by MagiCodec exhibit Zipf-like distributions, as observed in natural languages, thereby improving compatibility with language-model-based generative architectures. The code and pre-trained models are available at https://github.com/Ereboas/MagiCodec.

We propose a learnable content adaptive front end for audio signal processing. Before the modern advent of deep learning, we used fixed representation non-learnable front-ends like spectrogram or mel-spectrogram with/without neural architectures. With convolutional architectures supporting various applications such as ASR and acoustic scene understanding, a shift to a learnable front ends occurred in which both the type of basis functions and the weight were learned from scratch and optimized for the particular task of interest. With the shift to transformer-based architectures with no convolutional blocks present, a linear layer projects small waveform patches onto a small latent dimension before feeding them to a transformer architecture. In this work, we propose a way of computing a content-adaptive learnable time-frequency representation. We pass each audio signal through a bank of convolutional filters, each giving a fixed-dimensional vector. It is akin to learning a bank of finite impulse-response filterbanks and passing the input signal through the optimum filter bank depending on the content of the input signal. A content-adaptive learnable time-frequency representation may be more broadly applicable, beyond the experiments in this paper.

Deep learning approaches have demonstrated success in modeling analog audio effects. Nevertheless, challenges remain in modeling more complex effects that involve time-varying nonlinear elements, such as dynamic range compressors. Existing neural network approaches for modeling compression either ignore the device parameters, do not attain sufficient accuracy, or otherwise require large noncausal models prohibiting real-time operation. In this work, we propose a modification to temporal convolutional networks (TCNs) enabling greater efficiency without sacrificing performance. By utilizing very sparse convolutional kernels through rapidly growing dilations, our model attains a significant receptive field using fewer layers, reducing computation. Through a detailed evaluation we demonstrate our efficient and causal approach achieves state-of-the-art performance in modeling the analog LA-2A, is capable of real-time operation on CPU, and only requires 10 minutes of training data.

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.

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

A multichannel extension to the RVQGAN neural coding method is proposed, and realized for data-driven compression of third-order Ambisonics audio. The input- and output layers of the generator and discriminator models are modified to accept multiple (16) channels without increasing the model bitrate. We also propose a loss function for accounting for spatial perception in immersive reproduction, and transfer learning from single-channel models. Listening test results with 7.1.4 immersive playback show that the proposed extension is suitable for coding scene-based, 16-channel Ambisonics content with good quality at 16 kbit/s.

Neural audio codecs are a fundamental component of modern generative audio pipelines. Although recent codecs achieve strong low-bitrate reconstruction and provide powerful representations for downstream tasks, most are non-streamable, limiting their use in real-time applications. We present FocalCodec-Stream, a hybrid codec based on focal modulation that compresses speech into a single binary codebook at 0.55 - 0.80 kbps with a theoretical latency of 80 ms. Our approach combines multi-stage causal distillation of WavLM with targeted architectural improvements, including a lightweight refiner module that enhances quality under latency constraints. Experiments show that FocalCodec-Stream outperforms existing streamable codecs at comparable bitrates, while preserving both semantic and acoustic information. The result is a favorable trade-off between reconstruction quality, downstream task performance, latency, and efficiency. Code and checkpoints will be released at https://github.com/lucadellalib/focalcodec.

Most neural vocoders employ band-limited mel-spectrograms to generate waveforms. If full-band spectral features are used as the input, the vocoder can be provided with as much acoustic information as possible. However, in some models employing full-band mel-spectrograms, an over-smoothing problem occurs as part of which non-sharp spectrograms are generated. To address this problem, we propose UnivNet, a neural vocoder that synthesizes high-fidelity waveforms in real time. Inspired by works in the field of voice activity detection, we added a multi-resolution spectrogram discriminator that employs multiple linear spectrogram magnitudes computed using various parameter sets. Using full-band mel-spectrograms as input, we expect to generate high-resolution signals by adding a discriminator that employs spectrograms of multiple resolutions as the input. In an evaluation on a dataset containing information on hundreds of speakers, UnivNet obtained the best objective and subjective results among competing models for both seen and unseen speakers. These results, including the best subjective score for text-to-speech, demonstrate the potential for fast adaptation to new speakers without a need for training from scratch.

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

We propose a novel approach for time-scale modification of audio signals. Unlike traditional methods that rely on the framing technique or the short-time Fourier transform to preserve the frequency during temporal stretching, our neural network model encodes the raw audio into a high-level latent representation, dubbed Neuralgram, where each vector represents 1024 audio sample points. Due to a sufficient compression ratio, we are able to apply arbitrary spatial interpolation of the Neuralgram to perform temporal stretching. Finally, a learned neural decoder synthesizes the time-scaled audio samples based on the stretched Neuralgram representation. Both the encoder and decoder are trained with latent regression losses and adversarial losses in order to obtain high-fidelity audio samples. Despite its simplicity, our method has comparable performance compared to the existing baselines and opens a new possibility in research into modern time-scale modification. Audio samples can be found at https://tsmnet-mmasia23.github.io

Neural audio codecs form the foundational building blocks for language model (LM)-based speech generation. Typically, there is a trade-off between frame rate and audio quality. This study introduces a low-frame-rate, semantically enhanced codec model. Existing approaches distill semantically rich self-supervised (SSL) representations into the first-layer codec tokens. This work proposes DualCodec, a dual-stream encoding approach that integrates SSL and waveform representations within an end-to-end codec framework. In this setting, DualCodec enhances the semantic information in the first-layer codec and enables the codec system to maintain high audio quality while operating at a low frame rate. Note that a low-frame-rate codec improves the efficiency of speech generation. Experimental results on audio codec and speech generation tasks confirm the effectiveness of the proposed DualCodec compared to state-of-the-art codec systems, such as Mimi Codec, SpeechTokenizer, DAC, and Encodec. Demos and codes are available at: https://dualcodec.github.io

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

We present PitchFlower, a flow-based neural audio codec with explicit pitch controllability. Our approach enforces disentanglement through a simple perturbation: during training, F0 contours are flattened and randomly shifted, while the true F0 is provided as conditioning. A vector-quantization bottleneck prevents pitch recovery, and a flow-based decoder generates high quality audio. Experiments show that PitchFlower achieves more accurate pitch control than WORLD at much higher audio quality, and outperforms SiFiGAN in controllability while maintaining comparable quality. Beyond pitch, this framework provides a simple and extensible path toward disentangling other speech attributes.

Neural speech codecs have gained great attention for their outstanding reconstruction with discrete token representations. It is a crucial component in generative tasks such as speech coding and large language models (LLM). However, most works based on residual vector quantization perform worse with fewer tokens due to low coding efficiency for modeling complex coupled information. In this paper, we propose a neural speech codec named FreeCodec which employs a more effective encoding framework by decomposing intrinsic properties of speech into different components: 1) a global vector is extracted as the timbre information, 2) a prosody encoder with a long stride level is used to model the prosody information, 3) the content information is from a content encoder. Using different training strategies, FreeCodec achieves state-of-the-art performance in reconstruction and disentanglement scenarios. Results from subjective and objective experiments demonstrate that our framework outperforms existing methods.

Sequential models achieve state-of-the-art results in audio, visual and textual domains with respect to both estimating the data distribution and generating high-quality samples. Efficient sampling for this class of models has however remained an elusive problem. With a focus on text-to-speech synthesis, we describe a set of general techniques for reducing sampling time while maintaining high output quality. We first describe a single-layer recurrent neural network, the WaveRNN, with a dual softmax layer that matches the quality of the state-of-the-art WaveNet model. The compact form of the network makes it possible to generate 24kHz 16-bit audio 4x faster than real time on a GPU. Second, we apply a weight pruning technique to reduce the number of weights in the WaveRNN. We find that, for a constant number of parameters, large sparse networks perform better than small dense networks and this relationship holds for sparsity levels beyond 96%. The small number of weights in a Sparse WaveRNN makes it possible to sample high-fidelity audio on a mobile CPU in real time. Finally, we propose a new generation scheme based on subscaling that folds a long sequence into a batch of shorter sequences and allows one to generate multiple samples at once. The Subscale WaveRNN produces 16 samples per step without loss of quality and offers an orthogonal method for increasing sampling efficiency.

Audio codecs are a critical component of modern speech generation systems. This paper introduces a low-bitrate, multi-scale residual codec that encodes speech into four distinct streams: semantic, timbre, prosody, and residual. This architecture achieves high-fidelity speech reconstruction at competitive low bitrates while demonstrating an inherent ability for information disentanglement. We construct a two-stage language model for text-to-speech (TTS) synthesis using this codec, which, despite its lightweight design and minimal data requirements, achieves a state-of-the-art Word Error Rate (WER) and superior speaker similarity compared to several larger models. Furthermore, the codec's design proves highly effective for voice conversion, enabling independent manipulation of speaker timbre and prosody.

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

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

We introduce LMCodec, a causal neural speech codec that provides high quality audio at very low bitrates. The backbone of the system is a causal convolutional codec that encodes audio into a hierarchy of coarse-to-fine tokens using residual vector quantization. LMCodec trains a Transformer language model to predict the fine tokens from the coarse ones in a generative fashion, allowing for the transmission of fewer codes. A second Transformer predicts the uncertainty of the next codes given the past transmitted codes, and is used to perform conditional entropy coding. A MUSHRA subjective test was conducted and shows that the quality is comparable to reference codecs at higher bitrates. Example audio is available at https://mjenrungrot.github.io/chrome-media-audio-papers/publications/lmcodec.

Historically, most speech models in machine-learning have used the mel-spectrogram as a speech representation. Recently, discrete audio tokens produced by neural audio codecs have become a popular alternate speech representation for speech synthesis tasks such as text-to-speech (TTS). However, the data distribution produced by such codecs is too complex for some TTS models to predict, hence requiring large autoregressive models to get reasonable quality. Typical audio codecs compress and reconstruct the time-domain audio signal. We propose a spectral codec which compresses the mel-spectrogram and reconstructs the time-domain audio signal. A study of objective audio quality metrics suggests that our spectral codec has comparable perceptual quality to equivalent audio codecs. Furthermore, non-autoregressive TTS models trained with the proposed spectral codec generate audio with significantly higher quality than when trained with mel-spectrograms or audio codecs.

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

Neural audio autoencoders create compact latent representations that preserve perceptually important information, serving as the foundation for both modern audio compression systems and generation approaches like next-token prediction and latent diffusion. Despite their prevalence, most audio processing operations, such as spatial and spectral up-sampling, still inefficiently operate on raw waveforms or spectral representations rather than directly on these compressed representations. We propose a framework that performs audio processing operations entirely within an autoencoder's latent space, eliminating the need to decode to raw audio formats. Our approach dramatically simplifies training by operating solely in the latent domain, with a latent L1 reconstruction term, augmented by a single latent adversarial discriminator. This contrasts sharply with raw-audio methods that typically require complex combinations of multi-scale losses and discriminators. Through experiments in bandwidth extension and mono-to-stereo up-mixing, we demonstrate computational efficiency gains of up to 100x while maintaining quality comparable to post-processing on raw audio. This work establishes a more efficient paradigm for audio processing pipelines that already incorporate autoencoders, enabling significantly faster and more resource-efficient workflows across various audio tasks.

The tokenization of speech with neural audio codec models is a vital part of modern AI pipelines for the generation or understanding of speech, alone or in a multimodal context. Traditionally such tokenization models have concentrated on low parameter-count architectures using only components with strong inductive biases. In this work we show that by scaling a transformer architecture with large parameter count to this problem, and applying a flexible Finite Scalar Quantization (FSQ) based bottleneck, it is possible to reach state-of-the-art speech quality at extremely low bit-rates of 400 or 700 bits-per-second. The trained models strongly out-perform existing baselines in both objective and subjective tests.

Mel-filterbanks are fixed, engineered audio features which emulate human perception and have been used through the history of audio understanding up to today. However, their undeniable qualities are counterbalanced by the fundamental limitations of handmade representations. In this work we show that we can train a single learnable frontend that outperforms mel-filterbanks on a wide range of audio signals, including speech, music, audio events and animal sounds, providing a general-purpose learned frontend for audio classification. To do so, we introduce a new principled, lightweight, fully learnable architecture that can be used as a drop-in replacement of mel-filterbanks. Our system learns all operations of audio features extraction, from filtering to pooling, compression and normalization, and can be integrated into any neural network at a negligible parameter cost. We perform multi-task training on eight diverse audio classification tasks, and show consistent improvements of our model over mel-filterbanks and previous learnable alternatives. Moreover, our system outperforms the current state-of-the-art learnable frontend on Audioset, with orders of magnitude fewer parameters.

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

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

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

Deep learning-based methods have made significant achievements in music source separation. However, obtaining good results while maintaining a low model complexity remains challenging in super wide-band music source separation. Previous works either overlook the differences in subbands or inadequately address the problem of information loss when generating subband features. In this paper, we propose SCNet, a novel frequency-domain network to explicitly split the spectrogram of the mixture into several subbands and introduce a sparsity-based encoder to model different frequency bands. We use a higher compression ratio on subbands with less information to improve the information density and focus on modeling subbands with more information. In this way, the separation performance can be significantly improved using lower computational consumption. Experiment results show that the proposed model achieves a signal to distortion ratio (SDR) of 9.0 dB on the MUSDB18-HQ dataset without using extra data, which outperforms state-of-the-art methods. Specifically, SCNet's CPU inference time is only 48% of HT Demucs, one of the previous state-of-the-art models.

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

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

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

Conventionally, audio super-resolution models fixed the initial and the target sampling rates, which necessitate the model to be trained for each pair of sampling rates. We introduce NU-Wave 2, a diffusion model for neural audio upsampling that enables the generation of 48 kHz audio signals from inputs of various sampling rates with a single model. Based on the architecture of NU-Wave, NU-Wave 2 uses short-time Fourier convolution (STFC) to generate harmonics to resolve the main failure modes of NU-Wave, and incorporates bandwidth spectral feature transform (BSFT) to condition the bandwidths of inputs in the frequency domain. We experimentally demonstrate that NU-Wave 2 produces high-resolution audio regardless of the sampling rate of input while requiring fewer parameters than other models. The official code and the audio samples are available at https://mindslab-ai.github.io/nuwave2.

Learning acoustic models directly from the raw waveform data with minimal processing is challenging. Current waveform-based models have generally used very few (~2) convolutional layers, which might be insufficient for building high-level discriminative features. In this work, we propose very deep convolutional neural networks (CNNs) that directly use time-domain waveforms as inputs. Our CNNs, with up to 34 weight layers, are efficient to optimize over very long sequences (e.g., vector of size 32000), necessary for processing acoustic waveforms. This is achieved through batch normalization, residual learning, and a careful design of down-sampling in the initial layers. Our networks are fully convolutional, without the use of fully connected layers and dropout, to maximize representation learning. We use a large receptive field in the first convolutional layer to mimic bandpass filters, but very small receptive fields subsequently to control the model capacity. We demonstrate the performance gains with the deeper models. Our evaluation shows that the CNN with 18 weight layers outperform the CNN with 3 weight layers by over 15% in absolute accuracy for an environmental sound recognition task and matches the performance of models using log-mel features.

Neural audio codecs are foundational to speech language models. It is expected to have a low frame rate and decoupled semantic and acoustic information. A lower frame rate codec can reduce the computational cost of speech language models by shortening the sequence length. Recent studies have developed 12.5Hz low-frame-rate audio codecs, but even lower frame rate codecs remain underexplored. We find that a major challenge for very low frame rate tokens is missing semantic information. This paper introduces FlexiCodec to address this limitation. FlexiCodec improves semantic preservation with a dynamic frame rate approach and introduces a novel architecture featuring an ASR feature-assisted dual stream encoding and Transformer bottlenecks. With dynamic frame rates, it uses less frames at information-sparse regions through adaptively merging semantically similar frames. A dynamic frame rate also allows FlexiCodec to support inference-time controllable frame rates between 3Hz and 12.5Hz. Experiments on 6.25Hz, 8.3Hz and 12.5Hz average frame rates confirm that FlexiCodec excels over baseline systems in semantic information preservation and delivers a high audio reconstruction quality. We also validate the effectiveness of FlexiCodec in language model-based TTS. Demos are available at: https://flexicodec.github.io

Neural vocoders model the raw audio waveform and synthesize high-quality audio, but even the highly efficient ones, like MB-MelGAN and LPCNet, fail to run real-time on a low-end device like a smartglass. A pure digital signal processing (DSP) based vocoder can be implemented via lightweight fast Fourier transforms (FFT), and therefore, is a magnitude faster than any neural vocoder. A DSP vocoder often gets a lower audio quality due to consuming over-smoothed acoustic model predictions of approximate representations for the vocal tract. In this paper, we propose an ultra-lightweight differential DSP (DDSP) vocoder that uses a jointly optimized acoustic model with a DSP vocoder, and learns without an extracted spectral feature for the vocal tract. The model achieves audio quality comparable to neural vocoders with a high average MOS of 4.36 while being efficient as a DSP vocoder. Our C++ implementation, without any hardware-specific optimization, is at 15 MFLOPS, surpasses MB-MelGAN by 340 times in terms of FLOPS, and achieves a vocoder-only RTF of 0.003 and overall RTF of 0.044 while running single-threaded on a 2GHz Intel Xeon CPU.

In computer vision, convolutional neural networks (CNN) such as ConvNeXt, have been able to surpass state-of-the-art transformers, partly thanks to depthwise separable convolutions (DSC). DSC, as an approximation of the regular convolution, has made CNNs more efficient in time and memory complexity without deteriorating their accuracy, and sometimes even improving it. In this paper, we first implement DSC into the Pretrained Audio Neural Networks (PANN) family for audio classification on AudioSet, to show its benefits in terms of accuracy/model size trade-off. Second, we adapt the now famous ConvNeXt model to the same task. It rapidly overfits, so we report on techniques that improve the learning process. Our best ConvNeXt model reached 0.471 mean-average precision on AudioSet, which is better than or equivalent to recent large audio transformers, while using three times less parameters. We also achieved positive results in audio captioning and audio retrieval with this model. Our PyTorch source code and checkpoint models are available at https://github.com/topel/audioset-convnext-inf.

Deep learning models are mostly used in an offline inference fashion. However, this strongly limits the use of these models inside audio generation setups, as most creative workflows are based on real-time digital signal processing. Although approaches based on recurrent networks can be naturally adapted to this buffer-based computation, the use of convolutions still poses some serious challenges. To tackle this issue, the use of causal streaming convolutions have been proposed. However, this requires specific complexified training and can impact the resulting audio quality. In this paper, we introduce a new method allowing to produce non-causal streaming models. This allows to make any convolutional model compatible with real-time buffer-based processing. As our method is based on a post-training reconfiguration of the model, we show that it is able to transform models trained without causal constraints into a streaming model. We show how our method can be adapted to fit complex architectures with parallel branches. To evaluate our method, we apply it on the recent RAVE model, which provides high-quality real-time audio synthesis. We test our approach on multiple music and speech datasets and show that it is faster than overlap-add methods, while having no impact on the generation quality. Finally, we introduce two open-source implementation of our work as Max/MSP and PureData externals, and as a VST audio plugin. This allows to endow traditional digital audio workstation with real-time neural audio synthesis on a laptop CPU.

Speech codecs that convert continuous speech signals into discrete tokens have become essential for speech language models (SLMs). However, existing codecs struggle to balance high-quality reconstruction with semantically rich representations, limiting their effectiveness in both generative and understanding tasks. In this work, we propose SAC, a neural speech codec with semantic-acoustic dual-stream quantization. By disentangling semantic and acoustic modeling into two dedicated streams, SAC enables each to be optimized for its respective role. Comprehensive evaluations show that SAC achieves strong reconstruction performance across diverse bitrates under both clean and noisy conditions, with particularly high scores on UTMOS and WER, demonstrating superior perceptual quality and intelligibility. Moreover, SAC substantially outperforms state-of-the-art codecs in semantic representation, achieving a level comparable to that of self-supervised learning (SSL) continuous embeddings. Finally, our analysis of speech disentanglement highlights the effectiveness of the dual-stream design, offering new potential for controllable speech applications.

Language models have been effectively applied to modeling natural signals, such as images, video, speech, and audio. A crucial component of these models is the codec tokenizer, which compresses high-dimensional natural signals into lower-dimensional discrete tokens. In this paper, we introduce WavTokenizer, which offers several advantages over previous SOTA acoustic codec models in the audio domain: 1)extreme compression. By compressing the layers of quantizers and the temporal dimension of the discrete codec, one-second audio of 24kHz sampling rate requires only a single quantizer with 40 or 75 tokens. 2)improved subjective quality. Despite the reduced number of tokens, WavTokenizer achieves state-of-the-art reconstruction quality with outstanding UTMOS scores and inherently contains richer semantic information. Specifically, we achieve these results by designing a broader VQ space, extended contextual windows, and improved attention networks, as well as introducing a powerful multi-scale discriminator and an inverse Fourier transform structure. We conducted extensive reconstruction experiments in the domains of speech, audio, and music. WavTokenizer exhibited strong performance across various objective and subjective metrics compared to state-of-the-art models. We also tested semantic information, VQ utilization, and adaptability to generative models. Comprehensive ablation studies confirm the necessity of each module in WavTokenizer. The related code, demos, and pre-trained models are available at https://github.com/jishengpeng/WavTokenizer.

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

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

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.

Previous works (Donahue et al., 2018a; Engel et al., 2019a) have found that generating coherent raw audio waveforms with GANs is challenging. In this paper, we show that it is possible to train GANs reliably to generate high quality coherent waveforms by introducing a set of architectural changes and simple training techniques. Subjective evaluation metric (Mean Opinion Score, or MOS) shows the effectiveness of the proposed approach for high quality mel-spectrogram inversion. To establish the generality of the proposed techniques, we show qualitative results of our model in speech synthesis, music domain translation and unconditional music synthesis. We evaluate the various components of the model through ablation studies and suggest a set of guidelines to design general purpose discriminators and generators for conditional sequence synthesis tasks. Our model is non-autoregressive, fully convolutional, with significantly fewer parameters than competing models and generalizes to unseen speakers for mel-spectrogram inversion. Our pytorch implementation runs at more than 100x faster than realtime on GTX 1080Ti GPU and more than 2x faster than real-time on CPU, without any hardware specific optimization tricks.

We present StreamVC, a streaming voice conversion solution that preserves the content and prosody of any source speech while matching the voice timbre from any target speech. Unlike previous approaches, StreamVC produces the resulting waveform at low latency from the input signal even on a mobile platform, making it applicable to real-time communication scenarios like calls and video conferencing, and addressing use cases such as voice anonymization in these scenarios. Our design leverages the architecture and training strategy of the SoundStream neural audio codec for lightweight high-quality speech synthesis. We demonstrate the feasibility of learning soft speech units causally, as well as the effectiveness of supplying whitened fundamental frequency information to improve pitch stability without leaking the source timbre information.

Recent advancements in speech synthesis have leveraged GAN-based networks like HiFi-GAN and BigVGAN to produce high-fidelity waveforms from mel-spectrograms. However, these networks are computationally expensive and parameter-heavy. iSTFTNet addresses these limitations by integrating inverse short-time Fourier transform (iSTFT) into the network, achieving both speed and parameter efficiency. In this paper, we introduce an extension to iSTFTNet, termed HiFTNet, which incorporates a harmonic-plus-noise source filter in the time-frequency domain that uses a sinusoidal source from the fundamental frequency (F0) inferred via a pre-trained F0 estimation network for fast inference speed. Subjective evaluations on LJSpeech show that our model significantly outperforms both iSTFTNet and HiFi-GAN, achieving ground-truth-level performance. HiFTNet also outperforms BigVGAN-base on LibriTTS for unseen speakers and achieves comparable performance to BigVGAN while being four times faster with only 1/6 of the parameters. Our work sets a new benchmark for efficient, high-quality neural vocoding, paving the way for real-time applications that demand high quality speech synthesis.

While many current neural speech codecs achieve impressive reconstructed speech quality, they often neglect latency and complexity considerations, limiting their practical deployment in downstream tasks such as real-time speech communication and efficient speech compression. In our previous work, we proposed StreamCodec, which enables streamable speech coding by leveraging model causalization and a scalar-vector-combined quantization strategy, but its reconstructed quality and complexity still have room for improvement. Therefore, this paper proposes an improved iteration of StreamCodec, named StreamCodec2. The StreamCodec2 supports streamable and lightweight speech coding by adopting a fully causal architecture and reducing the convolutional channels. To compensate for the speech quality degradation caused by model causalization and pruning, we introduce a non-causal, high-complexity teacher codec to guide the training of StreamCodec2 through knowledge distillation. Experimental results demonstrate that our proposed StreamCodec2, trained with the knowledge distillation strategy, can achieve high-quality speech reconstruction while maintaining low latency (only 20 ms), low computational complexity (only 910 MFLOPs), and low model complexity (only 5.4 M parameters).

In this paper, we propose a dual-stage architecture for bandwidth extension (BWE) increasing the effective sampling rate of speech signals from 8 kHz to 48 kHz. Unlike existing end-to-end deep learning models, our proposed method explicitly models BWE using excitation and linear time-varying (LTV) filter stages. The excitation stage broadens the spectrum of the input, while the filtering stage properly shapes it based on outputs from an acoustic feature predictor. To this end, an acoustic feature loss term can implicitly promote the excitation subnetwork to produce white spectra in the upper frequency band to be synthesized. Experimental results demonstrate that the added inductive bias provided by our approach can improve upon BWE results using the generators from both SEANet or HiFi-GAN as exciters, and that our means of adapting processing with acoustic feature predictions is more effective than that used in HiFi-GAN-2. Secondary contributions include extensions of the SEANet model to accommodate local conditioning information, as well as the application of HiFi-GAN-2 for the BWE problem.

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

Large language models have revolutionized natural language processing through self-supervised pretraining on massive datasets. Inspired by this success, researchers have explored adapting these methods to speech by discretizing continuous audio into tokens using neural audio codecs. However, existing approaches face limitations, including high bitrates, the loss of either semantic or acoustic information, and the reliance on multi-codebook designs when trying to capture both, which increases architectural complexity for downstream tasks. To address these challenges, we introduce FocalCodec, an efficient low-bitrate codec based on focal modulation that utilizes a single binary codebook to compress speech between 0.16 and 0.65 kbps. FocalCodec delivers competitive performance in speech resynthesis and voice conversion at lower bitrates than the current state-of-the-art, while effectively handling multilingual speech and noisy environments. Evaluation on downstream tasks shows that FocalCodec successfully preserves sufficient semantic and acoustic information, while also being well-suited for generative modeling. Demo samples, code and checkpoints are available at https://lucadellalib.github.io/focalcodec-web/.

While recent neural sequence-to-sequence models have greatly improved the quality of speech synthesis, there has not been a system capable of fast training, fast inference and high-quality audio synthesis at the same time. We propose a student-teacher network capable of high-quality faster-than-real-time spectrogram synthesis, with low requirements on computational resources and fast training time. We show that self-attention layers are not necessary for generation of high quality audio. We utilize simple convolutional blocks with residual connections in both student and teacher networks and use only a single attention layer in the teacher model. Coupled with a MelGAN vocoder, our model's voice quality was rated significantly higher than Tacotron 2. Our model can be efficiently trained on a single GPU and can run in real time even on a CPU. We provide both our source code and audio samples in our GitHub repository.

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

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

Speech bandwidth expansion is crucial for expanding the frequency range of low-bandwidth speech signals, thereby improving audio quality, clarity and perceptibility in digital applications. Its applications span telephony, compression, text-to-speech synthesis, and speech recognition. This paper presents a novel approach using a high-fidelity generative adversarial network, unlike cascaded systems, our system is trained end-to-end on paired narrowband and wideband speech signals. Our method integrates various bandwidth upsampling ratios into a single unified model specifically designed for speech bandwidth expansion applications. Our approach exhibits robust performance across various bandwidth expansion factors, including those not encountered during training, demonstrating zero-shot capability. To the best of our knowledge, this is the first work to showcase this capability. The experimental results demonstrate that our method outperforms previous end-to-end approaches, as well as interpolation and traditional techniques, showcasing its effectiveness in practical speech enhancement applications.

We introduce InspireMusic, a framework integrated super resolution and large language model for high-fidelity long-form music generation. A unified framework generates high-fidelity music, songs, and audio, which incorporates an autoregressive transformer with a super-resolution flow-matching model. This framework enables the controllable generation of high-fidelity long-form music at a higher sampling rate from both text and audio prompts. Our model differs from previous approaches, as we utilize an audio tokenizer with one codebook that contains richer semantic information, thereby reducing training costs and enhancing efficiency. This combination enables us to achieve high-quality audio generation with long-form coherence of up to 8 minutes. Then, an autoregressive transformer model based on Qwen 2.5 predicts audio tokens. Next, we employ a super-resolution flow-matching model to generate high-sampling rate audio with fine-grained details learned from an acoustic codec model. Comprehensive experiments show that the InspireMusic-1.5B-Long model has a comparable performance to recent top-tier open-source systems, including MusicGen and Stable Audio 2.0, on subjective and objective evaluations. The code and pre-trained models are released at https://github.com/FunAudioLLM/InspireMusic.

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

In this paper, we present Extreme Bandwidth Extension Network (EBEN), a Generative Adversarial network (GAN) that enhances audio measured with body-conduction microphones. This type of capture equipment suppresses ambient noise at the expense of speech bandwidth, thereby requiring signal enhancement techniques to recover the wideband speech signal. EBEN leverages a multiband decomposition of the raw captured speech to decrease the data time-domain dimensions, and give better control over the full-band signal. This multiband representation is fed to a U-Net-like model, which adopts a combination of feature and adversarial losses to recover an enhanced audio signal. We also benefit from this original representation in the proposed discriminator architecture. Our approach can achieve state-of-the-art results with a lightweight generator and real-time compatible operation.

Supervised deep learning has gained significant attention for speech enhancement recently. The state-of-the-art deep learning methods perform the task by learning a ratio/binary mask that is applied to the mixture in the time-frequency domain to produce the clean speech. Despite the great performance in the single-channel setting, these frameworks lag in performance in the multichannel setting as the majority of these methods a) fail to exploit the available spatial information fully, and b) still treat the deep architecture as a black box which may not be well-suited for multichannel audio processing. This paper addresses these drawbacks, a) by utilizing complex ratio masking instead of masking on the magnitude of the spectrogram, and more importantly, b) by introducing a channel-attention mechanism inside the deep architecture to mimic beamforming. We propose Channel-Attention Dense U-Net, in which we apply the channel-attention unit recursively on feature maps at every layer of the network, enabling the network to perform non-linear beamforming. We demonstrate the superior performance of the network against the state-of-the-art approaches on the CHiME-3 dataset.

Language model based text-to-speech (TTS) models, like VALL-E, have gained attention for their outstanding in-context learning capability in zero-shot scenarios. Neural speech codec is a critical component of these models, which can convert speech into discrete token representations. However, excessive token sequences from the codec may negatively affect prediction accuracy and restrict the progression of Language model based TTS models. To address this issue, this paper proposes a novel neural speech codec with time-invariant codes named TiCodec. By encoding and quantizing time-invariant information into a separate code, TiCodec can reduce the amount of frame-level information that needs encoding, effectively decreasing the number of tokens as codes of speech. Furthermore, this paper introduces a time-invariant encoding consistency loss to enhance the consistency of time-invariant code within an utterance and force it to capture more global information, which can benefit the zero-shot TTS task. Experimental results demonstrate that TiCodec can not only enhance the quality of reconstruction speech with fewer tokens but also increase the similarity and naturalness, as well as reduce the word error rate of the synthesized speech by the TTS model.

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

There have been significant advances in deep learning for music demixing in recent years. However, there has been little attention given to how these neural networks can be adapted for real-time low-latency applications, which could be helpful for hearing aids, remixing audio streams and live shows. In this paper, we investigate the various challenges involved in adapting current demixing models in the literature for this use case. Subsequently, inspired by the Hybrid Demucs architecture, we propose the Hybrid Spectrogram Time-domain Audio Separation Network HS-TasNet, which utilises the advantages of spectral and waveform domains. For a latency of 23 ms, the HS-TasNet obtains an overall signal-to-distortion ratio (SDR) of 4.65 on the MusDB test set, and increases to 5.55 with additional training data. These results demonstrate the potential of efficient demixing for real-time low-latency music applications.

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

In this paper, we propose multi-band MelGAN, a much faster waveform generation model targeting to high-quality text-to-speech. Specifically, we improve the original MelGAN by the following aspects. First, we increase the receptive field of the generator, which is proven to be beneficial to speech generation. Second, we substitute the feature matching loss with the multi-resolution STFT loss to better measure the difference between fake and real speech. Together with pre-training, this improvement leads to both better quality and better training stability. More importantly, we extend MelGAN with multi-band processing: the generator takes mel-spectrograms as input and produces sub-band signals which are subsequently summed back to full-band signals as discriminator input. The proposed multi-band MelGAN has achieved high MOS of 4.34 and 4.22 in waveform generation and TTS, respectively. With only 1.91M parameters, our model effectively reduces the total computational complexity of the original MelGAN from 5.85 to 0.95 GFLOPS. Our Pytorch implementation, which will be open-resourced shortly, can achieve a real-time factor of 0.03 on CPU without hardware specific optimization.

Several recent work on speech synthesis have employed generative adversarial networks (GANs) to produce raw waveforms. Although such methods improve the sampling efficiency and memory usage, their sample quality has not yet reached that of autoregressive and flow-based generative models. In this work, we propose HiFi-GAN, which achieves both efficient and high-fidelity speech synthesis. As speech audio consists of sinusoidal signals with various periods, we demonstrate that modeling periodic patterns of an audio is crucial for enhancing sample quality. A subjective human evaluation (mean opinion score, MOS) of a single speaker dataset indicates that our proposed method demonstrates similarity to human quality while generating 22.05 kHz high-fidelity audio 167.9 times faster than real-time on a single V100 GPU. We further show the generality of HiFi-GAN to the mel-spectrogram inversion of unseen speakers and end-to-end speech synthesis. Finally, a small footprint version of HiFi-GAN generates samples 13.4 times faster than real-time on CPU with comparable quality to an autoregressive counterpart.

We propose an efficient end-to-end convolutional neural network architecture, AclNet, for audio classification. When trained with our data augmentation and regularization, we achieved state-of-the-art performance on the ESC-50 corpus with 85:65% accuracy. Our network allows configurations such that memory and compute requirements are drastically reduced, and a tradeoff analysis of accuracy and complexity is presented. The analysis shows high accuracy at significantly reduced computational complexity compared to existing solutions. For example, a configuration with only 155k parameters and 49:3 million multiply-adds per second is 81:75%, exceeding human accuracy of 81:3%. This improved efficiency can enable always-on inference in energy-efficient platforms.

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

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

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

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

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

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

Diffusion-based audio and music generation models commonly generate music by constructing an image representation of audio (e.g., a mel-spectrogram) and then converting it to audio using a phase reconstruction model or vocoder. Typical vocoders, however, produce monophonic audio at lower resolutions (e.g., 16-24 kHz), which limits their effectiveness. We propose MusicHiFi -- an efficient high-fidelity stereophonic vocoder. Our method employs a cascade of three generative adversarial networks (GANs) that convert low-resolution mel-spectrograms to audio, upsamples to high-resolution audio via bandwidth expansion, and upmixes to stereophonic audio. Compared to previous work, we propose 1) a unified GAN-based generator and discriminator architecture and training procedure for each stage of our cascade, 2) a new fast, near downsampling-compatible bandwidth extension module, and 3) a new fast downmix-compatible mono-to-stereo upmixer that ensures the preservation of monophonic content in the output. We evaluate our approach using both objective and subjective listening tests and find our approach yields comparable or better audio quality, better spatialization control, and significantly faster inference speed compared to past work. Sound examples are at https://MusicHiFi.github.io/web/.

This paper presents LongCat-Audio-Codec, an audio tokenizer and detokenizer solution designed for industrial grade end-to-end speech large language models. By leveraging a decoupled model architecture and a multistage training strategy, LongCat-Audio-Codec exhibits robust semantic modeling capabilities, flexible acoustic feature extraction capabilities, and low-latency streaming synthesis capabilities. It encodes speech at an ultra-low frame rate of 16.67 Hz, with a minimum bitrate of 0.43 kbps and a maximum bitrate of 0.87 kbps. Evaluation results demonstrate that LongCat-Audio-Codec achieves strong speech intelligibility and is capable of synthesizing highquality speech at low bitrate, thus effectively balancing coding efficiency and decoding quality. The inference code and model checkpoints of LongCat-Audio-Codec are available at: https://github.com/meituan-longcat/LongCat-Audio-Codec.

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

Modern sensors produce increasingly rich streams of high-resolution data. Due to resource constraints, machine learning systems discard the vast majority of this information via resolution reduction. Compressed-domain learning allows models to operate on compact latent representations, allowing higher effective resolution for the same budget. However, existing compression systems are not ideal for compressed learning. Linear transform coding and end-to-end learned compression systems reduce bitrate, but do not uniformly reduce dimensionality; thus, they do not meaningfully increase efficiency. Generative autoencoders reduce dimensionality, but their adversarial or perceptual objectives lead to significant information loss. To address these limitations, we introduce WaLLoC (Wavelet Learned Lossy Compression), a neural codec architecture that combines linear transform coding with nonlinear dimensionality-reducing autoencoders. WaLLoC sandwiches a shallow, asymmetric autoencoder and entropy bottleneck between an invertible wavelet packet transform. Across several key metrics, WaLLoC outperforms the autoencoders used in state-of-the-art latent diffusion models. WaLLoC does not require perceptual or adversarial losses to represent high-frequency detail, providing compatibility with modalities beyond RGB images and stereo audio. WaLLoC's encoder consists almost entirely of linear operations, making it exceptionally efficient and suitable for mobile computing, remote sensing, and learning directly from compressed data. We demonstrate WaLLoC's capability for compressed-domain learning across several tasks, including image classification, colorization, document understanding, and music source separation. Our code, experiments, and pre-trained audio and image codecs are available at https://ut-sysml.org/walloc

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

An ideal music synthesizer should be both interactive and expressive, generating high-fidelity audio in realtime for arbitrary combinations of instruments and notes. Recent neural synthesizers have exhibited a tradeoff between domain-specific models that offer detailed control of only specific instruments, or raw waveform models that can train on any music but with minimal control and slow generation. In this work, we focus on a middle ground of neural synthesizers that can generate audio from MIDI sequences with arbitrary combinations of instruments in realtime. This enables training on a wide range of transcription datasets with a single model, which in turn offers note-level control of composition and instrumentation across a wide range of instruments. We use a simple two-stage process: MIDI to spectrograms with an encoder-decoder Transformer, then spectrograms to audio with a generative adversarial network (GAN) spectrogram inverter. We compare training the decoder as an autoregressive model and as a Denoising Diffusion Probabilistic Model (DDPM) and find that the DDPM approach is superior both qualitatively and as measured by audio reconstruction and Fr\'echet distance metrics. Given the interactivity and generality of this approach, we find this to be a promising first step towards interactive and expressive neural synthesis for arbitrary combinations of instruments and notes.

We present AERO, a audio super-resolution model that processes speech and music signals in the spectral domain. AERO is based on an encoder-decoder architecture with U-Net like skip connections. We optimize the model using both time and frequency domain loss functions. Specifically, we consider a set of reconstruction losses together with perceptual ones in the form of adversarial and feature discriminator loss functions. To better handle phase information the proposed method operates over the complex-valued spectrogram using two separate channels. Unlike prior work which mainly considers low and high frequency concatenation for audio super-resolution, the proposed method directly predicts the full frequency range. We demonstrate high performance across a wide range of sample rates considering both speech and music. AERO outperforms the evaluated baselines considering Log-Spectral Distance, ViSQOL, and the subjective MUSHRA test. Audio samples and code are available at https://pages.cs.huji.ac.il/adiyoss-lab/aero

The field of automatic music composition has seen great progress in recent years, specifically with the invention of transformer-based architectures. When using any deep learning model which considers music as a sequence of events with multiple complex dependencies, the selection of a proper data representation is crucial. In this paper, we tackle the task of conditional drums generation using a novel data encoding scheme inspired by the Compound Word representation, a tokenization process of sequential data. Therefore, we present a sequence-to-sequence architecture where a Bidirectional Long short-term memory (BiLSTM) Encoder receives information about the conditioning parameters (i.e., accompanying tracks and musical attributes), while a Transformer-based Decoder with relative global attention produces the generated drum sequences. We conducted experiments to thoroughly compare the effectiveness of our method to several baselines. Quantitative evaluation shows that our model is able to generate drums sequences that have similar statistical distributions and characteristics to the training corpus. These features include syncopation, compression ratio, and symmetry among others. We also verified, through a listening test, that generated drum sequences sound pleasant, natural and coherent while they "groove" with the given accompaniment.

End-to-end neural network based approaches to audio modelling are generally outperformed by models trained on high-level data representations. In this paper we present preliminary work that shows the feasibility of training the first layers of a deep convolutional neural network (CNN) model to learn the commonly-used log-scaled mel-spectrogram transformation. Secondly, we demonstrate that upon initializing the first layers of an end-to-end CNN classifier with the learned transformation, convergence and performance on the ESC-50 environmental sound classification dataset are similar to a CNN-based model trained on the highly pre-processed log-scaled mel-spectrogram features.

Time-frequency (TF) representations provide powerful and intuitive features for the analysis of time series such as audio. But still, generative modeling of audio in the TF domain is a subtle matter. Consequently, neural audio synthesis widely relies on directly modeling the waveform and previous attempts at unconditionally synthesizing audio from neurally generated invertible TF features still struggle to produce audio at satisfying quality. In this article, focusing on the short-time Fourier transform, we discuss the challenges that arise in audio synthesis based on generated invertible TF features and how to overcome them. We demonstrate the potential of deliberate generative TF modeling by training a generative adversarial network (GAN) on short-time Fourier features. We show that by applying our guidelines, our TF-based network was able to outperform a state-of-the-art GAN generating waveforms directly, despite the similar architecture in the two networks.

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

FullSubNet is our recently proposed real-time single-channel speech enhancement network that achieves outstanding performance on the Deep Noise Suppression (DNS) Challenge dataset. A number of variants of FullSubNet have been proposed, but they all focus on the structure design towards better performance and are rarely concerned with computational efficiency. For many speech enhancement applications, a key feature is that system runs on a real-time, latency-sensitive, battery-powered platform, which strictly limits the algorithm latency and computational complexity. In this work, we propose a new architecture named Fast FullSubNet dedicated to accelerating the computation of FullSubNet. Specifically, Fast FullSubNet processes sub-band speech spectra in the mel-frequency domain by using cascaded linear-to-mel full-band, sub-band, and mel-to-linear full-band models such that frequencies involved in the sub-band computation are vastly reduced. After that, a down-sampling operation is proposed for the sub-band input sequence to further reduce the computational complexity along the time axis. Experimental results show that, compared to FullSubNet, Fast FullSubNet has only 13\% computational complexity and 16\% processing time, and achieves comparable or even better performance. Code and audio samples are available at https://github.com/Audio-WestlakeU/FullSubNet.

Neural vocoders often struggle with aliasing in latent feature spaces, caused by time-domain nonlinear operations and resampling layers. Aliasing folds high-frequency components into the low-frequency range, making aliased and original frequency components indistinguishable and introducing two practical issues. First, aliasing complicates the waveform generation process, as the subsequent layers must address these aliasing effects, increasing the computational complexity. Second, it limits extrapolation performance, particularly in handling high fundamental frequencies, which degrades the perceptual quality of generated speech waveforms. This paper demonstrates that 1) time-domain nonlinear operations inevitably introduce aliasing but provide a strong inductive bias for harmonic generation, and 2) time-frequency-domain processing can achieve aliasing-free waveform synthesis but lacks the inductive bias for effective harmonic generation. Building on this insight, we propose Wavehax, an aliasing-free neural WAVEform generator that integrates 2D convolution and a HArmonic prior for reliable Complex Spectrogram estimation. Experimental results show that Wavehax achieves speech quality comparable to existing high-fidelity neural vocoders and exhibits exceptional robustness in scenarios requiring high fundamental frequency extrapolation, where aliasing effects become typically severe. Moreover, Wavehax requires less than 5% of the multiply-accumulate operations and model parameters compared to HiFi-GAN V1, while achieving over four times faster CPU inference speed.

Recently, several very effective neural approaches for single-channel speech separation have been presented in the literature. However, due to the size and complexity of these models, their use on low-resource devices, e.g. for hearing aids, and earphones, is still a challenge and established solutions are not available yet. Although approaches based on either pruning or compressing neural models have been proposed, the design of a model architecture suitable for a certain application domain often requires heuristic procedures not easily portable to different low-resource platforms. Given the modular nature of the well-known Conv-Tasnet speech separation architecture, in this paper we consider three parameters that directly control the overall size of the model, namely: the number of residual blocks, the number of repetitions of the separation blocks and the number of channels in the depth-wise convolutions, and experimentally evaluate how they affect the speech separation performance. In particular, experiments carried out on the Libri2Mix show that the number of dilated 1D-Conv blocks is the most critical parameter and that the usage of extra-dilation in the residual blocks allows reducing the performance drop.

This paper deals with the problem of audio source separation. To handle the complex and ill-posed nature of the problems of audio source separation, the current state-of-the-art approaches employ deep neural networks to obtain instrumental spectra from a mixture. In this study, we propose a novel network architecture that extends the recently developed densely connected convolutional network (DenseNet), which has shown excellent results on image classification tasks. To deal with the specific problem of audio source separation, an up-sampling layer, block skip connection and band-dedicated dense blocks are incorporated on top of DenseNet. The proposed approach takes advantage of long contextual information and outperforms state-of-the-art results on SiSEC 2016 competition by a large margin in terms of signal-to-distortion ratio. Moreover, the proposed architecture requires significantly fewer parameters and considerably less training time compared with other methods.

Significant efforts are being invested to bring state-of-the-art classification and recognition to edge devices with extreme resource constraints (memory, speed, and lack of GPU support). Here, we demonstrate the first deep network for acoustic recognition that is small, flexible and compression-friendly yet achieves state-of-the-art performance for raw audio classification. Rather than handcrafting a once-off solution, we present a generic pipeline that automatically converts a large deep convolutional network via compression and quantization into a network for resource-impoverished edge devices. After introducing ACDNet, which produces above state-of-the-art accuracy on ESC-10 (96.65%), ESC-50 (87.10%), UrbanSound8K (84.45%) and AudioEvent (92.57%), we describe the compression pipeline and show that it allows us to achieve 97.22% size reduction and 97.28% FLOP reduction while maintaining close to state-of-the-art accuracy 96.25%, 83.65%, 78.27% and 89.69% on these datasets. We describe a successful implementation on a standard off-the-shelf microcontroller and, beyond laboratory benchmarks, report successful tests on real-world datasets.

Most modern text-to-speech architectures use a WaveNet vocoder for synthesizing high-fidelity waveform audio, but there have been limitations, such as high inference time, in its practical application due to its ancestral sampling scheme. The recently suggested Parallel WaveNet and ClariNet have achieved real-time audio synthesis capability by incorporating inverse autoregressive flow for parallel sampling. However, these approaches require a two-stage training pipeline with a well-trained teacher network and can only produce natural sound by using probability distillation along with auxiliary loss terms. We propose FloWaveNet, a flow-based generative model for raw audio synthesis. FloWaveNet requires only a single-stage training procedure and a single maximum likelihood loss, without any additional auxiliary terms, and it is inherently parallel due to the characteristics of generative flow. The model can efficiently sample raw audio in real-time, with clarity comparable to previous two-stage parallel models. The code and samples for all models, including our FloWaveNet, are publicly available.

Deep learning is progressively gaining popularity as a viable alternative to i-vectors for speaker recognition. Promising results have been recently obtained with Convolutional Neural Networks (CNNs) when fed by raw speech samples directly. Rather than employing standard hand-crafted features, the latter CNNs learn low-level speech representations from waveforms, potentially allowing the network to better capture important narrow-band speaker characteristics such as pitch and formants. Proper design of the neural network is crucial to achieve this goal. This paper proposes a novel CNN architecture, called SincNet, that encourages the first convolutional layer to discover more meaningful filters. SincNet is based on parametrized sinc functions, which implement band-pass filters. In contrast to standard CNNs, that learn all elements of each filter, only low and high cutoff frequencies are directly learned from data with the proposed method. This offers a very compact and efficient way to derive a customized filter bank specifically tuned for the desired application. Our experiments, conducted on both speaker identification and speaker verification tasks, show that the proposed architecture converges faster and performs better than a standard CNN on raw waveforms.

Deep generative models can generate high-fidelity audio conditioned on various types of representations (e.g., mel-spectrograms, Mel-frequency Cepstral Coefficients (MFCC)). Recently, such models have been used to synthesize audio waveforms conditioned on highly compressed representations. Although such methods produce impressive results, they are prone to generate audible artifacts when the conditioning is flawed or imperfect. An alternative modeling approach is to use diffusion models. However, these have mainly been used as speech vocoders (i.e., conditioned on mel-spectrograms) or generating relatively low sampling rate signals. In this work, we propose a high-fidelity multi-band diffusion-based framework that generates any type of audio modality (e.g., speech, music, environmental sounds) from low-bitrate discrete representations. At equal bit rate, the proposed approach outperforms state-of-the-art generative techniques in terms of perceptual quality. Training and, evaluation code, along with audio samples, are available on the facebookresearch/audiocraft Github page.

In the field of neural data compression, the prevailing focus has been on optimizing algorithms for either classical distortion metrics, such as PSNR or SSIM, or human perceptual quality. With increasing amounts of data consumed by machines rather than humans, a new paradigm of machine-oriented compressionx2013which prioritizes the retention of features salient for machine perception over traditional human-centric criteriax2013has emerged, creating several new challenges to the development, evaluation, and deployment of systems utilizing lossy compression. In particular, it is unclear how different approaches to lossy compression will affect the performance of downstream machine perception tasks. To address this under-explored area, we evaluate various perception modelsx2013including image classification, image segmentation, speech recognition, and music source separationx2013under severe lossy compression. We utilize several popular codecs spanning conventional, neural, and generative compression architectures. Our results indicate three key findings: (1) using generative compression, it is feasible to leverage highly compressed data while incurring a negligible impact on machine perceptual quality; (2) machine perceptual quality correlates strongly with deep similarity metrics, indicating a crucial role of these metrics in the development of machine-oriented codecs; and (3) using lossy compressed datasets, (e.g. ImageNet) for pre-training can lead to counter-intuitive scenarios where lossy compression increases machine perceptual quality rather than degrading it. To encourage engagement on this growing area of research, our code and experiments are available at: https://github.com/danjacobellis/MPQ.

The great success of transformer-based models in natural language processing (NLP) has led to various attempts at adapting these architectures to other domains such as vision and audio. Recent work has shown that transformers can outperform Convolutional Neural Networks (CNNs) on vision and audio tasks. However, one of the main shortcomings of transformer models, compared to the well-established CNNs, is the computational complexity. In transformers, the compute and memory complexity is known to grow quadratically with the input length. Therefore, there has been extensive work on optimizing transformers, but often at the cost of degrading predictive performance. In this work, we propose a novel method to optimize and regularize transformers on audio spectrograms. Our proposed models achieve a new state-of-the-art performance on Audioset and can be trained on a single consumer-grade GPU. Furthermore, we propose a transformer model that outperforms CNNs in terms of both performance and training speed. Source code: https://github.com/kkoutini/PaSST

Large Language Models (LLMs) have significantly advanced audio processing by leveraging audio codecs to discretize audio into tokens, enabling the application of language modeling techniques to speech data. However, existing audio codecs often operate at high frame rates, leading to slow training and inference, particularly for autoregressive models. To address this, there is growing interest in low frame-rate audio codecs, which reduce the number of autoregressive steps required to generate one second of audio. In this paper, we conduct ablation studies to examine the impact of frame rate, bitrate, and causality on codec reconstruction quality. Based on our findings, we introduce NanoCodec, a state-of-the-art audio codec that achieves high-quality compression at just 12.5 frames per second (FPS). NanoCodec outperforms related works across various bitrate ranges, establishing a new benchmark for low-latency and efficient Speech LLM training and inference.

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

Audio Language Models (ALM) have emerged as the dominant paradigm for speech and music generation by representing audio as sequences of discrete tokens. Yet, unlike text tokens, which are invertible, audio tokens are extracted from lossy codecs with a limited bitrate. As a consequence, increasing audio quality requires generating more tokens, which imposes a trade-off between fidelity and computational cost. We address this issue by studying Continuous Audio Language Models (CALM). These models instantiate a large Transformer backbone that produces a contextual embedding at every timestep. This sequential information then conditions an MLP that generates the next continuous frame of an audio VAE through consistency modeling. By avoiding lossy compression, CALM achieves higher quality at lower computational cost than their discrete counterpart. Experiments on speech and music demonstrate improved efficiency and fidelity over state-of-the-art discrete audio language models, facilitating lightweight, high-quality audio generation. Samples are available at https://continuous-audio-language-models.github.io

Models for audio source separation usually operate on the magnitude spectrum, which ignores phase information and makes separation performance dependant on hyper-parameters for the spectral front-end. Therefore, we investigate end-to-end source separation in the time-domain, which allows modelling phase information and avoids fixed spectral transformations. Due to high sampling rates for audio, employing a long temporal input context on the sample level is difficult, but required for high quality separation results because of long-range temporal correlations. In this context, we propose the Wave-U-Net, an adaptation of the U-Net to the one-dimensional time domain, which repeatedly resamples feature maps to compute and combine features at different time scales. We introduce further architectural improvements, including an output layer that enforces source additivity, an upsampling technique and a context-aware prediction framework to reduce output artifacts. Experiments for singing voice separation indicate that our architecture yields a performance comparable to a state-of-the-art spectrogram-based U-Net architecture, given the same data. Finally, we reveal a problem with outliers in the currently used SDR evaluation metrics and suggest reporting rank-based statistics to alleviate this problem.

Video-to-audio (V2A) generation leverages visual-only video features to render plausible sounds that match the scene. Importantly, the generated sound onsets should match the visual actions that are aligned with them, otherwise unnatural synchronization artifacts arise. Recent works have explored the progression of conditioning sound generators on still images and then video features, focusing on quality and semantic matching while ignoring synchronization, or by sacrificing some amount of quality to focus on improving synchronization only. In this work, we propose a V2A generative model, named MaskVAT, that interconnects a full-band high-quality general audio codec with a sequence-to-sequence masked generative model. This combination allows modeling both high audio quality, semantic matching, and temporal synchronicity at the same time. Our results show that, by combining a high-quality codec with the proper pre-trained audio-visual features and a sequence-to-sequence parallel structure, we are able to yield highly synchronized results on one hand, whilst being competitive with the state of the art of non-codec generative audio models. Sample videos and generated audios are available at https://maskvat.github.io .

Deep learning has dramatically improved the performance of sounds recognition. However, learning acoustic models directly from the raw waveform is still challenging. Current waveform-based models generally use time-domain convolutional layers to extract features. The features extracted by single size filters are insufficient for building discriminative representation of audios. In this paper, we propose multi-scale convolution operation, which can get better audio representation by improving the frequency resolution and learning filters cross all frequency area. For leveraging the waveform-based features and spectrogram-based features in a single model, we introduce two-phase method to fuse the different features. Finally, we propose a novel end-to-end network called WaveMsNet based on the multi-scale convolution operation and two-phase method. On the environmental sounds classification datasets ESC-10 and ESC-50, the classification accuracies of our WaveMsNet achieve 93.75% and 79.10% respectively, which improve significantly from the previous methods.

The application of generative adversarial networks (GANs) has recently advanced speech super-resolution (SR) based on intermediate representations like mel-spectrograms. However, existing SR methods that typically rely on independently trained and concatenated networks may lead to inconsistent representations and poor speech quality, especially in out-of-domain scenarios. In this work, we propose HiFi-SR, a unified network that leverages end-to-end adversarial training to achieve high-fidelity speech super-resolution. Our model features a unified transformer-convolutional generator designed to seamlessly handle both the prediction of latent representations and their conversion into time-domain waveforms. The transformer network serves as a powerful encoder, converting low-resolution mel-spectrograms into latent space representations, while the convolutional network upscales these representations into high-resolution waveforms. To enhance high-frequency fidelity, we incorporate a multi-band, multi-scale time-frequency discriminator, along with a multi-scale mel-reconstruction loss in the adversarial training process. HiFi-SR is versatile, capable of upscaling any input speech signal between 4 kHz and 32 kHz to a 48 kHz sampling rate. Experimental results demonstrate that HiFi-SR significantly outperforms existing speech SR methods across both objective metrics and ABX preference tests, for both in-domain and out-of-domain scenarios (https://github.com/modelscope/ClearerVoice-Studio).

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.

Packet loss concealment (PLC) is a tool for enhancing speech degradation caused by poor network conditions or underflow/overflow in audio processing pipelines. We propose a real-time recurrent method that leverages previous outputs to mitigate artefact of lost packets without the prior knowledge of loss mask. The proposed full-band recurrent network (FRN) model operates at 48 kHz, which is suitable for high-quality telecommunication applications. Experiment results highlight the superiority of FRN over an offline non-causal baseline and a top performer in a recent PLC challenge.

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

Audio pattern recognition is an important research topic in the machine learning area, and includes several tasks such as audio tagging, acoustic scene classification, music classification, speech emotion classification and sound event detection. Recently, neural networks have been applied to tackle audio pattern recognition problems. However, previous systems are built on specific datasets with limited durations. Recently, in computer vision and natural language processing, systems pretrained on large-scale datasets have generalized well to several tasks. However, there is limited research on pretraining systems on large-scale datasets for audio pattern recognition. In this paper, we propose pretrained audio neural networks (PANNs) trained on the large-scale AudioSet dataset. These PANNs are transferred to other audio related tasks. We investigate the performance and computational complexity of PANNs modeled by a variety of convolutional neural networks. We propose an architecture called Wavegram-Logmel-CNN using both log-mel spectrogram and waveform as input feature. Our best PANN system achieves a state-of-the-art mean average precision (mAP) of 0.439 on AudioSet tagging, outperforming the best previous system of 0.392. We transfer PANNs to six audio pattern recognition tasks, and demonstrate state-of-the-art performance in several of those tasks. We have released the source code and pretrained models of PANNs: https://github.com/qiuqiangkong/audioset_tagging_cnn.

Virtual Analog (VA) modeling aims to simulate the behavior of hardware circuits via algorithms to replicate their tone digitally. Dynamic Range Compressor (DRC) is an audio processing module that controls the dynamics of a track by reducing and amplifying the volumes of loud and quiet sounds, which is essential in music production. In recent years, neural-network-based VA modeling has shown great potential in producing high-fidelity models. However, due to the lack of data quantity and diversity, their generalization ability in different parameter settings and input sounds is still limited. To tackle this problem, we present Diff-SSL-G-Comp, the first large-scale and diverse dataset for modeling the SSL 500 G-Bus Compressor. Specifically, we manually collected 175 unmastered songs from the Cambridge Multitrack Library. We recorded the compressed audio in 220 parameter combinations, resulting in an extensive 2528-hour dataset with diverse genres, instruments, tempos, and keys. Moreover, to facilitate the use of our proposed dataset, we conducted benchmark experiments in various open-sourced black-box and grey-box models, as well as white-box plugins. We also conducted ablation studies in different data subsets to illustrate the effectiveness of improved data diversity and quantity. The dataset and demos are on our project page: http://www.yichenggu.com/DiffSSLGComp/.

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

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

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

Speech codecs serve as bridges between speech signals and large language models. An ideal codec for speech language models should not only preserve acoustic information but also capture rich semantic information. However, existing speech codecs struggle to balance high-quality audio reconstruction with ease of modeling by language models. In this study, we analyze the limitations of previous codecs in balancing semantic richness and acoustic fidelity. We propose XY-Tokenizer, a novel codec that mitigates the conflict between semantic and acoustic capabilities through multi-stage, multi-task learning. Experimental results demonstrate that XY-Tokenizer achieves performance in both semantic and acoustic tasks comparable to that of state-of-the-art codecs operating at similar bitrates, even though those existing codecs typically excel in only one aspect. Specifically, XY-Tokenizer achieves strong text alignment, surpassing distillation-based semantic modeling methods such as SpeechTokenizer and Mimi, while maintaining a speaker similarity score of 0.83 between reconstructed and original audio. The reconstruction performance of XY-Tokenizer is comparable to that of BigCodec, the current state-of-the-art among acoustic-only codecs, which achieves a speaker similarity score of 0.84 at a similar bitrate. Code and models are available at https://github.com/gyt1145028706/XY-Tokenizer.

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

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

Implicit Neural Representations (INRs) and Neural Fields are a novel paradigm for signal representation, from images and audio to 3D scenes and videos. The fundamental idea is to represent a signal as a continuous and differentiable neural network. This idea offers unprecedented benefits such as continuous resolution and memory efficiency, enabling new compression techniques. However, representing data as neural networks poses new challenges. For instance, given a 2D image as a neural network, how can we further compress such a neural image?. In this work, we present a novel analysis on compressing neural fields, with the focus on images. We also introduce Adaptive Neural Images (ANI), an efficient neural representation that enables adaptation to different inference or transmission requirements. Our proposed method allows to reduce the bits-per-pixel (bpp) of the neural image by 4x, without losing sensitive details or harming fidelity. We achieve this thanks to our successful implementation of 4-bit neural representations. Our work offers a new framework for developing compressed neural fields.

To scale neural speech synthesis to various real-world languages, we present a multilingual end-to-end framework that maps byte inputs to spectrograms, thus allowing arbitrary input scripts. Besides strong results on 40+ languages, the framework demonstrates capabilities to adapt to new languages under extreme low-resource and even few-shot scenarios of merely 40s transcribed recording, without the need of per-language resources like lexicon, extra corpus, auxiliary models, or linguistic expertise, thus ensuring scalability. While it retains satisfactory intelligibility and naturalness matching rich-resource models. Exhaustive comparative and ablation studies are performed to reveal the potential of the framework for low-resource languages. Furthermore, we propose a novel method to extract language-specific sub-networks in a multilingual model for a better understanding of its mechanism.

Language models (LMs) have demonstrated the capability to handle a variety of generative tasks. This paper presents the UniAudio system, which, unlike prior task-specific approaches, leverages LMs techniques to generate multiple types of audio (including speech, sounds, music, and singing) with given input conditions. UniAudio 1) first tokenizes all types of target audio along with other condition modalities, 2) concatenates source-target pair as a single sequence, and 3) performs next-token prediction using LMs. Also, a multi-scale Transformer model is proposed to handle the overly long sequences caused by the residual vector quantization based neural codec in tokenization. Training of UniAudio is scaled up to 165K hours of audio and 1B parameters, based on all generative tasks, aiming to obtain sufficient prior knowledge not only in the intrinsic properties of audio but also the inter-relationship between audio and other modalities. Therefore, the trained UniAudio model has the potential to become a foundation model for universal audio generation: it shows strong capability in all trained tasks and can seamlessly support new audio generation tasks after simple fine-tuning. Experiments demonstrate that UniAudio achieves state-of-the-art or at least competitive results on most of the 11 tasks. Demo and code are released at https://github.com/yangdongchao/UniAudio

Recent advancements in deep learning have led to drastic improvements in speech segregation models. Despite their success and growing applicability, few efforts have been made to analyze the underlying principles that these networks learn to perform segregation. Here we analyze the role of harmonicity on two state-of-the-art Deep Neural Networks (DNN)-based models- Conv-TasNet and DPT-Net. We evaluate their performance with mixtures of natural speech versus slightly manipulated inharmonic speech, where harmonics are slightly frequency jittered. We find that performance deteriorates significantly if one source is even slightly harmonically jittered, e.g., an imperceptible 3% harmonic jitter degrades performance of Conv-TasNet from 15.4 dB to 0.70 dB. Training the model on inharmonic speech does not remedy this sensitivity, instead resulting in worse performance on natural speech mixtures, making inharmonicity a powerful adversarial factor in DNN models. Furthermore, additional analyses reveal that DNN algorithms deviate markedly from biologically inspired algorithms that rely primarily on timing cues and not harmonicity to segregate speech.

Recent successful applications of convolutional neural networks (CNNs) to audio classification and speech recognition have motivated the search for better input representations for more efficient training. Visual displays of an audio signal, through various time-frequency representations such as spectrograms offer a rich representation of the temporal and spectral structure of the original signal. In this letter, we compare various popular signal processing methods to obtain this representation, such as short-time Fourier transform (STFT) with linear and Mel scales, constant-Q transform (CQT) and continuous Wavelet transform (CWT), and assess their impact on the classification performance of two environmental sound datasets using CNNs. This study supports the hypothesis that time-frequency representations are valuable in learning useful features for sound classification. Moreover, the actual transformation used is shown to impact the classification accuracy, with Mel-scaled STFT outperforming the other discussed methods slightly and baseline MFCC features to a large degree. Additionally, we observe that the optimal window size during transformation is dependent on the characteristics of the audio signal and architecturally, 2D convolution yielded better results in most cases compared to 1D.

In the past decade, convolutional neural networks (CNNs) have been widely adopted as the main building block for end-to-end audio classification models, which aim to learn a direct mapping from audio spectrograms to corresponding labels. To better capture long-range global context, a recent trend is to add a self-attention mechanism on top of the CNN, forming a CNN-attention hybrid model. However, it is unclear whether the reliance on a CNN is necessary, and if neural networks purely based on attention are sufficient to obtain good performance in audio classification. In this paper, we answer the question by introducing the Audio Spectrogram Transformer (AST), the first convolution-free, purely attention-based model for audio classification. We evaluate AST on various audio classification benchmarks, where it achieves new state-of-the-art results of 0.485 mAP on AudioSet, 95.6% accuracy on ESC-50, and 98.1% accuracy on Speech Commands V2.

We describe a novel approach for developing realistic digital models of dynamic range compressors for digital audio production by analyzing their analog prototypes. While realistic digital dynamic compressors are potentially useful for many applications, the design process is challenging because the compressors operate nonlinearly over long time scales. Our approach is based on the structured state space sequence model (S4), as implementing the state-space model (SSM) has proven to be efficient at learning long-range dependencies and is promising for modeling dynamic range compressors. We present in this paper a deep learning model with S4 layers to model the Teletronix LA-2A analog dynamic range compressor. The model is causal, executes efficiently in real time, and achieves roughly the same quality as previous deep-learning models but with fewer parameters.