Daily Papers

Despite recent breakthroughs, audio foundation models struggle in processing complex multi-source acoustic scenes. We refer to this challenging domain as audio stories, which can have multiple speakers and background/foreground sound effects. Compared to traditional audio processing tasks, audio stories introduce new layers of semantic, temporal, and physical complexity. To address this challenge, we propose AudioChat, a framework for developing audio foundation models that can generate, edit, and understand audio stories. AudioChat introduces a new paradigm in which LLM-based toolcalling agents simulate interactions between users and the system, and these simulated dialogues are used as training data. We also introduce a novel Audio Transfusion Forcing objective to train the AudioChat model, allowing it to simultaneously decompose high-level instructions via structured chain-of-thought reasoning and perform interactive multi-turn audio understanding/generation. To evaluate generation and editing performance, we develop three new metrics that directly measure task performance instead of relying upon distribution-based scoring. We highly encourage readers to visit our demo to better understand the capabilities of AudioChat: https://wanchichen.github.io/audiochat/.

Transcranial focused ultrasound (tFUS) is an emerging modality for non-invasive brain stimulation and therapeutic intervention, offering millimeter-scale spatial precision and the ability to target deep brain structures. However, the heterogeneous and anisotropic nature of the human skull introduces significant distortions to the propagating ultrasound wavefront, which require time-consuming patient-specific planning and corrections using numerical solvers for accurate targeting. To enable data-driven approaches in this domain, we introduce TFUScapes, the first large-scale, high-resolution dataset of tFUS simulations through anatomically realistic human skulls derived from T1-weighted MRI images. We have developed a scalable simulation engine pipeline using the k-Wave pseudo-spectral solver, where each simulation returns a steady-state pressure field generated by a focused ultrasound transducer placed at realistic scalp locations. In addition to the dataset, we present DeepTFUS, a deep learning model that estimates normalized pressure fields directly from input 3D CT volumes and transducer position. The model extends a U-Net backbone with transducer-aware conditioning, incorporating Fourier-encoded position embeddings and MLP layers to create global transducer embeddings. These embeddings are fused with U-Net encoder features via feature-wise modulation, dynamic convolutions, and cross-attention mechanisms. The model is trained using a combination of spatially weighted and gradient-sensitive loss functions, enabling it to approximate high-fidelity wavefields. The TFUScapes dataset is publicly released to accelerate research at the intersection of computational acoustics, neurotechnology, and deep learning. The project page is available at https://github.com/CAMMA-public/TFUScapes.

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

Recent advancements in diffusion models and large language models (LLMs) have significantly propelled the field of AIGC. Text-to-Audio (TTA), a burgeoning AIGC application designed to generate audio from natural language prompts, is attracting increasing attention. However, existing TTA studies often struggle with generation quality and text-audio alignment, especially for complex textual inputs. Drawing inspiration from state-of-the-art Text-to-Image (T2I) diffusion models, we introduce Auffusion, a TTA system adapting T2I model frameworks to TTA task, by effectively leveraging their inherent generative strengths and precise cross-modal alignment. Our objective and subjective evaluations demonstrate that Auffusion surpasses previous TTA approaches using limited data and computational resource. Furthermore, previous studies in T2I recognizes the significant impact of encoder choice on cross-modal alignment, like fine-grained details and object bindings, while similar evaluation is lacking in prior TTA works. Through comprehensive ablation studies and innovative cross-attention map visualizations, we provide insightful assessments of text-audio alignment in TTA. Our findings reveal Auffusion's superior capability in generating audios that accurately match textual descriptions, which further demonstrated in several related tasks, such as audio style transfer, inpainting and other manipulations. Our implementation and demos are available at https://auffusion.github.io.

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

Audio generation, including speech, music and sound effects, has advanced rapidly in recent years. These tasks can be divided into two categories: time-aligned (TA) tasks, where each input unit corresponds to a specific segment of the output audio (e.g., phonemes aligned with frames in speech synthesis); and non-time-aligned (NTA) tasks, where such alignment is not available. Since modeling paradigms for the two types are typically different, research on different audio generation tasks has traditionally followed separate trajectories. However, audio is not inherently divided into such categories, making a unified model a natural and necessary goal for general audio generation. Previous unified audio generation works have adopted autoregressive architectures, while unified non-autoregressive approaches remain largely unexplored. In this work, we propose UniFlow-Audio, a universal audio generation framework based on flow matching. We propose a dual-fusion mechanism that temporally aligns audio latents with TA features and integrates NTA features via cross-attention in each model block. Task-balanced data sampling is employed to maintain strong performance across both TA and NTA tasks. UniFlow-Audio supports omni-modalities, including text, audio, and video. By leveraging the advantage of multi-task learning and the generative modeling capabilities of flow matching, UniFlow-Audio achieves strong results across 7 tasks using fewer than 8K hours of public training data and under 1B trainable parameters. Even the small variant with only ~200M trainable parameters shows competitive performance, highlighting UniFlow-Audio as a potential non-auto-regressive foundation model for audio generation. Code and models will be available at https://wsntxxn.github.io/uniflow_audio.

The content of visual and audio scenes is multi-faceted such that a video can be paired with various audio and vice-versa. Thereby, in video-to-audio generation task, it is imperative to introduce steering approaches for controlling the generated audio. While Video-to-Audio generation is a well-established generative task, existing methods lack such controllability. In this work, we propose VATT, a multi-modal generative framework that takes a video and an optional text prompt as input, and generates audio and optional textual description of the audio. Such a framework has two advantages: i) Video-to-Audio generation process can be refined and controlled via text which complements the context of visual information, and ii) The model can suggest what audio to generate for the video by generating audio captions. VATT consists of two key modules: VATT Converter, a LLM that is fine-tuned for instructions and includes a projection layer that maps video features to the LLM vector space; and VATT Audio, a transformer that generates audio tokens from visual frames and from optional text prompt using iterative parallel decoding. The audio tokens are converted to a waveform by pretrained neural codec. Experiments show that when VATT is compared to existing video-to-audio generation methods in objective metrics, it achieves competitive performance when the audio caption is not provided. When the audio caption is provided as a prompt, VATT achieves even more refined performance (lowest KLD score of 1.41). Furthermore, subjective studies show that VATT Audio has been chosen as preferred generated audio than audio generated by existing methods. VATT enables controllable video-to-audio generation through text as well as suggesting text prompts for videos through audio captions, unlocking novel applications such as text-guided video-to-audio generation and video-to-audio captioning.

When audio and text conflict, speech-enabled language models follow text far more often than they do when arbitrating between two conflicting text sources, even under explicit instructions to trust the audio. We introduce ALME (Audio-LLM Modality Evaluation), a dataset of 57,602 controlled audio-text conflict stimuli across eight languages, together with Text Dominance Ratio (TDR), which measures how often a model follows conflicting text when instructed to follow audio. Gemini 2.0 Flash and GPT-4o show TDR 10--26times higher than a baseline that replaces audio with its transcript under otherwise identical conditions (Gemini 2.0 Flash: 16.6% vs. 1.6%; GPT-4o: 23.2% vs. 0.9%). These results suggest that text dominance reflects not only information content, but also an asymmetry in arbitration accessibility, i.e., how easily the model can use competing representations at decision time. Framing the transcript as deliberately corrupted reduces TDR by 80%, whereas forcing explicit transcription increases it by 14%. A fine-tuning ablation further suggests that arbitration behavior depends more on LLM reasoning than on the audio input path alone. Across four audio-LLMs, we observe the same qualitative pattern with substantial cross-model and cross-linguistic variation.

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

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

Recent developments in diffusion- and flow- based models have significantly advanced Text-to-Audio Generation (TTA). While achieving great synthesis quality and controllability, current TTA systems still suffer from slow inference speed, which significantly limits their practical applicability. This paper presents MeanAudio, a novel MeanFlow-based model tailored for fast and faithful text-to-audio generation. Built on a Flux-style latent transformer, MeanAudio regresses the average velocity field during training, enabling fast generation by mapping directly from the start to the endpoint of the flow trajectory. By incorporating classifier-free guidance (CFG) into the training target, MeanAudio incurs no additional cost in the guided sampling process. To further stabilize training, we propose an instantaneous-to-mean curriculum with flow field mix-up, which encourages the model to first learn the foundational instantaneous dynamics, and then gradually adapt to mean flows. This strategy proves critical for enhancing training efficiency and generation quality. Experimental results demonstrate that MeanAudio achieves state-of-the-art performance in single-step audio generation. Specifically, it achieves a real time factor (RTF) of 0.013 on a single NVIDIA RTX 3090, yielding a 100x speedup over SOTA diffusion-based TTA systems. Moreover, MeanAudio also demonstrates strong performance in multi-step generation, enabling smooth and coherent transitions across successive synthesis steps.

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.

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

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

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

In this 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.

Creating high-quality sound effects from videos and text prompts requires precise alignment between visual and audio domains, both semantically and temporally, along with step-by-step guidance for professional audio generation. However, current state-of-the-art video-guided audio generation models often fall short of producing high-quality audio for both general and specialized use cases. To address this challenge, we introduce a multi-stage, multi-modal, end-to-end generative framework with Chain-of-Thought-like (CoT-like) guidance learning, termed Chain-of-Perform (CoP). First, we employ a transformer-based network architecture designed to achieve CoP guidance, enabling the generation of both general and professional audio. Second, we implement a multi-stage training framework that follows step-by-step guidance to ensure the generation of high-quality sound effects. Third, we develop a CoP multi-modal dataset, guided by video, to support step-by-step sound effects generation. Evaluation results highlight the advantages of the proposed multi-stage CoP generative framework compared to the state-of-the-art models on a variety of datasets, with FAD 0.79 to 0.74 (+6.33%), CLIP 16.12 to 17.70 (+9.80%) on VGGSound, SI-SDR 1.98dB to 3.35dB (+69.19%), MOS 2.94 to 3.49(+18.71%) on PianoYT-2h, and SI-SDR 2.22dB to 3.21dB (+44.59%), MOS 3.07 to 3.42 (+11.40%) on Piano-10h.

As large language models transition from text-based interfaces to audio interactions in clinical settings, they might introduce new vulnerabilities through paralinguistic cues in audio. We evaluated these models on 170 clinical cases, each synthesized into speech from 36 distinct voice profiles spanning variations in age, gender, and emotion. Our findings reveal a severe modality bias: surgical recommendations for audio inputs varied by as much as 35% compared to identical text-based inputs, with one model providing 80% fewer recommendations. Further analysis uncovered age disparities of up to 12% between young and elderly voices, which persisted in most models despite chain-of-thought prompting. While explicit reasoning successfully eliminated gender bias, the impact of emotion was not detected due to poor recognition performance. These results demonstrate that audio LLMs are susceptible to making clinical decisions based on a patient's voice characteristics rather than medical evidence, a flaw that risks perpetuating healthcare disparities. We conclude that bias-aware architectures are essential and urgently needed before the clinical deployment of these models.

The advances in generative AI have enabled the creation of synthetic audio which is perceptually indistinguishable from real, genuine audio. Although this stellar progress enables many positive applications, it also raises risks of misuse, such as for impersonation, disinformation and fraud. Despite a growing number of open-source fake audio detection codes released through numerous challenges and initiatives, most are tailored to specific competitions, datasets or models. A standardized and unified toolkit that supports the fair benchmarking and comparison of competing solutions with not just common databases, protocols, metrics, but also a shared codebase, is missing. To address this, we propose WeDefense, the first open-source toolkit to support both fake audio detection and localization. Beyond model training, WeDefense emphasizes critical yet often overlooked components: flexible input and augmentation, calibration, score fusion, standardized evaluation metrics, and analysis tools for deeper understanding and interpretation. The toolkit is publicly available at https://github.com/zlin0/wedefense with interactive demos for fake audio detection and localization.

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

As large language models become increasingly integrated into daily life, audio has emerged as a key interface for human-AI interaction. However, this convenience also introduces new vulnerabilities, making audio a potential attack surface for adversaries. Our research introduces WhisperInject, a two-stage adversarial audio attack framework that can manipulate state-of-the-art audio language models to generate harmful content. Our method uses imperceptible perturbations in audio inputs that remain benign to human listeners. The first stage uses a novel reward-based optimization method, Reinforcement Learning with Projected Gradient Descent (RL-PGD), to guide the target model to circumvent its own safety protocols and generate harmful native responses. This native harmful response then serves as the target for Stage 2, Payload Injection, where we use Projected Gradient Descent (PGD) to optimize subtle perturbations that are embedded into benign audio carriers, such as weather queries or greeting messages. Validated under the rigorous StrongREJECT, LlamaGuard, as well as Human Evaluation safety evaluation framework, our experiments demonstrate a success rate exceeding 86% across Qwen2.5-Omni-3B, Qwen2.5-Omni-7B, and Phi-4-Multimodal. Our work demonstrates a new class of practical, audio-native threats, moving beyond theoretical exploits to reveal a feasible and covert method for manipulating AI behavior.

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

The generation of high-quality, long-sequenced time-series data is essential due to its wide range of applications. In the past, standalone Recurrent and Convolutional Neural Network-based Generative Adversarial Networks (GAN) were used to synthesize time-series data. However, they are inadequate for generating long sequences of time-series data due to limitations in the architecture. Furthermore, GANs are well known for their training instability and mode collapse problem. To address this, we propose TransFusion, a diffusion, and transformers-based generative model to generate high-quality long-sequence time-series data. We have stretched the sequence length to 384, and generated high-quality synthetic data. Also, we introduce two evaluation metrics to evaluate the quality of the synthetic data as well as its predictive characteristics. We evaluate TransFusion with a wide variety of visual and empirical metrics, and TransFusion outperforms the previous state-of-the-art by a significant margin.

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

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

Forced alignment (FA) plays a key role in speech research through the automatic time alignment of speech signals with corresponding text transcriptions. Despite the move towards end-to-end architectures for speech technology, FA is still dominantly achieved through a classic GMM-HMM acoustic model. This work directly compares alignment performance from leading automatic speech recognition (ASR) methods, WhisperX and Massively Multilingual Speech Recognition (MMS), against a Kaldi-based GMM-HMM system, the Montreal Forced Aligner (MFA). Performance was assessed on the manually aligned TIMIT and Buckeye datasets, with comparisons conducted only on words correctly recognized by WhisperX and MMS. The MFA outperformed both WhisperX and MMS, revealing a shortcoming of modern ASR systems. These findings highlight the need for advancements in forced alignment and emphasize the importance of integrating traditional expertise with modern innovation to foster progress. Index Terms: forced alignment, phoneme alignment, word alignment

With the advancement of audio generation, generative models can produce highly realistic audios. However, the proliferation of deepfake general audio can pose negative consequences. Therefore, we propose a new task, deepfake general audio detection, which aims to identify whether audio content is manipulated and to locate deepfake regions. Leveraging an automated manipulation pipeline, a dataset named FakeSound for deepfake general audio detection is proposed, and samples can be viewed on website https://FakeSoundData.github.io. The average binary accuracy of humans on all test sets is consistently below 0.6, which indicates the difficulty humans face in discerning deepfake audio and affirms the efficacy of the FakeSound dataset. A deepfake detection model utilizing a general audio pre-trained model is proposed as a benchmark system. Experimental results demonstrate that the performance of the proposed model surpasses the state-of-the-art in deepfake speech detection and human testers.

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

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

This work introduces Text2FX, a method that leverages CLAP embeddings and differentiable digital signal processing to control audio effects, such as equalization and reverberation, using open-vocabulary natural language prompts (e.g., "make this sound in-your-face and bold"). Text2FX operates without retraining any models, relying instead on single-instance optimization within the existing embedding space, thus enabling a flexible, scalable approach to open-vocabulary sound transformations through interpretable and disentangled FX manipulation. We show that CLAP encodes valuable information for controlling audio effects and propose two optimization approaches using CLAP to map text to audio effect parameters. While we demonstrate with CLAP, this approach is applicable to any shared text-audio embedding space. Similarly, while we demonstrate with equalization and reverberation, any differentiable audio effect may be controlled. We conduct a listener study with diverse text prompts and source audio to evaluate the quality and alignment of these methods with human perception. Demos and code are available at anniejchu.github.io/text2fx.

Although the design and application of audio effects is well understood, the inverse problem of removing these effects is significantly more challenging and far less studied. Recently, deep learning has been applied to audio effect removal; however, existing approaches have focused on narrow formulations considering only one effect or source type at a time. In realistic scenarios, multiple effects are applied with varying source content. This motivates a more general task, which we refer to as general purpose audio effect removal. We developed a dataset for this task using five audio effects across four different sources and used it to train and evaluate a set of existing architectures. We found that no single model performed optimally on all effect types and sources. To address this, we introduced RemFX, an approach designed to mirror the compositionality of applied effects. We first trained a set of the best-performing effect-specific removal models and then leveraged an audio effect classification model to dynamically construct a graph of our models at inference. We found our approach to outperform single model baselines, although examples with many effects present remain challenging.

We introduce Transfusion, a recipe for training a multi-modal model over discrete and continuous data. Transfusion combines the language modeling loss function (next token prediction) with diffusion to train a single transformer over mixed-modality sequences. We pretrain multiple Transfusion models up to 7B parameters from scratch on a mixture of text and image data, establishing scaling laws with respect to a variety of uni- and cross-modal benchmarks. Our experiments show that Transfusion scales significantly better than quantizing images and training a language model over discrete image tokens. By introducing modality-specific encoding and decoding layers, we can further improve the performance of Transfusion models, and even compress each image to just 16 patches. We further demonstrate that scaling our Transfusion recipe to 7B parameters and 2T multi-modal tokens produces a model that can generate images and text on a par with similar scale diffusion models and language models, reaping the benefits of both worlds.

Recent Audio Multimodal Large Language Models (Audio MLLMs) demonstrate impressive performance on speech benchmarks, yet it remains unclear whether these models genuinely process acoustic signals or rely on text-based semantic inference. To systematically study this question, we introduce DEAF (Diagnostic Evaluation of Acoustic Faithfulness), a benchmark of over 2,700 conflict stimuli spanning three acoustic dimensions: emotional prosody, background sounds, and speaker identity. Then, we design a controlled multi-level evaluation framework that progressively increases textual influence, ranging from semantic conflicts in the content to misleading prompts and their combination, allowing us to disentangle content-driven bias from prompt-induced sycophancy. We further introduce diagnostic metrics to quantify model reliance on textual cues over acoustic signals. Our evaluation of seven Audio MLLMs reveals a consistent pattern of text dominance: models are sensitive to acoustic variations, yet predictions are predominantly driven by textual inputs, revealing a gap between high performance on standard speech benchmarks and genuine acoustic understanding.

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

Environmental sounds like footsteps, keyboard typing, or dog barking carry rich information and emotional context, making them valuable for designing haptics in user applications. Existing audio-to-vibration methods, however, rely on signal-processing rules tuned for music or games and often fail to generalize across diverse sounds. To address this, we first investigated user perception of four existing audio-to-haptic algorithms, then created a data-driven model for environmental sounds. In Study 1, 34 participants rated vibrations generated by the four algorithms for 1,000 sounds, revealing no consistent algorithm preferences. Using this dataset, we trained Sound2Hap, a CNN-based autoencoder, to generate perceptually meaningful vibrations from diverse sounds with low latency. In Study 2, 15 participants rated its output higher than signal-processing baselines on both audio-vibration match and Haptic Experience Index (HXI), finding it more harmonious with diverse sounds. This work demonstrates a perceptually validated approach to audio-haptic translation, broadening the reach of sound-driven haptics.

Recent progress in large language models (LLMs) has enabled understanding of both speech and non-speech audio, but exposing new safety risks emerging from complex audio inputs that are inadequately handled by current safeguards. We introduce SACRED-Bench (Speech-Audio Composition for RED-teaming) to evaluate the robustness of LLMs under complex audio-based attacks. Unlike existing perturbation-based methods that rely on noise optimization or white-box access, SACRED-Bench exploits speech-audio composition mechanisms. SACRED-Bench adopts three mechanisms: (a) speech overlap and multi-speaker dialogue, which embeds harmful prompts beneath or alongside benign speech; (b) speech-audio mixture, which imply unsafe intent via non-speech audio alongside benign speech or audio; and (c) diverse spoken instruction formats (open-ended QA, yes/no) that evade text-only filters. Experiments show that, even Gemini 2.5 Pro, the state-of-the-art proprietary LLM, still exhibits 66% attack success rate in SACRED-Bench test set, exposing vulnerabilities under cross-modal, speech-audio composition attacks. To bridge this gap, we propose SALMONN-Guard, a safeguard LLM that jointly inspects speech, audio, and text for safety judgments, reducing attack success down to 20%. Our results highlight the need for audio-aware defenses for the safety of multimodal LLMs. The benchmark and SALMONN-Guard checkpoints can be found at https://huggingface.co/datasets/tsinghua-ee/SACRED-Bench. Warning: this paper includes examples that may be offensive or harmful.

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

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

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

Respiratory audio, such as coughing and breathing sounds, has predictive power for a wide range of healthcare applications, yet is currently under-explored. The main problem for those applications arises from the difficulty in collecting large labeled task-specific data for model development. Generalizable respiratory acoustic foundation models pretrained with unlabeled data would offer appealing advantages and possibly unlock this impasse. However, given the safety-critical nature of healthcare applications, it is pivotal to also ensure openness and replicability for any proposed foundation model solution. To this end, we introduce OPERA, an OPEn Respiratory Acoustic foundation model pretraining and benchmarking system, as the first approach answering this need. We curate large-scale respiratory audio datasets (~136K samples, 440 hours), pretrain three pioneering foundation models, and build a benchmark consisting of 19 downstream respiratory health tasks for evaluation. Our pretrained models demonstrate superior performance (against existing acoustic models pretrained with general audio on 16 out of 19 tasks) and generalizability (to unseen datasets and new respiratory audio modalities). This highlights the great promise of respiratory acoustic foundation models and encourages more studies using OPERA as an open resource to accelerate research on respiratory audio for health. The system is accessible from https://github.com/evelyn0414/OPERA.

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

Real-time talking avatar generation requires low latency and minute-level temporal stability. Autoregressive (AR) forcing enables streaming inference but suffers from exposure bias, which causes errors to accumulate and become irreversible over long rollouts. In contrast, full-sequence diffusion transformers mitigate drift but remain computationally prohibitive for real-time long-form synthesis. We present AvatarForcing, a one-step streaming diffusion framework that denoises a fixed local-future window with heterogeneous noise levels and emits one clean block per step under constant per-step cost. To stabilize unbounded streams, the method introduces dual-anchor temporal forcing: a style anchor that re-indexes RoPE to maintain a fixed relative position with respect to the active window and applies anchor-audio zero-padding, and a temporal anchor that reuses recently emitted clean blocks to ensure smooth transitions. Real-time one-step inference is enabled by two-stage streaming distillation with offline ODE backfill and distribution matching. Experiments on standard benchmarks and a new 400-video long-form benchmark show strong visual quality and lip synchronization at 34 ms/frame using a 1.3B-parameter student model for realtime streaming. Our page is available at: https://cuiliyuan121.github.io/AvatarForcing/

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

The rise of AI voice-cloning technology, particularly audio Real-time Deepfakes (RTDFs), has intensified social engineering attacks by enabling real-time voice impersonation that bypasses conventional enrollment-based authentication. To address this, we propose PITCH, a robust challenge-response method to detect and tag interactive deepfake audio calls. We developed a comprehensive taxonomy of audio challenges based on the human auditory system, linguistics, and environmental factors, yielding 20 prospective challenges. These were tested against leading voice-cloning systems using a novel dataset comprising 18,600 original and 1.6 million deepfake samples from 100 users. PITCH's prospective challenges enhanced machine detection capabilities to 88.7% AUROC score on the full unbalanced dataset, enabling us to shortlist 10 functional challenges that balance security and usability. For human evaluation and subsequent analyses, we filtered a challenging, balanced subset. On this subset, human evaluators independently scored 72.6% accuracy, while machines achieved 87.7%. Acknowledging that call environments require higher human control, we aided call receivers in making decisions with them using machines. Our solution uses an early warning system to tag suspicious incoming calls as "Deepfake-likely." Contrary to prior findings, we discovered that integrating human intuition with machine precision offers complementary advantages. Our solution gave users maximum control and boosted detection accuracy to 84.5%. Evidenced by this jump in accuracy, PITCH demonstrated the potential for AI-assisted pre-screening in call verification processes, offering an adaptable and usable approach to combat real-time voice-cloning attacks. Code to reproduce and access data at https://github.com/mittalgovind/PITCH-Deepfakes.

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

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

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

Audio watermarking is increasingly used to verify the provenance of AI-generated content, enabling applications such as detecting AI-generated speech, protecting music IP, and defending against voice cloning. To be effective, audio watermarks must resist removal attacks that distort signals to evade detection. While many schemes claim robustness, these claims are typically tested in isolation and against a limited set of attacks. A systematic evaluation against diverse removal attacks is lacking, hindering practical deployment. In this paper, we investigate whether recent watermarking schemes that claim robustness can withstand a broad range of removal attacks. First, we introduce a taxonomy covering 22 audio watermarking schemes. Next, we summarize their underlying technologies and potential vulnerabilities. We then present a large-scale empirical study to assess their robustness. To support this, we build an evaluation framework encompassing 22 types of removal attacks (109 configurations) including signal-level, physical-level, and AI-induced distortions. We reproduce 9 watermarking schemes using open-source code, identify 8 new highly effective attacks, and highlight 11 key findings that expose the fundamental limitations of these methods across 3 public datasets. Our results reveal that none of the surveyed schemes can withstand all tested distortions. This evaluation offers a comprehensive view of how current watermarking methods perform under real-world threats. Our demo and code are available at https://sokaudiowm.github.io/.

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

Bootstrap-based Self-Supervised Learning (SSL) has achieved remarkable progress in audio understanding. However, existing methods typically operate at a single level of granularity, limiting their ability to model the diverse temporal and spectral structures inherent in complex audio signals. Furthermore, bootstrapping representations from scratch is computationally expensive, often requiring extensive training to converge. In this work, we propose the Convolutional Audio Transformer (CAT), a unified framework designed to address these challenges. First, to capture hierarchical audio features, CAT incorporates a Multi-resolution Block that aggregates information across varying granularities. Second, to enhance training efficiency, we introduce a Representation Regularization objective. Drawing inspiration from generative modeling, this auxiliary task guides the student model by aligning its predictions with high-quality semantic representations from frozen, pre-trained external encoders. Experimental results demonstrate that CAT significantly outperforms baselines on audio understanding benchmarks. Notably, it achieves competitive performance on the AudioSet 20k dataset with 5 times faster convergence than existing methods. Codes and checkpoints will be released soon at https://github.com/realzhouchushu/CAT.

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.

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

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

Text-to-audio diffusion models produce high-fidelity audio but require tens of function evaluations (NFEs), incurring multi-second latency and limited throughput. We present SoundWeaver, the first training-free, model-agnostic serving system that accelerates text-to-audio diffusion by warm-starting from semantically similar cached audio. SoundWeaver introduces three components: a Reference Selector that retrieves and temporally aligns cached candidates via semantic and duration-aware gating; a Skip Gater that dynamically determines the percentage of NFEs to skip; and a lightweight Cache Manager that maintains cache utility through quality-aware eviction and refinement. On real-world audio traces, SoundWeaver achieves 1.8--3.0 times latency reduction with a cache of only {sim}1K entries while preserving or improving perceptual quality.

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.

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.

Music therapy has been shown in recent years to provide multiple health benefits related to emotional wellness. In turn, maintaining a healthy emotional state has proven to be effective for patients undergoing treatment, such as Parkinson's patients or patients suffering from stress and anxiety. We propose fine-tuning MusicGen, a music-generating transformer model, to create short musical clips that assist patients in transitioning from negative to desired emotional states. Using low-rank decomposition fine-tuning on the MTG-Jamendo Dataset with emotion tags, we generate 30-second clips that adhere to the iso principle, guiding patients through intermediate states in the valence-arousal circumplex. The generated music is evaluated using a music emotion recognition model to ensure alignment with intended emotions. By concatenating these clips, we produce a 15-minute "music medicine" resembling a music therapy session. Our approach is the first model to leverage Language Models to generate music medicine. Ultimately, the output is intended to be used as a temporary relief between music therapy sessions with a board-certified therapist.

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

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

Foley is a key element in video production, refers to the process of adding an audio signal to a silent video while ensuring semantic and temporal alignment. In recent years, the rise of personalized content creation and advancements in automatic video-to-audio models have increased the demand for greater user control in the process. One possible approach is to incorporate text to guide audio generation. While supported by existing methods, challenges remain in ensuring compatibility between modalities, particularly when the text introduces additional information or contradicts the sounds naturally inferred from the visuals. In this work, we introduce CAFA (Controllable Automatic Foley Artist) a video-and-text-to-audio model that generates semantically and temporally aligned audio for a given video, guided by text input. CAFA is built upon a text-to-audio model and integrates video information through a modality adapter mechanism. By incorporating text, users can refine semantic details and introduce creative variations, guiding the audio synthesis beyond the expected video contextual cues. Experiments show that besides its superior quality in terms of semantic alignment and audio-visual synchronization the proposed method enable high textual controllability as demonstrated in subjective and objective evaluations.

With the rise of multimodal large language models, GPT-4o stands out as a pioneering model, driving us to evaluate its capabilities. This report assesses GPT-4o across various tasks to analyze its audio processing and reasoning abilities. We find that GPT-4o exhibits strong knowledge in audio, speech, and music understanding, performing well in tasks like intent classification, spoken command classification, semantic and grammatical reasoning., multilingual speech recognition, and singing analysis. It also shows greater robustness against hallucinations than other large audio-language models (LALMs). However, it struggles with tasks such as audio duration prediction and instrument classification. Additionally, GPT-4o's safety mechanisms cause it to decline tasks like speaker identification, age classification, MOS prediction, and audio deepfake detection. Notably, the model exhibits a significantly different refusal rate when responding to speaker verification tasks on different datasets. This is likely due to variations in the accompanying instructions or the quality of the input audio, suggesting the sensitivity of its built-in safeguards. Finally, we acknowledge that model performance varies with evaluation protocols. This report only serves as a preliminary exploration of the current state of LALMs.

Large Audio Language Models (LALMs) represent an important frontier in multimodal AI, addressing diverse audio tasks. Recently, post-training of LALMs has received increasing attention due to significant performance improvements over foundation models. While single-stage post-training such as reinforcement learning (RL) has demonstrated promising results, multi-stage approaches such as supervised fine-tuning (SFT) followed by RL remain suboptimal. The allocation of data across multiple training stages to maximize LALM capabilities has not been fully explored, and large-scale, high-quality datasets for such research are also lacking. To address these problems, we firstly present AudioMCQ, a comprehensive audio multiple-choice question dataset comprising 571k samples with two kinds of chain-of-thought annotations. Secondly, we investigate the prevalent zero audio-contribution phenomenon in LALMs, where models derive correct answers solely from textual information without processing audio content. We propose Audio-Contribution Filtering to partition data into weak and strong audio-contribution subsets. Based on these insights, we develop two effective post-training paradigms: Weak-to-Strong (SFT on weak audio-contribution data followed by RL on strong audio-contribution data) and Mixed-to-Strong (SFT on mixed audio-contribution data followed by RL on strong audio-contribution data). We achieve first place in the DCASE 2025 Audio-Question-Answering challenge by using AudioMCQ. Additionally, leveraging our dataset with different training strategies, we achieve 78.2\% on MMAU-test-mini, 75.6\% on MMAU, 67.1\% on MMAR, and 70.7\% on MMSU, establishing new state-of-the-art performance across these benchmarks.

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

This paper introduces DashengTokenizer, a continuous audio tokenizer engineered for joint use in both understanding and generation tasks. Unlike conventional approaches, which train acoustic tokenizers and subsequently integrate frozen semantic knowledge, our method inverts this paradigm: we leverage frozen semantic features and inject acoustic information. In linear evaluation across 22 diverse tasks, our method outperforms previous audio codec and audio encoder baselines by a significant margin while maintaining competitive audio reconstruction quality. Notably, we demonstrate that this acoustic injection improves performance for tasks such as speech emotion recognition, music understanding, and acoustic scene classification. We further evaluate the tokenizer's generative performance on text-to-audio (TTA), text-to-music (TTM), and speech enhancement (SE). Our approach surpasses standard variational autoencoder (VAE)-based methods on TTA and TTM tasks, while its effectiveness on SE underscores its capabilities as a general-purpose audio encoder. Finally, our results challenge the prevailing assumption that VAE-based architectures are a prerequisite for audio synthesis. Checkpoints are available at https://huggingface.co/mispeech/dashengtokenizer.

Discrete audio tokenizers are fundamental to empowering large language models with native audio processing and generation capabilities. Despite recent progress, existing approaches often rely on pretrained encoders, semantic distillation, or heterogeneous CNN-based architectures. These designs introduce fixed inductive biases that limit reconstruction fidelity and hinder effective scaling. In this paper, we argue that discrete audio tokenization should be learned fully end-to-end using a homogeneous and scalable architecture. To this end, we first propose CAT (Causal Audio Tokenizer with Transformer), a purely Transformer-based architecture that jointly optimizes the encoder, quantizer, and decoder from scratch for high-fidelity reconstruction. Building on the CAT architecture, we develop MOSS-Audio-Tokenizer, a large-scale audio tokenizer featuring 1.6 billion parameters, pre-trained on 3 million hours of diverse, general audio data. We show that this simple, fully end-to-end approach built from homogeneous, causal Transformer blocks scales gracefully and supports high-fidelity reconstruction across diverse audio domains. Across speech, sound, and music, MOSS-Audio-Tokenizer consistently outperforms prior codecs over a wide range of bitrates, while exhibiting predictable improvements with increased scale. Notably, leveraging the discrete tokens from our model, we develop the first purely autoregressive TTS model that surpasses prior non-autoregressive and cascaded systems. Furthermore, MOSS-Audio-Tokenizer enables competitive ASR performance without auxiliary encoders. Our findings position the CAT architecture as a unified, scalable interface for the next generation of native audio foundation models.

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

Recent advances in Text-to-Speech (TTS) systems have substantially increased the realism of synthetic speech, raising new challenges for audio deepfake detection. This work presents a comparative evaluation of three state-of-the-art TTS models--Dia2, Maya1, and MeloTTS--representing streaming, LLM-based, and non-autoregressive architectures. A corpus of 12,000 synthetic audio samples was generated using the Daily-Dialog dataset and evaluated against four detection frameworks, including semantic, structural, and signal-level approaches. The results reveal significant variability in detector performance across generative mechanisms: models effective against one TTS architecture may fail against others, particularly LLM-based synthesis. In contrast, a multi-view detection approach combining complementary analysis levels demonstrates robust performance across all evaluated models. These findings highlight the limitations of single-paradigm detectors and emphasize the necessity of integrated detection strategies to address the evolving landscape of audio deepfake threats.

Recent breakthroughs in zero-shot voice synthesis have enabled imitating a speaker's voice using just a few seconds of recording while maintaining a high level of realism. Alongside its potential benefits, this powerful technology introduces notable risks, including voice fraud and speaker impersonation. Unlike the conventional approach of solely relying on passive methods for detecting synthetic data, watermarking presents a proactive and robust defence mechanism against these looming risks. This paper introduces an innovative audio watermarking framework that encodes up to 32 bits of watermark within a mere 1-second audio snippet. The watermark is imperceptible to human senses and exhibits strong resilience against various attacks. It can serve as an effective identifier for synthesized voices and holds potential for broader applications in audio copyright protection. Moreover, this framework boasts high flexibility, allowing for the combination of multiple watermark segments to achieve heightened robustness and expanded capacity. Utilizing 10 to 20-second audio as the host, our approach demonstrates an average Bit Error Rate (BER) of 0.48\% across ten common attacks, a remarkable reduction of over 2800\% in BER compared to the state-of-the-art watermarking tool. See https://aka.ms/wavmark for demos of our work.

Universal source separation (USS) is a fundamental research task for computational auditory scene analysis, which aims to separate mono recordings into individual source tracks. There are three potential challenges awaiting the solution to the audio source separation task. First, previous audio source separation systems mainly focus on separating one or a limited number of specific sources. There is a lack of research on building a unified system that can separate arbitrary sources via a single model. Second, most previous systems require clean source data to train a separator, while clean source data are scarce. Third, there is a lack of USS system that can automatically detect and separate active sound classes in a hierarchical level. To use large-scale weakly labeled/unlabeled audio data for audio source separation, we propose a universal audio source separation framework containing: 1) an audio tagging model trained on weakly labeled data as a query net; and 2) a conditional source separation model that takes query net outputs as conditions to separate arbitrary sound sources. We investigate various query nets, source separation models, and training strategies and propose a hierarchical USS strategy to automatically detect and separate sound classes from the AudioSet ontology. By solely leveraging the weakly labelled AudioSet, our USS system is successful in separating a wide variety of sound classes, including sound event separation, music source separation, and speech enhancement. The USS system achieves an average signal-to-distortion ratio improvement (SDRi) of 5.57 dB over 527 sound classes of AudioSet; 10.57 dB on the DCASE 2018 Task 2 dataset; 8.12 dB on the MUSDB18 dataset; an SDRi of 7.28 dB on the Slakh2100 dataset; and an SSNR of 9.00 dB on the voicebank-demand dataset. We release the source code at https://github.com/bytedance/uss

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

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

In this report, we introduce Qwen3-ASR family, which includes two powerful all-in-one speech recognition models and a novel non-autoregressive speech forced alignment model. Qwen3-ASR-1.7B and Qwen3-ASR-0.6B are ASR models that support language identification and ASR for 52 languages and dialects. Both of them leverage large-scale speech training data and the strong audio understanding ability of their foundation model Qwen3-Omni. We conduct comprehensive internal evaluation besides the open-sourced benchmarks as ASR models might differ little on open-sourced benchmark scores but exhibit significant quality differences in real-world scenarios. The experiments reveal that the 1.7B version achieves SOTA performance among open-sourced ASR models and is competitive with the strongest proprietary APIs while the 0.6B version offers the best accuracy-efficiency trade-off. Qwen3-ASR-0.6B can achieve an average TTFT as low as 92ms and transcribe 2000 seconds speech in 1 second at a concurrency of 128. Qwen3-ForcedAligner-0.6B is an LLM based NAR timestamp predictor that is able to align text-speech pairs in 11 languages. Timestamp accuracy experiments show that the proposed model outperforms the three strongest force alignment models and takes more advantages in efficiency and versatility. To further accelerate the community research of ASR and audio understanding, we release these models under the Apache 2.0 license.

High-quality, large-scale audio captioning is crucial for advancing audio understanding, yet current automated methods often generate captions that lack fine-grained detail and contextual accuracy, primarily due to their reliance on limited unimodal or superficial multimodal information. Drawing inspiration from human auditory perception, which adeptly integrates cross-modal cues and performs sophisticated auditory scene analysis, we introduce a novel two-stage automated pipeline. This pipeline first employs specialized pretrained models to extract diverse contextual cues (e.g., speech, music, general sounds, and visual information from associated video). A large language model (LLM) then synthesizes these rich, multimodal inputs to generate detailed and context-aware audio captions. Key contributions of this work include: (1) the proposed scalable method for fine-grained audio caption generation; (2) FusionAudio, a new large-scale dataset comprising 1.2 million such detailed captions, combined with 6 million QA pairs; and (3) enhanced audio models developed using FusionAudio, specifically a CLAP-based audio encoder with superior audio-text alignment and instruction following. This paper paves the way for more nuanced and accurate automated understanding of complex audio environments. Code and data can be found in https://github.com/satsuki2486441738/FusionAudio.

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

Many existing audio processing and generation models rely on task-specific architectures, resulting in fragmented development efforts and limited extensibility. It is therefore promising to design a unified framework capable of handling multiple tasks, while providing robust instruction and audio understanding and high-quality audio generation. This requires a compatible paradigm design, a powerful backbone, and a high-fidelity audio reconstruction module. To meet these requirements, this technical report introduces QuarkAudio, a decoder-only autoregressive (AR) LM-based generative framework that unifies multiple tasks. The framework includes a unified discrete audio tokenizer, H-Codec, which incorporates self-supervised learning (SSL) representations into the tokenization and reconstruction process. We further propose several improvements to H-Codec, such as a dynamic frame-rate mechanism and extending the audio sampling rate to 48 kHz. QuarkAudio unifies tasks by using task-specific conditional information as the conditioning sequence of the decoder-only LM, and predicting discrete target audio tokens in an AR manner. The framework supports a wide range of audio processing and generation tasks, including speech restoration (SR), target speaker extraction (TSE), speech separation (SS), voice conversion (VC), and language-queried audio source separation (LASS). In addition, we extend downstream tasks to universal free-form audio editing guided by natural language instructions (including speech semantic editing and audio event editing). Experimental results show that H-Codec achieves high-quality audio reconstruction with a low frame rate, improving both the efficiency and performance of downstream audio generation, and that QuarkAudio delivers competitive or comparable performance to state-of-the-art task-specific or multi-task systems across multiple tasks.

Text-to-audio generation synthesizes realistic sounds or music given a natural language prompt. Diffusion-based frameworks, including the Tango and the AudioLDM series, represent the state-of-the-art in text-to-audio generation. Despite achieving high audio fidelity, they incur significant inference latency due to the slow diffusion sampling process. MAGNET, a mask-based model operating on discrete tokens, addresses slow inference through iterative mask-based parallel decoding. However, its audio quality still lags behind that of diffusion-based models. In this work, we introduce IMPACT, a text-to-audio generation framework that achieves high performance in audio quality and fidelity while ensuring fast inference. IMPACT utilizes iterative mask-based parallel decoding in a continuous latent space powered by diffusion modeling. This approach eliminates the fidelity constraints of discrete tokens while maintaining competitive inference speed. Results on AudioCaps demonstrate that IMPACT achieves state-of-the-art performance on key metrics including Fr\'echet Distance (FD) and Fr\'echet Audio Distance (FAD) while significantly reducing latency compared to prior models. The project website is available at https://audio-impact.github.io/.

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

Automated Audio Captioning is a multimodal task that aims to convert audio content into natural language. The assessment of audio captioning systems is typically based on quantitative metrics applied to text data. Previous studies have employed metrics derived from machine translation and image captioning to evaluate the quality of generated audio captions. Drawing inspiration from auditory cognitive neuroscience research, we introduce a novel metric approach -- Audio Captioning Evaluation on Semantics of Sound (ACES). ACES takes into account how human listeners parse semantic information from sounds, providing a novel and comprehensive evaluation perspective for automated audio captioning systems. ACES combines semantic similarities and semantic entity labeling. ACES outperforms similar automated audio captioning metrics on the Clotho-Eval FENSE benchmark in two evaluation categories.

General audio source separation is a key capability for multimodal AI systems that can perceive and reason about sound. Despite substantial progress in recent years, existing separation models are either domain-specific, designed for fixed categories such as speech or music, or limited in controllability, supporting only a single prompting modality such as text. In this work, we present SAM Audio, a foundation model for general audio separation that unifies text, visual, and temporal span prompting within a single framework. Built on a diffusion transformer architecture, SAM Audio is trained with flow matching on large-scale audio data spanning speech, music, and general sounds, and can flexibly separate target sources described by language, visual masks, or temporal spans. The model achieves state-of-the-art performance across a diverse suite of benchmarks, including general sound, speech, music, and musical instrument separation in both in-the-wild and professionally produced audios, substantially outperforming prior general-purpose and specialized systems. Furthermore, we introduce a new real-world separation benchmark with human-labeled multimodal prompts and a reference-free evaluation model that correlates strongly with human judgment.

The rapid advancement of speech generation models has heightened privacy and security concerns related to voice cloning (VC). Recent studies have investigated disrupting unauthorized voice cloning by introducing adversarial perturbations. However, determined attackers can mitigate these protective perturbations and successfully execute VC. In this study, we conduct the first systematic evaluation of these protective perturbations against VC under realistic threat models that include perturbation purification. Our findings reveal that while existing purification methods can neutralize a considerable portion of the protective perturbations, they still lead to distortions in the feature space of VC models, which degrades the performance of VC. From this perspective, we propose a novel two-stage purification method: (1) Purify the perturbed speech; (2) Refine it using phoneme guidance to align it with the clean speech distribution. Experimental results demonstrate that our method outperforms state-of-the-art purification methods in disrupting VC defenses. Our study reveals the limitations of adversarial perturbation-based VC defenses and underscores the urgent need for more robust solutions to mitigate the security and privacy risks posed by VC. The code and audio samples are available at https://de-antifake.github.io.

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

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.

We introduce Echoes, a new dataset for music deepfake detection designed for training and benchmarking detectors under realistic and provider-diverse conditions. Echoes comprises 3,577 tracks (110 hours of audio) spanning multiple genres (pop, rock, electronic), and includes content generated by ten popular AI music generation systems. To prevent shortcut learning and promote robust generalization, the dataset is deliberately constructed to be challenging, enforcing semantic-level alignment between spoofed audio and bona fide references. This alignment is achieved by conditioning generated audio samples directly on bona-fide waveforms or song descriptors. We evaluate Echoes in a cross-dataset setting against three existing AI-generated music datasets using state-of-the-art Wav2Vec2 XLS-R 2B representations. Results show that (i) Echoes is the hardest in-domain dataset; (ii) detectors trained on existing datasets transfer poorly to Echoes; (iii) training on Echoes yields the strongest generalization performance. These findings suggest that provider diversity and semantic alignment help learn more transferable detection cues.

Recent advances in video-to-audio (V2A) generation enable high-quality audio synthesis from visual content, yet achieving robust and fine-grained controllability remains challenging. Existing methods suffer from weak textual controllability under visual-text conflict and imprecise stylistic control due to entangled temporal and timbre information in reference audio. Moreover, the lack of standardized benchmarks limits systematic evaluation. We propose ControlFoley, a unified multimodal V2A framework that enables precise control over video, text, and reference audio. We introduce a joint visual encoding paradigm that integrates CLIP with a spatio-temporal audio-visual encoder to improve alignment and textual controllability. We further propose temporal-timbre decoupling to suppress redundant temporal cues while preserving discriminative timbre features. In addition, we design a modality-robust training scheme with unified multimodal representation alignment (REPA) and random modality dropout. We also present VGGSound-TVC, a benchmark for evaluating textual controllability under varying degrees of visual-text conflict. Extensive experiments demonstrate state-of-the-art performance across multiple V2A tasks, including text-guided, text-controlled, and audio-controlled generation. ControlFoley achieves superior controllability under cross-modal conflict while maintaining strong synchronization and audio quality, and shows competitive or better performance compared to an industrial V2A system. Code, models, datasets, and demos are available at: https://yjx-research.github.io/ControlFoley/.

Automatic Speech Recognition (ASR) systems convert speech into text and can be placed into two broad categories: traditional and fully end-to-end. Both types have been shown to be vulnerable to adversarial audio examples that sound benign to the human ear but force the ASR to produce malicious transcriptions. Of these attacks, only the "psychoacoustic" attacks can create examples with relatively imperceptible perturbations, as they leverage the knowledge of the human auditory system. Unfortunately, existing psychoacoustic attacks can only be applied against traditional models, and are obsolete against the newer, fully end-to-end ASRs. In this paper, we propose an equalization-based psychoacoustic attack that can exploit both traditional and fully end-to-end ASRs. We successfully demonstrate our attack against real-world ASRs that include DeepSpeech and Wav2Letter. Moreover, we employ a user study to verify that our method creates low audible distortion. Specifically, 80 of the 100 participants voted in favor of all our attack audio samples as less noisier than the existing state-of-the-art attack. Through this, we demonstrate both types of existing ASR pipelines can be exploited with minimum degradation to attack audio quality.

The attention-based Transformers have been increasingly applied to audio classification because of their global receptive field and ability to handle long-term dependency. However, the existing frameworks which are mainly extended from the Vision Transformers are not perfectly compatible with audio signals. In this paper, we introduce a Causal Audio Transformer (CAT) consisting of a Multi-Resolution Multi-Feature (MRMF) feature extraction with an acoustic attention block for more optimized audio modeling. In addition, we propose a causal module that alleviates over-fitting, helps with knowledge transfer, and improves interpretability. CAT obtains higher or comparable state-of-the-art classification performance on ESC50, AudioSet and UrbanSound8K datasets, and can be easily generalized to other Transformer-based models.

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

Audio deepfake detection (ADD) is essential for preventing the misuse of synthetic voices that may infringe on personal rights and privacy. Recent zero-shot text-to-speech (TTS) models pose higher risks as they can clone voices with a single utterance. However, the existing ADD datasets are outdated, leading to suboptimal generalization of detection models. In this paper, we construct a new cross-domain ADD dataset comprising over 300 hours of speech data that is generated by five advanced zero-shot TTS models. To simulate real-world scenarios, we employ diverse attack methods and audio prompts from different datasets. Experiments show that, through novel attack-augmented training, the Wav2Vec2-large and Whisper-medium models achieve equal error rates of 4.1\% and 6.5\% respectively. Additionally, we demonstrate our models' outstanding few-shot ADD ability by fine-tuning with just one minute of target-domain data. Nonetheless, neural codec compressors greatly affect the detection accuracy, necessitating further research.

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

Text-to-Audio (TTA) generation has made rapid progress, but current evaluation methods remain narrow, focusing mainly on perceptual quality while overlooking robustness, generalization, and ethical concerns. We present TTA-Bench, a comprehensive benchmark for evaluating TTA models across functional performance, reliability, and social responsibility. It covers seven dimensions including accuracy, robustness, fairness, and toxicity, and includes 2,999 diverse prompts generated through automated and manual methods. We introduce a unified evaluation protocol that combines objective metrics with over 118,000 human annotations from both experts and general users. Ten state-of-the-art models are benchmarked under this framework, offering detailed insights into their strengths and limitations. TTA-Bench establishes a new standard for holistic and responsible evaluation of TTA systems. The dataset and evaluation tools are open-sourced at https://nku-hlt.github.io/tta-bench/.

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

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

State-space models (SSMs) have emerged as an alternative to Transformers for audio modeling due to their high computational efficiency with long inputs. While recent efforts on Audio SSMs have reported encouraging results, two main limitations remain: First, in 10-second short audio tagging tasks, Audio SSMs still underperform compared to Transformer-based models such as Audio Spectrogram Transformer (AST). Second, although Audio SSMs theoretically support long audio inputs, their actual performance with long audio has not been thoroughly evaluated. To address these limitations, in this paper, 1) We applied knowledge distillation in audio space model training, resulting in a model called Knowledge Distilled Audio SSM (DASS). To the best of our knowledge, it is the first SSM that outperforms the Transformers on AudioSet and achieves an mAP of 47.6; and 2) We designed a new test called Audio Needle In A Haystack (Audio NIAH). We find that DASS, trained with only 10-second audio clips, can retrieve sound events in audio recordings up to 2.5 hours long, while the AST model fails when the input is just 50 seconds, demonstrating SSMs are indeed more duration scalable.

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

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

Recent joint audio-visual diffusion models achieve remarkable generation quality but suffer from high latency due to their bidirectional attention dependencies, hindering real-time applications. We propose OmniForcing, the first framework to distill an offline, dual-stream bidirectional diffusion model into a high-fidelity streaming autoregressive generator. However, naively applying causal distillation to such dual-stream architectures triggers severe training instability, due to the extreme temporal asymmetry between modalities and the resulting token sparsity. We address the inherent information density gap by introducing an Asymmetric Block-Causal Alignment with a zero-truncation Global Prefix that prevents multi-modal synchronization drift. The gradient explosion caused by extreme audio token sparsity during the causal shift is further resolved through an Audio Sink Token mechanism equipped with an Identity RoPE constraint. Finally, a Joint Self-Forcing Distillation paradigm enables the model to dynamically self-correct cumulative cross-modal errors from exposure bias during long rollouts. Empowered by a modality-independent rolling KV-cache inference scheme, OmniForcing achieves state-of-the-art streaming generation at sim25 FPS on a single GPU, maintaining multi-modal synchronization and visual quality on par with the bidirectional teacher.Project Page: https://omniforcing.com{https://omniforcing.com}

Although native speech and music envelope following responses (EFRs) play a crucial role in auditory processing and cognition, their frequency profile, such as the dominating frequency and spectral coherence, is largely unknown. We have assumed that the auditory pathway - which transmits envelope components of speech and music to the scalp through time-varying neurophysiological processes - is a linear time-varying system, with the envelope and the multi-channel EEG responses as excitation and response, respectively. This paper investigates the transfer function of this system through two analytical techniques - time-averaged spectral responses and cross-spectral density - in the frequency domain at four different positions of the human scalp. Our findings suggest that alpha (8-11 Hz), lower gamma (53-56 Hz), and higher gamma (78-81 Hz) bands are the peak responses of the system. These frequently appearing dominant frequency responses may be the key components of familiar speech perception, maintaining attention, binding acoustic features, and memory processing. The cross-spectral density, which reflects the spatial neural coherence of the human brain, shows that 10-13 Hz, 27-29 Hz, and 62-64 Hz are common for all channel pairs. As neural coherences are frequently observed in these frequencies among native participants, we suggest that these distributed neural processes are also dominant in native speech and music perception.

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

This study assesses deep learning models for audio classification in a clinical setting with the constraint of small datasets reflecting real-world prospective data collection. We analyze CNNs, including DenseNet and ConvNeXt, alongside transformer models like ViT, SWIN, and AST, and compare them against pre-trained audio models such as YAMNet and VGGish. Our method highlights the benefits of pre-training on large datasets before fine-tuning on specific clinical data. We prospectively collected two first-of-their-kind patient audio datasets from stroke patients. We investigated various preprocessing techniques, finding that RGB and grayscale spectrogram transformations affect model performance differently based on the priors they learn from pre-training. Our findings indicate CNNs can match or exceed transformer models in small dataset contexts, with DenseNet-Contrastive and AST models showing notable performance. This study highlights the significance of incremental marginal gains through model selection, pre-training, and preprocessing in sound classification; this offers valuable insights for clinical diagnostics that rely on audio classification.

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 present the first approach to automated audio captioning. We employ an encoder-decoder scheme with an alignment model in between. The input to the encoder is a sequence of log mel-band energies calculated from an audio file, while the output is a sequence of words, i.e. a caption. The encoder is a multi-layered, bi-directional gated recurrent unit (GRU) and the decoder a multi-layered GRU with a classification layer connected to the last GRU of the decoder. The classification layer and the alignment model are fully connected layers with shared weights between timesteps. The proposed method is evaluated using data drawn from a commercial sound effects library, ProSound Effects. The resulting captions were rated through metrics utilized in machine translation and image captioning fields. Results from metrics show that the proposed method can predict words appearing in the original caption, but not always correctly ordered.

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

This paper introduces LLM2Fx-Tools, a multimodal tool-calling framework that generates executable sequences of audio effects (Fx-chain) for music post-production. LLM2Fx-Tools uses a large language model (LLM) to understand audio inputs, select audio effects types, determine their order, and estimate parameters, guided by chain-of-thought (CoT) planning. We also present LP-Fx, a new instruction-following dataset with structured CoT annotations and tool calls for audio effects modules. Experiments show that LLM2Fx-Tools can infer an Fx-chain and its parameters from pairs of unprocessed and processed audio, enabled by autoregressive sequence modeling, tool calling, and CoT reasoning. We further validate the system in a style transfer setting, where audio effects information is transferred from a reference source and applied to new content. Finally, LLM-as-a-judge evaluation demonstrates that our approach generates appropriate CoT reasoning and responses for music production queries. To our knowledge, this is the first work to apply LLM-based tool calling to audio effects modules, enabling interpretable and controllable music production.

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

Foley is a term commonly used in filmmaking, referring to the addition of daily sound effects to silent films or videos to enhance the auditory experience. Video-to-Audio (V2A), as a particular type of automatic foley task, presents inherent challenges related to audio-visual synchronization. These challenges encompass maintaining the content consistency between the input video and the generated audio, as well as the alignment of temporal and loudness properties within the video. To address these issues, we construct a controllable video-to-audio synthesis model, termed Draw an Audio, which supports multiple input instructions through drawn masks and loudness signals. To ensure content consistency between the synthesized audio and target video, we introduce the Mask-Attention Module (MAM), which employs masked video instruction to enable the model to focus on regions of interest. Additionally, we implement the Time-Loudness Module (TLM), which uses an auxiliary loudness signal to ensure the synthesis of sound that aligns with the video in both loudness and temporal dimensions. Furthermore, we have extended a large-scale V2A dataset, named VGGSound-Caption, by annotating caption prompts. Extensive experiments on challenging benchmarks across two large-scale V2A datasets verify Draw an Audio achieves the state-of-the-art. Project page: https://yannqi.github.io/Draw-an-Audio/.

Audio deepfake detection has become a pivotal task over the last couple of years, as many recent speech synthesis and voice cloning systems generate highly realistic speech samples, thus enabling their use in malicious activities. In this paper we address the issue of audio deepfake detection as it was set in the ASVspoof5 challenge. First, we benchmark ten types of pretrained representations and show that the self-supervised representations stemming from the wav2vec2 and wavLM families perform best. Of the two, wavLM is better when restricting the pretraining data to LibriSpeech, as required by the challenge rules. To further improve performance, we finetune the wavLM model for the deepfake detection task. We extend the ASVspoof5 dataset with samples from other deepfake detection datasets and apply data augmentation. Our final challenge submission consists of a late fusion combination of four models and achieves an equal error rate of 6.56% and 17.08% on the two evaluation sets.

Despite recent progress in large-scale sound event detection (SED) systems capable of handling hundreds of sound classes, existing multi-class classification frameworks remain fundamentally limited. They cannot process free-text sound queries, which enable more flexible and user-friendly interaction, and they lack zero-shot capabilities and offer poor few-shot adaptability. Although text-query-based separation methods have been explored, they primarily focus on source separation and are ill-suited for SED tasks that require precise temporal localization and efficient detection across large and diverse sound vocabularies. In this paper, we propose FlexSED, an open-vocabulary sound event detection system. FlexSED builds on a pretrained audio SSL model and the CLAP text encoder, introducing an encoder-decoder composition and an adaptive fusion strategy to enable effective continuous training from pretrained weights. To ensure robust supervision, it also employs large language models (LLMs) to assist in event query selection during training, addressing challenges related to missing labels. As a result, FlexSED achieves superior performance compared to vanilla SED models on AudioSet-Strong, while demonstrating strong zero-shot and few-shot capabilities. We release the code and pretrained models to support future research and applications based on FlexSED.

Evaluating audio generation systems, including text-to-music (TTM), text-to-speech (TTS), and text-to-audio (TTA), remains challenging due to the subjective and multi-dimensional nature of human perception. Existing methods treat mean opinion score (MOS) prediction as a regression problem, but standard regression losses overlook the relativity of perceptual judgments. To address this limitation, we introduce QAMRO, a novel Quality-aware Adaptive Margin Ranking Optimization framework that seamlessly integrates regression objectives from different perspectives, aiming to highlight perceptual differences and prioritize accurate ratings. Our framework leverages pre-trained audio-text models such as CLAP and Audiobox-Aesthetics, and is trained exclusively on the official AudioMOS Challenge 2025 dataset. It demonstrates superior alignment with human evaluations across all dimensions, significantly outperforming robust baseline models.

Audio deepfake detection systems trained on one dataset often fail when deployed on data from different sources due to distributional shifts in recording conditions, synthesis methods, and acoustic environments. We present a modular pipeline for unsupervised domain adaptation that combines pre-trained Wav2Vec 2.0 embeddings with statistical transformations to improve cross-domain generalization without requiring labeled target data. Our approach applies power transformation for feature normalization, ANOVA-based feature selection, joint PCA for domain-agnostic dimensionality reduction, and CORAL alignment to match source and target covariance structures before classification via logistic regression. We evaluate on two cross-domain transfer scenarios: ASVspoof 2019 LA to Fake-or-Real (FoR) and FoR to ASVspoof, achieving 62.7--63.6\% accuracy with balanced performance across real and fake classes. Systematic ablation experiments reveal that feature selection (+3.5%) and CORAL alignment (+3.2%) provide the largest individual contributions, with the complete pipeline improving accuracy by 10.7% over baseline. While performance is modest compared to within-domain detection (94-96%), our pipeline offers transparency and modularity, making it suitable for deployment scenarios requiring interpretable decisions.

Chain-of-thought reasoning has demonstrated significant improvements in large language models and vision language models, yet its potential for audio language models remains largely unexplored. In this technical report, we take a preliminary step towards closing this gap. For better assessment of sound reasoning, we propose AF-Reasoning-Eval, a benchmark targeting common-sense reasoning and the ability to discriminate among closely related choices. To prepare training corpus for sound reasoning abilities, we propose automatic pipelines that transform existing audio question answering and classification data into explicit reasoning chains, yielding AF-CoT-Train with 1.24M samples. We study the effect of finetuning Audio Flamingo series on AF-CoT-Train and observe considerable improvements on several reasoning benchmarks, validating the effectiveness of chain-of-thought finetuning on advanced sound understanding.

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

Mainstream zero-shot TTS production systems like Voicebox and Seed-TTS achieve human parity speech by leveraging Flow-matching and Diffusion models, respectively. Unfortunately, human-level audio synthesis leads to identity misuse and information security issues. Currently, many antispoofing models have been developed against deepfake audio. However, the efficacy of current state-of-the-art anti-spoofing models in countering audio synthesized by diffusion and flowmatching based TTS systems remains unknown. In this paper, we proposed the Diffusion and Flow-matching based Audio Deepfake (DFADD) dataset. The DFADD dataset collected the deepfake audio based on advanced diffusion and flowmatching TTS models. Additionally, we reveal that current anti-spoofing models lack sufficient robustness against highly human-like audio generated by diffusion and flow-matching TTS systems. The proposed DFADD dataset addresses this gap and provides a valuable resource for developing more resilient anti-spoofing models.

We present LongCat-AudioDiT, a novel, non-autoregressive diffusion-based text-to-speech (TTS) model that achieves state-of-the-art (SOTA) performance. Unlike previous methods that rely on intermediate acoustic representations such as mel-spectrograms, the core innovation of LongCat-AudioDiT lies in operating directly within the waveform latent space. This approach effectively mitigates compounding errors and drastically simplifies the TTS pipeline, requiring only a waveform variational autoencoder (Wav-VAE) and a diffusion backbone. Furthermore, we introduce two critical improvements to the inference process: first, we identify and rectify a long-standing training-inference mismatch; second, we replace traditional classifier-free guidance with adaptive projection guidance to elevate generation quality. Experimental results demonstrate that, despite the absence of complex multi-stage training pipelines or high-quality human-annotated datasets, LongCat-AudioDiT achieves SOTA zero-shot voice cloning performance on the Seed benchmark while maintaining competitive intelligibility. Specifically, our largest variant, LongCat-AudioDiT-3.5B, outperforms the previous SOTA model (Seed-TTS), improving the speaker similarity (SIM) scores from 0.809 to 0.818 on Seed-ZH, and from 0.776 to 0.797 on Seed-Hard. Finally, through comprehensive ablation studies and systematic analysis, we validate the effectiveness of our proposed modules. Notably, we investigate the interplay between the Wav-VAE and the TTS backbone, revealing the counterintuitive finding that superior reconstruction fidelity in the Wav-VAE does not necessarily lead to better overall TTS performance. Code and model weights are released to foster further research within the speech community.

Understanding and reasoning over non-speech sounds and music are crucial for both humans and AI agents to interact effectively with their environments. In this paper, we introduce Audio Flamingo 2 (AF2), an Audio-Language Model (ALM) with advanced audio understanding and reasoning capabilities. AF2 leverages (i) a custom CLAP model, (ii) synthetic Audio QA data for fine-grained audio reasoning, and (iii) a multi-stage curriculum learning strategy. AF2 achieves state-of-the-art performance with only a 3B parameter small language model, surpassing large open-source and proprietary models across over 20 benchmarks. Next, for the first time, we extend audio understanding to long audio segments (30 secs to 5 mins) and propose LongAudio, a large and novel dataset for training ALMs on long audio captioning and question-answering tasks. Fine-tuning AF2 on LongAudio leads to exceptional performance on our proposed LongAudioBench, an expert annotated benchmark for evaluating ALMs on long audio understanding capabilities. We conduct extensive ablation studies to confirm the efficacy of our approach. Project Website: https://research.nvidia.com/labs/adlr/AF2/.

The rapid advancement of artificial intelligence (AI) has enabled sophisticated audio generation and voice cloning technologies, posing significant security risks for applications reliant on voice authentication. While existing datasets and models primarily focus on distinguishing between human and fully synthetic speech, real-world attacks often involve audio that combines both genuine and cloned segments. To address this gap, we construct a novel hybrid audio dataset incorporating human, AI-generated, cloned, and mixed audio samples. We further propose fine-tuned Audio Spectrogram Transformer (AST)-based models tailored for detecting these complex acoustic patterns. Extensive experiments demonstrate that our approach significantly outperforms existing baselines in mixed-audio detection, achieving 97\% classification accuracy. Our findings highlight the importance of hybrid datasets and tailored models in advancing the robustness of speech-based authentication systems.

Generating sound effects for videos often requires creating artistic sound effects that diverge significantly from real-life sources and flexible control in the sound design. To address this problem, we introduce MultiFoley, a model designed for video-guided sound generation that supports multimodal conditioning through text, audio, and video. Given a silent video and a text prompt, MultiFoley allows users to create clean sounds (e.g., skateboard wheels spinning without wind noise) or more whimsical sounds (e.g., making a lion's roar sound like a cat's meow). MultiFoley also allows users to choose reference audio from sound effects (SFX) libraries or partial videos for conditioning. A key novelty of our model lies in its joint training on both internet video datasets with low-quality audio and professional SFX recordings, enabling high-quality, full-bandwidth (48kHz) audio generation. Through automated evaluations and human studies, we demonstrate that MultiFoley successfully generates synchronized high-quality sounds across varied conditional inputs and outperforms existing methods. Please see our project page for video results: https://ificl.github.io/MultiFoley/

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

Joint audio-video generation aims to synthesize synchronized multisensory content, yet current unified models struggle with fine-grained acoustic control, particularly for identity-preserving speech. Existing approaches either suffer from temporal misalignment due to cascaded generation or lack the capability to perform zero-shot voice cloning within a joint synthesis framework. In this work, we present MM-Sonate, a multimodal flow-matching framework that unifies controllable audio-video joint generation with zero-shot voice cloning capabilities. Unlike prior works that rely on coarse semantic descriptions, MM-Sonate utilizes a unified instruction-phoneme input to enforce strict linguistic and temporal alignment. To enable zero-shot voice cloning, we introduce a timbre injection mechanism that effectively decouples speaker identity from linguistic content. Furthermore, addressing the limitations of standard classifier-free guidance in multimodal settings, we propose a noise-based negative conditioning strategy that utilizes natural noise priors to significantly enhance acoustic fidelity. Empirical evaluations demonstrate that MM-Sonate establishes new state-of-the-art performance in joint generation benchmarks, significantly outperforming baselines in lip synchronization and speech intelligibility, while achieving voice cloning fidelity comparable to specialized Text-to-Speech systems.

Foundation models are reshaping EEG analysis, yet an important problem of EEG tokenization remains a challenge. This paper presents TFM-Tokenizer, a novel tokenization framework that learns a vocabulary of time-frequency motifs from single-channel EEG signals and encodes them into discrete tokens. We propose a dual-path architecture with time-frequency masking to capture robust motif representations, and it is model-agnostic, supporting both lightweight transformers and existing foundation models for downstream tasks. Our study demonstrates three key benefits: Accuracy: Experiments on four diverse EEG benchmarks demonstrate consistent performance gains across both single- and multi-dataset pretraining settings, achieving up to 17% improvement in Cohen's Kappa over strong baselines. Generalization: Moreover, as a plug-and-play component, it consistently boosts the performance of diverse foundation models, including BIOT and LaBraM. Scalability: By operating at the single-channel level rather than relying on the strict 10-20 EEG system, our method has the potential to be device-agnostic. Experiments on ear-EEG sleep staging, which differs from the pretraining data in signal format, channel configuration, recording device, and task, show that our tokenizer outperforms baselines by 14%. A comprehensive token analysis reveals strong class-discriminative, frequency-aware, and consistent structure, enabling improved representation quality and interpretability. Code is available at https://github.com/Jathurshan0330/TFM-Tokenizer.

Generative modeling has recently achieved remarkable success across text, image, and audio domains, demonstrating powerful capabilities for unified representation learning. However, audio generation models still face challenges in terms of audio quality and generalization ability across tasks. This fragmentation results in redundant development efforts, inconsistent performance, and limited extensibility. To address these issues, we propose UniTok-Audio, a scalable and extensible framework for unified audio generation tasks. Specifically, 1) UniTok-Audio extracts continuous feature of conditions to generates discrete tokens of target audio in an autoregressive manner; 2) a special task identifier token unifies different learning patterns of multiple tasks in a single framework; 3) a dual-stream audio codec involving acoustic and semantic branch is developed for high-fidelity waveform reconstruction. Experimental results demonstrate that UniTok-Audio achieves competitive performance in comparation with state-of-the-art task-specific or multi-task systems across five time-aligned tasks: speech restoration, target speaker extraction, speech separation, voice conversion, and language-queried audio source separation. To foster future research, we will open-source our codebase. The demo page of our work can be found here: https://alibaba.github.io/unified-audio.