Proactive Detection of Voice Cloning with Localized Watermarking

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

Masked Audio Generation using a Single Non-Autoregressive Transformer

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

Code Llama: Open Foundation Models for Code

We release Code Llama, a family of large language models for code based on Llama 2 providing state-of-the-art performance among open models, infilling capabilities, support for large input contexts, and zero-shot instruction following ability for programming tasks. We provide multiple flavors to cover a wide range of applications: foundation models (Code Llama), Python specializations (Code Llama - Python), and instruction-following models (Code Llama - Instruct) with 7B, 13B and 34B parameters each. All models are trained on sequences of 16k tokens and show improvements on inputs with up to 100k tokens. 7B and 13B Code Llama and Code Llama - Instruct variants support infilling based on surrounding content. Code Llama reaches state-of-the-art performance among open models on several code benchmarks, with scores of up to 53% and 55% on HumanEval and MBPP, respectively. Notably, Code Llama - Python 7B outperforms Llama 2 70B on HumanEval and MBPP, and all our models outperform every other publicly available model on MultiPL-E. We release Code Llama under a permissive license that allows for both research and commercial use.

The Sound Demixing Challenge 2023 $\unicode{x2013}$ Music Demixing Track

This paper summarizes the music demixing (MDX) track of the Sound Demixing Challenge (SDX'23). We provide a summary of the challenge setup and introduce the task of robust music source separation (MSS), i.e., training MSS models in the presence of errors in the training data. We propose a formalization of the errors that can occur in the design of a training dataset for MSS systems and introduce two new datasets that simulate such errors: SDXDB23_LabelNoise and SDXDB23_Bleeding1. We describe the methods that achieved the highest scores in the competition. Moreover, we present a direct comparison with the previous edition of the challenge (the Music Demixing Challenge 2021): the best performing system under the standard MSS formulation achieved an improvement of over 1.6dB in signal-to-distortion ratio over the winner of the previous competition, when evaluated on MDXDB21. Besides relying on the signal-to-distortion ratio as objective metric, we also performed a listening test with renowned producers/musicians to study the perceptual quality of the systems and report here the results. Finally, we provide our insights into the organization of the competition and our prospects for future editions.

From Discrete Tokens to High-Fidelity Audio Using Multi-Band Diffusion

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

Simple and Controllable Music Generation

We tackle the task of conditional music generation. We introduce MusicGen, a single Language Model (LM) that operates over several streams of compressed discrete music representation, i.e., tokens. Unlike prior work, MusicGen is comprised of a single-stage transformer LM together with efficient token interleaving patterns, which eliminates the need for cascading several models, e.g., hierarchically or upsampling. Following this approach, we demonstrate how MusicGen can generate high-quality samples, while being conditioned on textual description or melodic features, allowing better controls over the generated output. We conduct extensive empirical evaluation, considering both automatic and human studies, showing the proposed approach is superior to the evaluated baselines on a standard text-to-music benchmark. Through ablation studies, we shed light over the importance of each of the components comprising MusicGen. Music samples, code, and models are available at https://github.com/facebookresearch/audiocraft.

Hybrid Transformers for Music Source Separation

A natural question arising in Music Source Separation (MSS) is whether long range contextual information is useful, or whether local acoustic features are sufficient. In other fields, attention based Transformers have shown their ability to integrate information over long sequences. In this work, we introduce Hybrid Transformer Demucs (HT Demucs), an hybrid temporal/spectral bi-U-Net based on Hybrid Demucs, where the innermost layers are replaced by a cross-domain Transformer Encoder, using self-attention within one domain, and cross-attention across domains. While it performs poorly when trained only on MUSDB, we show that it outperforms Hybrid Demucs (trained on the same data) by 0.45 dB of SDR when using 800 extra training songs. Using sparse attention kernels to extend its receptive field, and per source fine-tuning, we achieve state-of-the-art results on MUSDB with extra training data, with 9.20 dB of SDR.

Audio Language Modeling using Perceptually-Guided Discrete Representations

In this work, we study the task of Audio Language Modeling, in which we aim at learning probabilistic models for audio that can be used for generation and completion. We use a state-of-the-art perceptually-guided audio compression model, to encode audio to discrete representations. Next, we train a transformer-based causal language model using these representations. At inference time, we perform audio auto-completion by encoding an audio prompt as a discrete sequence, feeding it to the audio language model, sampling from the model, and synthesizing the corresponding time-domain signal. We evaluate the quality of samples generated by our method on Audioset, the largest dataset for general audio to date, and show that it is superior to the evaluated baseline audio encoders. We additionally provide an extensive analysis to better understand the trade-off between audio-quality and language-modeling capabilities. Samples:link.

High Fidelity Neural Audio Compression

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