With recent advancements in text-to-audio and text-to-music based on latent diffusion models, the quality of generated content has been reaching new heights. The controllability of musical aspects, however, has not been explicitly explored in text-to-music systems yet. In this paper, we present Mustango, a music-domain-knowledge-inspired text-to-music system based on diffusion, that expands the Tango text-to-audio model. Mustango aims to control the generated music, not only with general text captions, but from more rich captions that could include specific instructions related to chords, beats, tempo, and key. As part of Mustango, we propose MuNet, a Music-Domain-Knowledge-Informed UNet sub-module to integrate these music-specific features, which we predict from the text prompt, as well as the general text embedding, into the diffusion denoising process. To overcome the limited availability of open datasets of music with text captions, we propose a novel data augmentation method that includes altering the harmonic, rhythmic, and dynamic aspects of music audio and using state-of-the-art Music Information Retrieval methods to extract the music features which will then be appended to the existing descriptions in text format. We release the resulting MusicBench dataset which contains over 52K instances and includes music-theory-based descriptions in the caption text. Through extensive experiments, we show that the quality of the music generated by Mustango is state-of-the-art, and the controllability through music-specific text prompts greatly outperforms other models in terms of desired chords, beat, key, and tempo, on multiple datasets.
Experiments studying mainly proximity effect are presented. Pink noise and music were used as stimuli and a combo guitar amplifier as source to test several microphones: omnidirectional and directional. We plot in-axis levels and spectral balances as functions of x, the distance to the source. Proximity effect was found for omnidirectional microphones. In-axis level curves show that 1/x law seems poorly valid. Spectral balance evolutions depend on microphones and moreover on stimuli: bigger decreases of low frequencies with pink noise; larger increases of other frequencies with music. For a naked loudspeaker, we found similar in-axis level curves under and above the cut-off frequency and propose an explanation. Listening equalized music recordings will help to demonstrate proximity effect for tested microphones.Paper 7106 presented at the 122th Convention of the Audio Engineering Society, Wien, 2007
Synthesizing performing guitar sound is a highly challenging task due to the polyphony and high variability in expression. Recently, deep generative models have shown promising results in synthesizing expressive polyphonic instrument sounds from music scores, often using a generic MIDI input. In this work, we propose an expressive acoustic guitar sound synthesis model with a customized input representation to the instrument, which we call guitarroll. We implement the proposed approach using diffusion-based outpainting which can generate audio with long-term consistency. To overcome the lack of MIDI/audio-paired datasets, we used not only an existing guitar dataset but also collected data from a high quality sample-based guitar synthesizer. Through quantitative and qualitative evaluations, we show that our proposed model has higher audio quality than the baseline model and generates more realistic timbre sounds than the previous leading work.
This paper addresses the problem of global tempo estimation in musical audio. Given that annotating tempo is time-consuming and requires certain musical expertise, few publicly available data sources exist to train machine learning models for this task. Towards alleviating this issue, we propose a fully self-supervised approach that does not rely on any human labeled data. Our method builds on the fact that generic (music) audio embeddings already encode a variety of properties, including information about tempo, making them easily adaptable for downstream tasks. While recent work in self-supervised tempo estimation aimed to learn a tempo specific representation that was subsequently used to train a supervised classifier, we reformulate the task into the binary classification problem of predicting whether a target track has the same or a different tempo compared to a reference. While the former still requires labeled training data for the final classification model, our approach uses arbitrary unlabeled music data in combination with time-stretching for model training as well as a small set of synthetically created reference samples for predicting the final tempo. Evaluation of our approach in comparison with the state-of-the-art reveals highly competitive performance when the constraint of finding the precise tempo octave is relaxed.
Recent Generative Artificial Intelligence (GenAI) trends focus on various applications, including creating stories, illustrations, poems, articles, computer code, music compositions, and videos. Extrinsic hallucinations are a critical limitation of such GenAI, which can lead to significant challenges in achieving and maintaining the trustworthiness of GenAI. In this paper, we propose two new concepts that we believe will aid the research community in addressing limitations associated with the application of GenAI models. First, we propose a definition for the "desirability" of GenAI outputs and three factors which are observed to influence it. Second, drawing inspiration from Martin Fowler's code smells, we propose the concept of "prompt smells" and the adverse effects they are observed to have on the desirability of GenAI outputs. We expect our work will contribute to the ongoing conversation about the desirability of GenAI outputs and help advance the field in a meaningful way.
Visual place recognition (VPR) is an essential component of robot navigation and localization systems that allows them to identify a place using only image data. VPR is challenging due to the significant changes in a place's appearance driven by different daily illumination, seasonal weather variations and diverse viewpoints. Currently, no single VPR technique excels in every environmental condition, each exhibiting unique benefits and shortcomings, and therefore combining multiple techniques can achieve more reliable VPR performance. Present multi-method approaches either rely on online ground-truth information, which is often not available, or on brute-force technique combination, potentially lowering performance with high variance technique sets. Addressing these shortcomings, we propose a VPR system dubbed Multi-Sequential Information Consistency (MuSIC) which leverages sequential information to select the most cohesive technique on an online per-frame basis. For each technique in a set, MuSIC computes their respective sequential consistencies by analysing the frame-to-frame continuity of their top match candidates, which are then directly compared to select the optimal technique for the current query image. The use of sequential information to select between VPR methods results in an overall VPR performance increase across different benchmark datasets, while avoiding the need for extra ground-truth of the runtime environment.
The semantic description of music metadata is a key requirement for the creation of music datasets that can be aligned, integrated, and accessed for information retrieval and knowledge discovery. It is nonetheless an open challenge due to the complexity of musical concepts arising from different genres, styles, and periods -- standing to benefit from a lingua franca to accommodate various stakeholders (musicologists, librarians, data engineers, etc.). To initiate this transition, we introduce the Music Meta ontology, a rich and flexible semantic model to describe music metadata related to artists, compositions, performances, recordings, and links. We follow eXtreme Design methodologies and best practices for data engineering, to reflect the perspectives and the requirements of various stakeholders into the design of the model, while leveraging ontology design patterns and accounting for provenance at different levels (claims, links). After presenting the main features of Music Meta, we provide a first evaluation of the model, alignments to other schema (Music Ontology, DOREMUS, Wikidata), and support for data transformation.
We introduce the Song Describer dataset (SDD), a new crowdsourced corpus of high-quality audio-caption pairs, designed for the evaluation of music-and-language models. The dataset consists of 1.1k human-written natural language descriptions of 706 music recordings, all publicly accessible and released under Creative Common licenses. To showcase the use of our dataset, we benchmark popular models on three key music-and-language tasks (music captioning, text-to-music generation and music-language retrieval). Our experiments highlight the importance of cross-dataset evaluation and offer insights into how researchers can use SDD to gain a broader understanding of model performance.
Within-basket recommendation (WBR) refers to the task of recommending items to the end of completing a non-empty shopping basket during a shopping session. While the latest innovations in this space demonstrate remarkable performance improvement on benchmark datasets, they often overlook the complexity of user behaviors in practice, such as 1) co-existence of multiple shopping intentions, 2) multi-granularity of such intentions, and 3) interleaving behavior (switching intentions) in a shopping session. This paper presents Neural Pattern Associator (NPA), a deep item-association-mining model that explicitly models the aforementioned factors. Specifically, inspired by vector quantization, the NPA model learns to encode common user intentions (or item-combination patterns) as quantized representations (a.k.a. codebook), which permits identification of users's shopping intentions via attention-driven lookup during the reasoning phase. This yields coherent and self-interpretable recommendations. We evaluated the proposed NPA model across multiple extensive datasets, encompassing the domains of grocery e-commerce (shopping basket completion) and music (playlist extension), where our quantitative evaluations show that the NPA model significantly outperforms a wide range of existing WBR solutions, reflecting the benefit of explicitly modeling complex user intentions.
Controllable generation of 3D human motions becomes an important topic as the world embraces digital transformation. Existing works, though making promising progress with the advent of diffusion models, heavily rely on meticulously captured and annotated (e.g., text) high-quality motion corpus, a resource-intensive endeavor in the real world. This motivates our proposed MotionMix, a simple yet effective weakly-supervised diffusion model that leverages both noisy and unannotated motion sequences. Specifically, we separate the denoising objectives of a diffusion model into two stages: obtaining conditional rough motion approximations in the initial $T-T^*$ steps by learning the noisy annotated motions, followed by the unconditional refinement of these preliminary motions during the last $T^*$ steps using unannotated motions. Notably, though learning from two sources of imperfect data, our model does not compromise motion generation quality compared to fully supervised approaches that access gold data. Extensive experiments on several benchmarks demonstrate that our MotionMix, as a versatile framework, consistently achieves state-of-the-art performances on text-to-motion, action-to-motion, and music-to-dance tasks. Project page: https://nhathoang2002.github.io/MotionMix-page/