Although audio generation shares commonalities across different types of audio, such as speech, music, and sound effects, designing models for each type requires careful consideration of specific objectives and biases that can significantly differ from those of other types. To bring us closer to a unified perspective of audio generation, this paper proposes a framework that utilizes the same learning method for speech, music, and sound effect generation. Our framework introduces a general representation of audio, called language of audio (LOA). Any audio can be translated into LOA based on AudioMAE, a self-supervised pre-trained representation learning model. In the generation process, we translate any modalities into LOA by using a GPT-2 model, and we perform self-supervised audio generation learning with a latent diffusion model conditioned on LOA. The proposed framework naturally brings advantages such as in-context learning abilities and reusable self-supervised pretrained AudioMAE and latent diffusion models. Experiments on the major benchmarks of text-to-audio, text-to-music, and text-to-speech demonstrate new state-of-the-art or competitive performance to previous approaches. Our demo and code are available at https://audioldm.github.io/audioldm2.
Direction of arrival (DOA) estimation employing low-resolution analog-to-digital convertors (ADCs) has emerged as a challenging and intriguing problem, particularly with the rise in popularity of large-scale arrays. The substantial quantization distortion complicates the extraction of signal and noise subspaces from the quantized data. To address this issue, this paper introduces a novel approach that leverages the Transformer model to aid the subspace estimation. In this model, multiple snapshots are processed in parallel, enabling the capture of global correlations that span them. The learned subspace empowers us to construct the MUSIC spectrum and perform gridless DOA estimation using a neural network-based peak finder. Additionally, the acquired subspace encodes the vital information of model order, allowing us to determine the exact number of sources. These integrated components form a unified algorithmic framework referred to as TransMUSIC. Numerical results demonstrate the superiority of the TransMUSIC algorithm, even when dealing with one-bit quantized data. The results highlight the potential of Transformer-based techniques in DOA estimation.
We propose a novel task for generating 3D dance movements that simultaneously incorporate both text and music modalities. Unlike existing works that generate dance movements using a single modality such as music, our goal is to produce richer dance movements guided by the instructive information provided by the text. However, the lack of paired motion data with both music and text modalities limits the ability to generate dance movements that integrate both. To alleviate this challenge, we propose to utilize a 3D human motion VQ-VAE to project the motions of the two datasets into a latent space consisting of quantized vectors, which effectively mix the motion tokens from the two datasets with different distributions for training. Additionally, we propose a cross-modal transformer to integrate text instructions into motion generation architecture for generating 3D dance movements without degrading the performance of music-conditioned dance generation. To better evaluate the quality of the generated motion, we introduce two novel metrics, namely Motion Prediction Distance (MPD) and Freezing Score, to measure the coherence and freezing percentage of the generated motion. Extensive experiments show that our approach can generate realistic and coherent dance movements conditioned on both text and music while maintaining comparable performance with the two single modalities. Code will be available at: https://garfield-kh.github.io/TM2D/.
Recently, digital humans for interpersonal interaction in virtual environments have gained significant attention. In this paper, we introduce a novel multi-dancer synthesis task called partner dancer generation, which involves synthesizing virtual human dancers capable of performing dance with users. The task aims to control the pose diversity between the lead dancer and the partner dancer. The core of this task is to ensure the controllable diversity of the generated partner dancer while maintaining temporal coordination with the lead dancer. This scenario varies from earlier research in generating dance motions driven by music, as our emphasis is on automatically designing partner dancer postures according to pre-defined diversity, the pose of lead dancer, as well as the accompanying tunes. To achieve this objective, we propose a three-stage framework called Dance-with-You (DanY). Initially, we employ a 3D Pose Collection stage to collect a wide range of basic dance poses as references for motion generation. Then, we introduce a hyper-parameter that coordinates the similarity between dancers by masking poses to prevent the generation of sequences that are over-diverse or consistent. To avoid the rigidity of movements, we design a Dance Pre-generated stage to pre-generate these masked poses instead of filling them with zeros. After that, a Dance Motion Transfer stage is adopted with leader sequences and music, in which a multi-conditional sampling formula is rewritten to transfer the pre-generated poses into a sequence with a partner style. In practice, to address the lack of multi-person datasets, we introduce AIST-M, a new dataset for partner dancer generation, which is publicly availiable. Comprehensive evaluations on our AIST-M dataset demonstrate that the proposed DanY can synthesize satisfactory partner dancer results with controllable diversity.
This paper explores the application of active learning strategies to adaptively learn Sobol indices for global sensitivity analysis. We demonstrate that active learning for Sobol indices poses unique challenges due to the definition of the Sobol index as a ratio of variances estimated from Gaussian process surrogates. Consequently, learning strategies must either focus on convergence in the numerator or the denominator of this ratio. However, rapid convergence in either one does not guarantee convergence in the Sobol index. We propose a novel strategy for active learning that focuses on resolving the main effects of the Gaussian process (associated with the numerator of the Sobol index) and compare this with existing strategies based on convergence in the total variance (the denominator of the Sobol index). The new strategy, implemented through a new learning function termed the MUSIC (minimize uncertainty in Sobol index convergence), generally converges in Sobol index error more rapidly than the existing strategies based on the Expected Improvement for Global Fit (EIGF) and the Variance Improvement for Global Fit (VIGF). Both strategies are compared with simple sequential random sampling and the MUSIC learning function generally converges most rapidly for low-dimensional problems. However, for high-dimensional problems, the performance is comparable to random sampling. The new learning strategy is demonstrated for a practical case of adaptive experimental design for large-scale Boundary Layer Wind Tunnel experiments.
Recent advancements in generative models have shown remarkable progress in music generation. However, most existing methods focus on generating monophonic or homophonic music, while the generation of polyphonic and multi-track music with rich attributes is still a challenging task. In this paper, we propose a novel approach for multi-track, multi-attribute symphonic music generation using the diffusion model. Specifically, we generate piano-roll representations with a diffusion model and map them to MIDI format for output. To capture rich attribute information, we introduce a color coding scheme to encode note sequences into color and position information that represents pitch,velocity, and instrument. This scheme enables a seamless mapping between discrete music sequences and continuous images. We also propose a post-processing method to optimize the generated scores for better performance. Experimental results show that our method outperforms state-of-the-art methods in terms of polyphonic music generation with rich attribute information compared to the figure methods.
Representing wild sounds as images is an important but challenging task due to the lack of paired datasets between sound and images and the significant differences in the characteristics of these two modalities. Previous studies have focused on generating images from sound in limited categories or music. In this paper, we propose a novel approach to generate images from in-the-wild sounds. First, we convert sound into text using audio captioning. Second, we propose audio attention and sentence attention to represent the rich characteristics of sound and visualize the sound. Lastly, we propose a direct sound optimization with CLIPscore and AudioCLIP and generate images with a diffusion-based model. In experiments, it shows that our model is able to generate high quality images from wild sounds and outperforms baselines in both quantitative and qualitative evaluations on wild audio datasets.
Cinematic audio source separation is a relatively new subtask of audio source separation, with the aim of extracting the dialogue stem, the music stem, and the effects stem from their mixture. In this work, we developed a model generalizing the Bandsplit RNN for any complete or overcomplete partitions of the frequency axis. Psycho-acoustically motivated frequency scales were used to inform the band definitions which are now defined with redundancy for more reliable feature extraction. A loss function motivated by the signal-to-noise ratio and the sparsity-promoting property of the 1-norm was proposed. We additionally exploit the information-sharing property of a common-encoder setup to reduce computational complexity during both training and inference, improve separation performance for hard-to-generalize classes of sounds, and allow flexibility during inference time with easily detachable decoders. Our best model sets the state of the art on the Divide and Remaster dataset with performance above the ideal ratio mask for the dialogue stem.
The rise of singing voice synthesis presents critical challenges to artists and industry stakeholders over unauthorized voice usage. Unlike synthesized speech, synthesized singing voices are typically released in songs containing strong background music that may hide synthesis artifacts. Additionally, singing voices present different acoustic and linguistic characteristics from speech utterances. These unique properties make singing voice deepfake detection a relevant but significantly different problem from synthetic speech detection. In this work, we propose the singing voice deepfake detection task. We first present SingFake, the first curated in-the-wild dataset consisting of 28.93 hours of bonafide and 29.40 hours of deepfake song clips in five languages from 40 singers. We provide a train/val/test split where the test sets include various scenarios. We then use SingFake to evaluate four state-of-the-art speech countermeasure systems trained on speech utterances. We find these systems lag significantly behind their performance on speech test data. When trained on SingFake, either using separated vocal tracks or song mixtures, these systems show substantial improvement. However, our evaluations also identify challenges associated with unseen singers, communication codecs, languages, and musical contexts, calling for dedicated research into singing voice deepfake detection. The SingFake dataset and related resources are available online.
A prevalent practice in recommender systems consists in averaging item embeddings to represent users or higher-level concepts in the same embedding space. This paper investigates the relevance of such a practice. For this purpose, we propose an expected precision score, designed to measure the consistency of an average embedding relative to the items used for its construction. We subsequently analyze the mathematical expression of this score in a theoretical setting with specific assumptions, as well as its empirical behavior on real-world data from music streaming services. Our results emphasize that real-world averages are less consistent for recommendation, which paves the way for future research to better align real-world embeddings with assumptions from our theoretical setting.