A Semantic Timbre Dataset for the Electric Guitar

Instrument timbre transfer re-voices a performance using the timbre of another instrument. Extracting the target timbre from an audio reference capture more nuances than inferring it from a text prompt. Systems that read timbre from such a clip train a dedicated model for the task, which captures the timbre cleanly but stays a narrow, single-purpose system. More versatile approaches add control to a pretrained music generator, yet a reference clip entangles timbre with genre and melody, so these systems fall back on text to name the timbre. We present MuseTimbre, the first system, to our best knowledge, that transfers timbre from an audio reference to a polyphonic source through conditioning a pretrained music generator. This system employs a multi-pitch estimator to extract pitch information from the source and finetune a CLAP encoder to extract timbre information from the reference audio. Experiments show that across four datasets of real polyphonic recordings, MuseTimbre achieves pitch alignment on par with the baselines while matching the reference timbre far more closely. Results also show that the finetuned CLAP-based timbre extractor is robust to pitch variations, making it useful in timbre similarity measures.

We present a comparative evaluation of latent space organization in three Variational Autoencoders (VAEs) for musical timbre generation: an unsupervised VAE, a descriptor-conditioned VAE, and a VAE conditioned on continuous perceptual features from the AudioCommons timbral models. Using a curated dataset of electric guitar sounds labeled with 19 semantic descriptors across four intensity levels, we assess each model's latent structure with a suite of clustering and interpretability metrics. These include silhouette scores, timbre descriptor compactness, pitch-conditional separation, trajectory linearity, and cross-pitch consistency. Our findings show that conditioning on perceptual features yields a more compact, discriminative, and pitch-invariant latent space, outperforming both the unsupervised and discrete descriptor-conditioned models. This work highlights the limitations of one-hot semantic conditioning and provides methodological tools for evaluating timbre latent spaces, contributing to the development of more controllable and interpretable generative audio models.

Measuring neural audio synthesizers' performance is now routinely conducted using distribution based metrics such as the Fréchet Audio Distance (FAD). Although this metric can be correlated with human perception, it offers limited interpretability beyond ranking different approaches. In this paper, we introduce a deep neural timbre trait predictor composed of a pretrained audio neural embedding (CLAP), and a shallow learnable component. The latter is trained using the RWC musical instrument database and human judgments of 20 timbre descriptions (e.g., woody, percussive, rumbling, etc.) for 31 instruments. The resulting model shows strong correlation with average human ratings (r = 0.66, p < 0.001). We then demonstrate the benefit of this predictor for evaluating the performance of TokenSynth, a neural sound synthesizer. First, the Mean Absolute Error (MAE) computed over the set of generated sounds under different conditioning modalities of the model provides the same ranking as a FAD computed with the RWC database as a reference, suggesting that the proposed predictors are able to provide equivalent information on a distributional basis. Second, because the model is able to qualitatively analyze isolated sounds, we can determine which generated sounds could be improved and identify specific timbral dimensions that need adjustment.