Abstract
Most recent advances in audio dereverberation focus almost exclusively on speech, leaving percussive and drum signals largely unexplored despite their importance in music production. Percussive dereverberation poses distinct challenges due to sharp transients and dense temporal structure. In this work, we propose a cold diffusion framework for dereverberating stereo drum stems (downmixes), modeling reverberation as a deterministic degradation process that progressively transforms anechoic signals into reverberant ones. We investigate two reverse-process parameterizations, Direct (next-state) and a Delta-normalized residual (velocity-style) prediction, and implement the framework using both a UNet and a diffusion Transformer backbone. The models are trained and evaluated on curated datasets comprising both acoustic and electronic drum recordings, with reverberation generated using a combination of synthetic and real room impulse responses. Extensive experiments on in-domain and fully out-of-domain test sets demonstrate that the proposed method consistently outperforms strong score-based and conditional diffusion baselines, evaluated using signal-based and perceptual metrics tailored to percussive audio.
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Symbolic-control drum generation requires preserving explicit event timing and dynamics while synthesizing acoustically plausible waveforms. We present Sec2Drum-DAC, a conditional latent-diffusion model for symbolic-to-audio drum rendering. The model conditions on event features sampled in physical time at codec-frame locations and predicts standardized principal-component coordinates of frozen DAC summed-codebook embeddings rather than waveform samples. In the evaluated DAC configuration, 72 principal components capture the observed training-frame summed-latent subspace under the stated SVD threshold, yielding a compact continuous denoising target with a deterministic reconstruction path to the 1024-dimensional DAC latent space before waveform decoding. Across 1,733 held-out four-beat windows, PCA diffusion improves paired spectral and transient metrics over deterministic PCA regression and a symbolic rendering baseline, while direct regression remains stronger on phase-sensitive waveform L1. Auxiliary RVQ cross-entropy improves short-step diffusion on mel error, onset-flux cosine, and waveform L1, with the most favorable trade-offs occurring at 6-25 denoising steps depending on the metric.
Konstantinos Soiledis, Maximos Kaliakatsos Papakostas, Dimos Makris +1
May 1, 2026cs.SD
Although recent video-to-audio (V2A) models excelled at synthesizing semantically plausible sounds from visual inputs, they do not explicitly model room-acoustic effects such as reverberation or room impulse responses (RIRs), and thus offer limited controllability over these effects. However, we hypothesize that such V2A models implicitly have semantic knowledge of the relationship between spatial audio and the corresponding vision cues. In this paper, we revisit a V2A model for the sake of the above, and propose the way to utilize the pretrained model as prior for physically grounded room-acoustic processing. Based on one of the state-of-the-art V2A models, MMAudio, we propose MMAudioReverbs that is a unified framework dealing with i) dereverberation and ii) room impulse response (RIR) estimation without network architectural modification, and fine-tuned on a small dataset. Experimental results showed that audio and visual cues respectively have advantage depending on the type of physical room acoustics. It implies that foundation V2A models can be used for physically grounded room-acoustic analysis.
Akira Takahashi, Ryosuke Sawata, Shusuke Takahashi +1
May 14, 2026cs.SD
Current methods for creating drum loop audio in digital music production, such as using one-shot samples or resampling, often demand non-trivial efforts of creators. While recent generative models achieve high fidelity and adhere to text, they lack the specific control needed for such a task. Existing symbolic-to-audio research often focuses on single, tonal instruments, leaving the challenge of polyphonic, percussive drum synthesis unaddressed. We address this gap by introducing ``Break-the-Beat!,'' a model capable of rendering a drum MIDI with the timbre of a reference audio. It is built by fine-tuning a pre-trained text-to-audio model with our proposed content encoder and a effective hybrid conditioning mechanism. To enable this, we construct a new dataset of paired target-reference drum audio from existing drum audio datasets. Experiments demonstrate that our model generates high-quality drum audio that follows high-resolution drum MIDI, achieving strong performance across metrics of audio quality, rhythmic alignment, and beat continuity. This offer producers a new, controllable tool for creative production. Demo page: https://ik4sumii.github.io/break-the-beat/
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