Abstract
As generative platforms such as Suno and Udio reach human-grade audio quality, the scope of AI's utility has expanded across the entire music production workflow. Beyond simple track generation, these advancements have catalyzed the adoption of AI-driven methodologies in diverse forms. These include vocal synthesis, arrangement, and professional mastering. However, current detection research remains largely confined to a binary `AI-or-human' paradigm. It fails to reflect the realities of contemporary music production workflows. In real-world production, AI tools are increasingly used to refine or master human-produced tracks, and human engineers likewise post-process AI-generated material to ensure professional quality. Moreover, users often employ adversarial tactics to bypass AI detectors, such as applying human mastering to AI-generated tracks. This creates a grey area that a simple binary classification fails to capture. In this paper, we define and investigate ``AI Music Tracking'': the challenge of identifying specific AI integration across the multifaceted spectrum of music production. To this end, we introduce HAIM, a dataset with diverse labels for stages of music production. It is designed to isolate stages of AI intervention, including hybrid production and agent-level tracking. Our evaluation of state-of-the-art detectors reveals systemic flaws. By releasing HAIM, we propose a new benchmark that shifts the field beyond binary classification toward a granular, structured evaluation of AI music.
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Aug 7, 2026eess.AS
AI-generated music is increasingly used at the stem level, with producers integrating synthetic drums, basslines, or vocals alongside human-performed instruments. However, current AI music detection systems are binary, treating tracks as either fully AI or fully human. In this paper, we reformulate AI music detection as a regression problem on a continuous AI energy ratio, alpha in [0, 1]. We propose a methodology that leverages a multi-track music dataset to assemble mixtures of human-performed and AI-reconstructed stems (obtained using a neural audio codec) with known proportions of each content type. Using this approach, we first show that a CNN-based model trained on fully AI-generated or human-performed tracks, which achieves >99% accuracy as a binary detector, when faced with mixed content, yields an output that rises with the AI stems' energy contribution, acting as a noisy and miscalibrated estimator. Our analysis of the influence of different stems shows that detection sensitivity depends on the instrument and reflects its frequency content: drums and guitar carry strong codec-artifact signatures, while vocals and bass are less detectable. Based on these insights, we train a similar CNN-based model for regression of alpha, achieving MAE = 0.076 and R^2 = 0.85 on held-out mixtures from the same pipeline. These results suggest that the regression formulation is an initial promising step towards AI-music detection in realistic music production workflows.
Fernando Garcia de la Cruz, David López-Ayala, Pablo Zinemanas +2
Jul 29, 2026cs.SD
This paper presents, to the best of our knowledge, the first study on detecting human-AI hybrid music tracks created by mixing human-produced and AI-generated stems. Building on recent work showing that AI music detectors can identify decoder-related artifacts in fully generated music, we investigate whether such artifacts remain detectable at the stem level after mixing. Using MUSDB18-HQ database in a two-stem vocals + accompaniment setting, we simulate hybrid mixtures by autoencoding individual stems with a neural codec. We compare two strategies combining AI-generated mix detection and source separation. A naive sequential pipeline, where source separation is followed by detection on separated sources, confirms that artifacts associated with an AI-generated stem are not reliably recovered by generic source separation systems. We therefore propose a parallel architecture in which source separation is only used to estimate source-relative energy within the mixture. We then train simple stem-specific binary classifiers that take as input the generated mix prediction together with the relative energy of the target stem on short audio chunks. Averaging chunk-level predictions yields encouraging track-level results, highlighting the potential of such approaches for detecting AI-generated stems in hybrid music.
François Rigaud, Gabriel Meseguer-Brocal, Benjamin Martin +1
Jul 28, 2026cs.SD
We present a novel method for AI-generated music detection in scenarios where the models that generated the input samples are unknown to the detector (e.g., from a newly released service). Since 2023, there has been a multiplication of user-friendly AI-music generation services (e.g., Suno, Udio), along with regular updates and new features. There is thus a need to address synthetic content detection in an unsupervised way to adapt to this rapidly changing context. This angle has not been much studied in music yet. We propose to study two tasks. First, discriminating between real and synthetic music. This may be approached in a one-class manner, namely, using some baseline real music and trying to determine what falls outside. Second, zero-shot multi-class identification, which is more similar to an unsupervised clustering task on a mix of real and various AI-music generations, where the goal is to create coherent, high-purity clusters. We propose a combination of a previously proposed artifact-extraction method, on top of which we apply non-negative matrix factorization and simple classification and clustering methods. We achieve excellent performance on both tasks, showing that the proposed methods may be used to monitor large-scale catalogs that may receive AI-generated samples from various newly released generative models.
Darius Afchar, Romain Hennequin