Audio Generation

Sound effects build an essential layer of multimodal storytelling, shaping the emotional atmosphere and the narrative semantics of videos. Despite recent advancement in video-text-to-audio (VT2A), the current formulation faces three key limitations: First, an imbalance between visual and textual conditioning that leads to visual dominance; Second, the absence of a concrete definition for fine-grained controllable generation; Third, weak instruction understanding and following, as existing datasets rely on brief categorical tags. To address these limitations, we introduce EchoFoley, a new task designed for video-grounded sound generation with both event level local control and hierarchical semantic control. Our symbolic representation for sounding events specifies when, what, and how each sound is produced within a video or instruction, enabling fine-grained controls like sound generation, insertion, and editing. To support this task, we construct EchoFoley-6k, a large-scale, expert-curated benchmark containing over 6,000 video-instruction-annotation triplets. Building upon this foundation, we propose EchoVidia a sounding-event-centric agentic generation framework with slow-fast thinking strategy. Experiments show that EchoVidia surpasses recent VT2A models by 40.7% in controllability and 12.5% in perceptual quality.

In neural audio synthesis, neural vocoders and codecs are models that reconstruct waveforms from acoustic and latent representations, which are essential to the resulting audio quality. While current models are capable of generating perceptually natural speech, they still struggle with high-fidelity music and singing voice synthesis, as severe aliasing artifacts are introduced by non-linear activation functions and upsampling layers in existing architectures. Although various anti-aliasing techniques have been proposed in digital signal processing, their integration into neural vocoders and codecs remains under-explored. This paper incorporates differentiable anti-aliasing techniques into the activation and upsampling modules to bridge this gap, and thus presents Pupu-Vocoder and Pupu-Codec. We build a test signal benchmark to evaluate the anti-aliased modules, and validate our proposed models on speech, singing voice, music, and audio. Experimental results show that Pupu-Vocoder and Pupu-Codec outperform existing systems on singing voice, music, and audio, while achieving comparable performance on speech. Demos, codes, and checkpoints are available at: VocodexElysium.github.io/AliasingFreeNeuralAudioSynthesis/.

Music generation models can produce high-fidelity coherent accompaniment given complete audio input, but are limited to editing and loop-based workflows. We study real-time audio-to-audio accompaniment: as a model hears an input audio stream (e.g., a singer singing), it has to also simultaneously generate in real-time a coherent accompanying stream (e.g., a guitar accompaniment). In this work, we propose a model design considering inevitable system delays in practical deployment with two design variables: future visibility $t_f$, the offset between the output playback time and the latest input time used for conditioning, and output chunk duration $k$, the number of frames emitted per call. We train Transformer decoders across a grid of $(t_f,k)$ and show two consistent trade-offs: increasing effective $t_f$ improves coherence by reducing the recency gap, but requires faster inference to stay within the latency budget; increasing $k$ improves throughput but results in degraded accompaniment due to a reduced update rate. Finally, we observe that naive maximum-likelihood streaming training is insufficient for coherent accompaniment where future context is not available, motivating advanced anticipatory and agentic objectives for live jamming.

Existing multimodal audio generation models often lack precise user control, which limits their applicability in professional Foley workflows. In particular, these models focus on the entire video and do not provide precise methods for prioritizing a specific object within a scene, generating unnecessary background sounds, or focusing on the wrong objects. To address this gap, we introduce the novel task of video object segmentation-aware audio generation, which explicitly conditions sound synthesis on object-level segmentation maps. We present SAGANet, a new multimodal generative model that enables controllable audio generation for musical instruments by leveraging visual segmentation masks along with video and textual cues. Our model provides users with fine-grained and visually localized control over audio generation. To support this task and further research on segmentation-aware Foley, we propose Segmented Music Solos, a benchmark dataset of musical instrument performance videos with segmentation information. Our method demonstrates substantial improvements over current state-of-the-art methods and sets a new standard for controllable, high-fidelity Foley synthesis for musical audio. Code, samples, and Segmented Music Solos are available at https://saganet.notion.site

We propose a step-by-step video-to-audio (V2A) generation method that provides finer control over the generation process and more realistic audio synthesis. Inspired by traditional Foley workflows, our approach enables incremental generation of complementary sounds, allowing users to author multiple sound events induced by a video. To avoid the need for costly multi-reference video-audio datasets, each generation step is formulated as a negatively guided V2A process that discourages duplication of sounds already present in previously generated tracks. The guidance model is trained by finetuning a pre-trained V2A model on audio pairs from non-overlapping segments of the same video, encouraging it to leverage acoustic context while remaining visually grounded, and enabling training with standard single-reference audiovisual datasets. Objective and subjective evaluations demonstrate that our method enhances the separability of generated sounds at each step and improves the overall quality of the final composite audio, outperforming existing baselines. Our project page is available at: https://ahykw.github.io/sbsv2a/.