Instrument

We study cooperative multi-humanoid pickup and transport of objects with varying size, weight, and geometry, requiring robot teams of different sizes. Our approach uses decentralized object-centric control, where each humanoid is assigned a local attachment region on the shared object and learns to realize pickup and transport through gripperless bimanual pinching. This attachment-based interface provides a common control abstraction spanning single-robot pickup, cooperative multi-robot transport, and robot-to-robot handover, without per-task redesign. We find that policies trained only on single-robot pickup already transfer nontrivially to cooperative settings, suggesting that this abstraction captures much of the structure needed for coordination. At the same time, explicit multi-robot training further improves performance, showing that shared-object coupling introduces coordination dynamics that are beneficial to learn directly. We validate the approach in simulation across varying team sizes and object geometries, and demonstrate sim-to-real transfer on hardware, where the learned controllers enable real humanoids to perform cooperative manipulation tasks.

Automatic Music Transcription (AMT) for guitar remains limited by three challenges: existing systems often fail to capture expressive techniques such as slides, bends, and percussive hits; they often assign notes to incorrect string-fret combinations; and they are typically trained on clean recordings, limiting their generalization to noisy real-world audio. To address these challenges, we propose TART, a modular four-stage audio-to-tablature pipeline consisting of (1) an audio-to-MIDI transcription model, (2) an expressive technique classifier, (3) an audio-conditioned T5 encoder-decoder for string-fret assignment, and (4) an automated tablature generator. We evaluate TART in a zero-shot setting on GuitarSet, EGDB, and two augmented benchmarks, Noisy GuitarSet and Noisy EGDB. Averaged across these four benchmarks, TART achieves 81.35% audio-to-MIDI F50 (+6.67 points over the best prior baseline), 71.8% string-fret Tab F1 (+8.5 points over the best prior baseline), and 54.08% end-to-end Tab F1. To our knowledge, TART is the first framework to generate guitar tablature with both fingering and expressive technique annotations directly from guitar audio.

Augmenting instruments with sensors and neural network mappings is a well-explored digital musical instrument design approach. While augmentations can create new expressive opportunities, they also exert aesthetic influence and can constrain musicians' gestural language, which, if left unchecked, can lead to technological capture. To examine this, we conducted a study with a professional percussionist, co-developing a gesture mapping toolkit and recording a ten-track album. Drawing on the concept of productive dissonance, our study aimed to hold the musician's aesthetic in tension with technological constraints. This, along with a practice-based reflective approach, supported the development of a continuous gesture recognition method for percussive mapping and surfaced insights into the design process. We identify knowing-when as a form of tacit knowledge that supported productive dissonance, and raise an open question: absent a musician's broader social context, how do we know whether a technology's influence is genuinely supporting their practice?

Ambient AI scribes draft clinical notes under the reassurance that a clinician signs every note. We audited three commercial AI scribes on the same 142 consultations: 565 notes from recorded UK primary-care and US ambulatory encounters plus authored scenarios. Twelve discovery passes proposed 13,678 candidate errors; the 5,898 clearing an importance filter went to an adversarial panel of two models from different families, each told to refute what it could, and 618 survived. One note in three (31.3% [27.0, 35.6]) carries a verified failure, concentrated in allergy and medication information, invented patient identity, and history written up as examination on telephone consultations that can contain none. No product was given a patient record; setting aside the two classes a record would have prefilled, invented identity and dates, the rate is 24.8% [20.8, 29.0]. One failure mode did not fit our scheme, drawn from published scribe-error taxonomies: a treatment the clinician retracts, recorded as delivered care. Two clinicians adjudicated blind, disjoint samples: a physician author upheld 20 of 21 findings (95.2% [77.3, 99.2]) and an independent clinician, not an author, 12 of 12 ([75.8, 100]); both judged every sampled refusal genuine. A failure rate depends on the instrument as much as the scribes. With model, evidence and settings fixed, the review instruction alone moves the share of candidates verified from 9.3% to 79.0%, and the reviewing family moves it too: alone at that instruction the gentler flags 54.8% of notes against 27.8%. Between 28% and 97% of sampled notes carry a failure depending on the standard. Published audits disagree among themselves by a margin instrument differences alone can produce: omission is 54-86% of their errors against our 23.1%. We release all 618 findings with transcript-side evidence, every prompt and model version, and the re-runnable pipeline.

Guitar tablature transcription requires not only accurate pitch detection but also assigning each note to a specific string-fret position, as the same pitch can be played at multiple fretboard positions. Existing approaches treat this as a standard classification problem, ignoring the musical and physical constraints that govern playable fingering sequences. We propose Noise2Fret, a diffusion model for audio-to-tablature transcription that generates tablature through a continuous latent representation of discrete fret and string targets, conditioned on spectral and audio features. To bridge the gap between pitch accuracy and physical playability, we introduce five auxiliary losses encoding Pitch-Class Distance, Positional Distance, Circle-of-Fifths Distance, String Similarity, and Hand-Span Feasibility directly into the training objective. Experiments on GuitarSet and GOAT datasets demonstrate that the model outperforms baselines while remaining computationally more efficient, and that the auxiliary losses yield consistent gains over the standard training objective.

The current paper draws on self-presentation theory and warranting theory to evaluate how the language patterns in an online marketplace reflect seller status (i.e., a prolific seller versus an everyday seller). Using 1.6 million musical instrument listings from Reverb.com in search of content, style, and structural differences in seller product descriptions, the evidence suggested prolific sellers tend to focus more on objective and functional aspects of a product (e.g., its features and specifications) and less on subjective characteristics like tone, relative to everyday sellers. Prolific sellers also communicated in a more narrative-like style, which was driven by an elevated use of personal pronouns, and they used longer descriptions than everyday sellers. Therefore, what prolific sellers focus on tends to be quite technical, but how they communicate this information is typical of a story that is told to potential buyers. Implications for self-presentation theory and warranting theory are discussed.

We present DIY e-HandPan, a new open-source, low-cost and customizable handpan audio and MIDI protocol interface designed for musical performance, education and research. The proposed hardware is built from inexpensive electronic components and recycled materials using widely available fabrication techniques, making it accessible to makers, educators and researchers. The instrument can be implemented on two distinct MicroController Unit (MCU): Arduino or ESP32. The microcontroller captures strike velocity to provide expressive musical performance comparable to that of an acoustic handpan. In addition to real-time audio and MIDI generation, DIY e-HandPan integrates a bi-color LED guidance system capable of displaying musical sequences from MIDI files, providing an effective learning aid for beginners and educational activities. The modular architecture allows users to easily customize the number of notes, hardware configuration and embedded software according to specific applications. We present the complete hardware design, firmware and assembly instructions and we discuss the design choices and limitations, to evaluate the system in representative educational and musical performance scenarios. All design files, source code and documentation are released under an open-source license to improve the reproducibility and encourage further developments by the open hardware community.

With the rapid advancement of humanoid robotics and embodied intelligence technologies, numerous musical instrument-playing robots have emerged in recent years, such as pianos, chime bells, and taiko drums. These robots primarily employ open-loop positional control, rendering them incapable of operating instruments requiring dexterous hands and precise tactile perception, such as a violin, guitar, and guqin. This paper describes the design and validation of a high-precision tactile-sensing finger. By mimicking the shape of the fingertip and fingernail found on a human finger, we develop a biomimetic multimodal haptic fingertip and validate it on selected guqin string-contact tasks, including open-string and stopped-note comparisons, harmonic-tuning, and tactile-triggered bimanual coordination, using the guqin, a traditional Chinese musical instrument, as a challenging validation scenario rather than as a fully demonstrated robotic performance system. This research integrates tactile sensing with robotics technology, thereby contributing to applications in world heritage conservation and cultural dissemination.

Large language models (LLMs) are increasingly embedded in everyday life and widely used for information seeking, raising concerns about their potential to perpetuate social biases and reinforce stereotypes. In this study, we investigate gender bias in LLMs through the lens of their associations with musical instruments. Building on social-science research on the cultural gender-typing of instruments, we introduce Symphony-Bias, a parallel multimodal dataset spanning text, vision, and audio. We evaluate ten multimodal models with diverse architectures and scales across 22 musical instruments, analyzing how they associate each instrument with three gender categories: {male, female, non-binary}, across three modalities: {text, vision, audio}. Our results show that 92% of instrument-level outcomes align with prior social-science findings, with the harp and drums showing particularly consistent gendered associations across all evaluated models and modalities. We further find that alignment with social stereotypes is weakest in audio, stronger in vision, and strongest in text, suggesting that modality-specific representations can differentially amplify gendered associations with musical instruments.\footnote{The Symphony-Bias dataset will be publicly released upon acceptance of the paper.}

Identifying which string produces a given pitch in monophonic electric guitar audio is a classification challenge: a single pitch can often be produced on multiple strings, with timbral differences largely imperceptible to untrained humans. We present Fretiq, a preliminary single-instrument, single-player browser-based string classification system using a 26-dimensional feature representation of frequency band energies, spectral statistics, and 13 Mel-Frequency Cepstral Coefficients. Across five seeds, a shuffled frame-level validation split yields 97.25 +/- 0.32 percent accuracy, with an ablation study identifying MFCCs as the primary accuracy driver (92.09 +/- 0.50 percent without MFCCs). We introduce Comparison Training, a data collection method recording same-pitch pairs on adjacent strings in deliberate alternation. An initial shuffled-split comparison found no net benefit but was confounded by non-comparable validation sets across conditions. A corrected matched evaluation, using an identical recording session held out from training and model selection, shows including comparison-session data improves accuracy by 25.78 +/- 1.46 percentage points; a size-matched control shows this is not explained by training-set size alone. A recording-session-held-out evaluation yields 86.53 +/- 1.23 percent accuracy, closely matching an independently collected free-play evaluation (87.8 percent), both well below the shuffled-split figure, showing shuffled validation substantially overestimates real generalization here. We describe the feature extraction pipeline in Python and TypeScript for training-inference parity and document two implementation failure modes. The system runs entirely in-browser with no specialized hardware required.

Selective state-space models such as Mamba route information through a bank of first-order modes whose input coupling is set by a learned selection mechanism. We give an exact instrument for measuring how a trained model uses these modes. Because the state matrix is diagonal, each channel's output decomposes exactly into per-mode contributions, and a per-(layer, channel, window) Gram tensor yields the exact output error of dropping any subset of modes, offline, at any budget. Validated against the reference implementation to a relative error of $2.3\times10^{-7}$ on the Mamba-1 family where it is exact, the instrument predicts a layer's deployed pruning error to a median relative deviation of $5\times10^{-7}$ over $4{,}464$ configurations, its floor set by the reconstruction. Applying the instrument across the Mamba-1 family (130M--2.8B), the deployed 7B Falcon-Mamba, and Mamba-2, we find that trained models re-allocate their state space with the input: which modes carry the signal migrates across contexts, and at the most affected layers a per-input oracle roughly halves the output error of a fixed mode set. Frozen-signal counterfactuals attribute the migration primarily to the input-dependent write map $B_t$; the timestep usually identified with selectivity carries almost none of it. Input-scheduled mode pruning on this measurement outperforms static, Hankel-based, and layer-adaptive rankings at every scale from 130M to the deployed 7B Falcon-Mamba, and at half the state budget it matches the unpruned model. Because the scheduler reads each window's mode usage from a first pass, this demonstrates realizable headroom; we claim no deployed compute or memory saving.

WaveNet-style convolutional networks emulate tube amplifiers and distortion pedals with high fidelity, but their computational cost has confined them to desktops or dedicated DSP hardware. We present a sparse-enabled WaveNet inference engine for iOS that runs heavily pruned neural guitar amplifier models in real time on iPhones. Aggressive iterative magnitude pruning removes 90% of the network weights with no perceptible loss in quality. A custom sparse C++ engine turns this sparsity directly into compute savings, sustaining low-latency real-time operation on a CPU-only iPhone implementation where the dense model cannot. On-device output matches the trained model to within int16 quantization error. At the demonstration, visitors will play a guitar through the app on iPhone hardware and A/B the on-device pruned model against the physical pedal it emulates. Source code and audio examples are available at https://github.com/ryos17/wavenet-imp.

Generative Synthetic Populations (GSP) -- the convergence of population synthesis, agent-based modelling, and LLM agents -- are attracting growing interest for urban simulation and institutional communication research. Before any GSP instrument is used on a real population, a more basic question must be answered: does it respond to stimuli of known valence in an ordered, replicable, group-structured way? We call this controllability. We ask not whether a synthetic population tracks humans, but whether it tracks itself: whether the latent structure we impose on it is recovered in its own responses. This internal-validity question is logically prior to any claim about external validity, just as characterising an instrument's response function must precede using it to test a theory. We report SIVE (Synthetic Instrument Validation Experiment): a fictional municipality (Montelago) with 120 synthetic personas of known latent structure, exposed to seven conditions spanning strongly positive to strongly negative institutional communications about a water network. Seven pre-registered criteria, evaluated across a temperature sweep, jointly assess fidelity, stability, noise floor, specificity, sensitivity, and ordering. All seven pass at every temperature. A central finding turns a calibration failure into a diagnostic success: a message designed as "weakly positive" was identified by the instrument as functionally negative, traced to unresolved problems, uncertainty, and institutional passivity in its text; a redesigned version restored the expected ordering and interacts with agents' latent trust in unanticipated ways. A noise sub-experiment shows the instrument's intrinsic noise is roughly half the cross-agent estimate and stable across temperatures. Individual trajectories reveal coherent micro-dynamics that summary statistics obscure. Full data are available via an interactive explorer.

We present a real-time musical interface that converts natural-language scene descriptions into evolving procedural soundscapes. A performer types a prompt such as "warm jazz cafe at midnight" and steers it through direct parameter adjustments - stepping brightness down, switching a rhythm style - each producing a predictable, audible shift without re-prompting. Where GPU-bound text-to-audio systems synthesize monolithic waveforms, our instrument generates human-readable configurations over a categorical schema, enabling fine-grained performer control; most valid combinations are designed to sound musically coherent. Three interchangeable backends - embedding retrieval for sub-second CPU-only use, hosted LLMs via API, and a fine-tuned 270M local model - all emit the same schema. A live generator architecture continuously emits audio while resolving new instructions in the background, crossfading seamlessly when ready; even when an LLM takes 5-12 seconds to respond, the audience hears uninterrupted sound - reframing text-to-music as an ongoing performable stream rather than a one-shot generation. We evaluate text-audio semantic alignment using LAION-CLAP on held-out prompts as a technical proxy, finding that retrieval-based configuration outperforms random valid configurations on this metric, while noting that LAION-CLAP also informed retrieval-map construction. We report performance observations, informal listener feedback, and release materials for the SDK, dataset artifacts, model, and audiovisual performance interface.

Recent music audio-language models achieve high accuracy on instrument question-answering benchmarks, but it remains unclear whether this reflects robust audio grounding or benchmark-specific shortcuts. In this paper, we introduce an OpenMIC-derived diagnostic benchmark sequence for instrument grounding in music audio-language models, extending binary instrument-presence QA to genre-prior-reduced examples, confusable instrument discrimination, longer audio context, and temporal localization. Across these settings, high binary QA accuracy often fails to predict model behavior: models can exhibit option-position bias, confusable-instrument errors, and temporal response bias. These results suggest that instrument grounding should be evaluated with multi-axis diagnostic benchmarks rather than a single aggregate accuracy.

Truck-drone delivery is an emerging last-mile logistics mode combining the long-haul capacity of trucks with the flexible service capability of drones. In locker-based operations, smart lockers serve not only as temporary parcel storage facilities but also as automated drone docking and service nodes. These automated nodes support drone takeoff, landing, parcel handover, and battery replacement, thereby significantly extending the service range and operational flexibility of drone-assisted delivery networks. However, practical locker-based delivery systems face complex real-world challenges, requiring the integrated coordination of not only parcel delivery, return pickup, battery-constrained and load-dependent drone flights, but also necessary detours around restricted airspace. To address this practical and multifaceted challenge, this paper introduces a locker-based truck-drone routing problem with integrated considerations of pickups, deliveries, and no-fly zones (LTDRP-PDNF), with the objective of minimizing the total operational cost of a fleet of drone-equipped trucks. We formulate the route construction process as a Markov Decision Process and develop a two-stage deep reinforcement learning-based neural heuristic. The first stage utilizes an attention-based encoder and a Bidirectional Gated Recurrent Unit decoder to solve the truck-only routing problem, formulated as a capacitated vehicle routing problem. The second stage combines a policy-transfer strategy with a hybrid dispatch assignment heuristic to construct fully coordinated truck and drone routes for LTDRP-PDNF. Experiments on instances of different scales demonstrate that the proposed method outperforms metaheuristic and neural heuristic baselines in most cases while maintaining exceptionally short computation times, offering an effective, scalable solution framework under practical operational constraints.

This study explores how micro-changes in the plucking trajectory of a guitar pick influence the sound of an acoustic guitar. Using a state-of-the-art robotic plucker, a series of measurements has been performed, where the plectrum was moved towards the instrument by a step of 192 micrometers, resulting in an increased attack depth. It has been analysed how the effect of these changes is reflected in loudness, timbre, harmonic content and how the sound progresses during decay. This methodology has been repeated for guitar plectra made from six different materials to investigate how the pick itself influences the effect of a change in the plucking trajectory. The results of the study show that at a low depth the string is not fully excited resulting in weak and markedly altered sound. The range of this effect changes with the mechanical properties of the plectrum material. After this range an increase in depth results in an increase in sound loudness, a decrease in inharmonicity and noisiness and a shift in timbre where the sound becomes fuller in low frequencies and rougher. Presented findings help to understand the nuanced relationship between plucking trajectory and acoustic output. They provide important insights regarding the importance of plucking in guitar testing methodologies, showing that the mech

Interactive music and live performance relies on real-time human expression, but modern generative music AI remains largely absent from this domain due to its prohibitive inference latency and offline rendering paradigm. To provide pioneer musicians with a novel medium for interactive composition, we should fundamentally change these static models into dynamic, playable instruments. In this paper, we propose a framework that bridges this gap. To achieve the low latency required for live interaction without sacrificing structural coherence, we formulate distillation within a streaming autoregressive latent space. Our approach gets rid of the need for expensive paired audio-latent datasets by utilizing prompt-only inputs to synthesize teacher-guided, chunk-wise trajectories on the fly. Because live instruments require high acoustic fidelity, we introduce music-aware consistency objectives, which combine latent, spectral, and temporal-difference losses, to preserve crucial qualities like timbre, transients, and rhythmic stability during accelerated single-step streaming generation. Implemented via parameter-efficient adaptation, our distillation reduces generation steps to achieve a low real-time factor. Crucially, by operating as a continuous autoregressive stream, the system can seamlessly assimilate dynamic human inputs on the fly, allowing users to instantly steer the musical trajectory without interrupting the audio flow. Ultimately, this work recontextualizes generative text-to-music models not as passive prompt-and-wait systems, but as responsive instruments, opening new frontiers for live human-AI musical co-creation.

Automatic Music Transcription (AMT) models have achieved a high level of success in polyphonic transcription of various instruments. Velocity, typically a measure of note intensity, is less commonly predicted in these models due to the absence of velocity labels in available datasets and lack of a proper definition for instruments other than piano. We present a methodology and model for velocity prediction in Automatic Guitar Transcription (AGT) which uses virtual instruments to generate synthetic training data with velocity labels. We first pretrain a model on this synthetic data. These weights are then transferred to a different model and trained on real guitar audio, allowing the model to retain the working velocity prediction while also achieving high performance and generalisability from the real training data. The velocity prediction is shown to outperform a baseline model which does not use the pretrained velocity weights, when evaluated on synthetic data. In addition, using the pretrained velocity weights offers a small improvement in note transcription, though the magnitude of this improvement is limited and not always significant depending on the testing data. Overall the model achieves results comparable to the state of the art in guitar transcription, while also successfully predicting velocity.

In recent years, emerging research at the intersection of quantum physics and sound synthesis has opened new conceptual and technical possibilities for instrument design and sonic exploration. This study investigates the potential of formal analogies between quantum systems and classically non-deterministic systems for the generation of tangible acoustic phenomena. Specifically, it explores how quantum mechanical concepts can serve not only as metaphors but as operative frameworks in the design of new musical tools. Building on recent theoretical work on stochastic string excitation, we present the design, fabrication, and spectral characterization of a custom-built noise-driven electroacoustic string instrument. The system implements open-loop stochastic electromagnetic actuation without feedback or pitch stabilization. We show that this excitation strategy produces a dense and uniformly distributed spectral regime that differs from conventional deterministic string excitation. This work contributes to a growing field of quantum music creation by offering a hybrid artistic-scientific platform with potential applications in live performance, experimental composition, and science education.

Melodic material in Hindustani music is presented in relation to a tonic, usually sustained by the tanpura, a four-stringed drone instrument. Rooted in Hindustani music, 'The Moving Drone' sets the traditionally static drone into motion that, throughout the performance, gains increasing agency transitioning from reactive to more proactive roles. The work employs four independent loopers in Max/MSP to function as 'virtual' drones. They are populated cyclically in real-time as the vocalist improvises, creating an organic and evolving feedback loop between the voice and the virtual drone. This relationship further evolves melodically by pitch shifting the loops, which introduces a dimension of sudden, explicit movement. Then it changes timbrally, via the integration of GaMaDHaNi, a singer conditioned pitch-to-voice generative AI model to resynthesize looped audio. While current music AI approaches prioritize high-fidelity and realism of generated content which has sparked anxiety over job replacement for the music community, this work intentionally utilizes low-fidelity generative outputs, further necessitating human interpretation and situational context in order to be complete. 'The Moving Drone' positions technology and generative AI within established socio-cultural musical practices, proposing a virtual drone as an active, responsive, and co-creative musical agent.

We present DEMON, a real-time diffusion engine that makes the denoising process playable as a live musical instrument: a control surface both broad (many parameters shaped per-frame across the output) and responsive (each control taking effect as fast as its place in the denoising loop allows). Built on ACE-Step 1.5 and StreamDiffusion's ring-buffer architecture with TensorRT acceleration, it sustains up to 12.3 decoder completions per second for 60-second music on a single consumer GPU (RTX 5090), or 11.3 generations per second at our production ring-depth of 4. At these rates denoising parameters become viable as live performance controls, but the ring buffer propagates per-request changes only at its drain rate, a floor of S denoising steps. We contribute four mechanisms. (1) Per-slot heterogeneous denoise scheduling: each ring-buffer slot owns its timestep schedule, so a moving denoise slider is tracked without wiping the in-flight queue, where the upstream global-schedule design must rebuild and discard it. (2) Shared mutable per-step state, giving any parameter consulted at every solver step next-tick effect, bypassing ring-buffer drain. (3) Per-frame source blending: a sampling-time control on the standard SDE re-noise step, giving a framewise transformation-strength axis that complements scalar denoise scheduling. (4) Windowed VAE decode exploiting receptive-field analysis for an 8.0x decode speedup. Together these separate streaming-diffusion parameters into four propagation classes, by onset and convergence latency.

Learning the violin is harder than it looks. Unlike piano keys or guitar frets, the violin neck has no markings at all, so a beginner cannot tell by looking where to place each finger. MusicSynth is an open-source web tool that tries to fix that: user uploads a photo of any violin sheet music (or a digital score file), and the system automatically produces a video showing a violin fingerboard with each note highlighted at the right moment -- no software to install, no manual note entry required. The system connects three existing open-source tools into one pipeline: an optical music recognition (OMR) library reads the notes from the uploaded image, a MusicXML parser extracts timing information from digital scores, and a video renderer draws the fingerboard frame by frame. The only part built from scratch is the lookup table that maps each musical note to a string and finger position on the violin. Tested across 110 public-domain violin scores, MusicSynth correctly identified 91.2,% of notes in clean printed music and assigned the right finger position 99.1,% of the time when given a digital score file. To the author's knowledge, no freely available tool currently turns a sheet music image into an animated violin fingerboard tutorial automatically and in a single browser-based step.

The article explores the use of agentic software engineering (ASE) in the development of innovative audio software. It begins with a review of background work that lays out the challenges of longevity, interoperability and barriers to entry in digital music instrument creation, explaining recent developments in ASE and highlighting the possibility that ASE can lower barriers to entry and facilitate creation of interoperable software with greater longevity. Following that, we present case studies wherein we used ASE technology in three distinct ways to develop audio software in the C++ language with the JUCE framework. In case study 1, we re-implement Laurie Spiegel's Music Mouse' software as a native plugin. In case study 2, we translate Pachet's Continuator' system from Python into a native plugin. In case study 3, we develop a new 3D user interface for an existing `tracker' sequencer using OpenGL. We describe the experiences of the human developer in the case studies via autoethnographic discussion of the prompt logs and snapshots of the software as it was developed. We identify effective practice for ASE use in this domain and suggest future steps for the work involving evaluation of the method with non-programmer musicians.

Multi-robot systems in automated warehouses must manage continuous streams of pickup-and-delivery tasks while ensuring efficiency and safety. Prior work on Multi-Agent Pickup-and-Delivery (MAPD) has largely focused on the one-to-one variant, where each task has a fixed pickup and delivery location. In contrast, real warehouses often present many-to-many MAPD scenarios, where items, tracked by stock keeping unit (SKU) identifiers, can be retrieved from or stored at multiple locations, resulting in an NP-hard four-dimensional assignment problem. To solve the many-to-many MAPD problem, we contribute our algorithm: Many-to-Many Multi-Agent Pickup and Delivery (M2M). We experiment with two variants of our algorithm: one that minimizes estimated task durations (M2M), and one which incorporates SKU distribution into the objective function (M2M-wSKU). Simulation results over 8-hour warehouse operations show that our method consistently matches or outperforms prior state of the art, with M2M completing up to 22,000 more tasks on average across different environments and warehouse inventory densities.

AI systems have become increasingly capable of dangerous behaviours in many domains. This raises the question: Do models sometimes choose to violate human instructions in order to perform behaviour that is more useful for certain goals? We introduce a benchmark for measuring model propensity for instrumental convergence (IC) behaviour in terminal-based agents. This is behaviour such as self-preservation that has been hypothesised to play a key role in risks from highly capable AI agents. Our benchmark is realistic and low-stakes which serves to reduce evaluation-awareness and roleplay confounds. The suite contains seven operational tasks, each with an official workflow and a policy-violating shortcut. An eight-variant shared framework varies monitoring, instruction clarity, stakes, permission, instrumental usefulness and blocked honest paths to support inferences regarding the factors driving IC behaviour. We evaluated ten models using deterministic environment-state scorers over 1,680 samples, with trace review employed for audit and adjudication purposes. The final IC rate is 86 out of 1,680 samples (5.1%). IC behaviour is concentrated rather than uniform: two Gemini models account for 66.3% of IC cases and three tasks account for 84.9%. Conditions in which IC behaviour is indispensable for task success result in the greatest increase in the adjusted IC rate (+15.7 percentage points), whereas emphasising that task success is critical or certain framing choices do not produce comparable effects. Our findings indicate that realistic, low-nudge environments elicit IC behaviour rarely but systematically in most tested models. We conclude that it is feasible to robustly measure tendencies for dangerous behaviour in current frontier AI agents.

Machine generation of symbolic music and digital audio are hot topics but there have been relatively few digital musical instruments that integrate generative AI. Present musical AI tools are not artist centred and do not support experimentation or integrating into musical instruments or practices. This work introduces an inexpensive generative AI instrument platform based on a single board computer that connects via MIDI to other musical devices. The platform uses artist-collected datasets with models trained on a regular computer. This paper asks what the design space of intelligent musical instruments might look like when accessible and portable AI systems are available for artistic exploration. I contribute five examples of instruments created and tested through a two-year first-person artistic research process. These show that (re)mapping can replace retraining for discovering AI interaction, that fast input interleaving is a new co-creative strategy, that small-data AI models can be a transportable design resource, and that cheap hardware can lower barriers to inclusion. This work could enable artists to explore new interaction and performance schemes with intelligent musical instruments.

This article addresses the issue of estimating observation parameters (response and error parameters) in inverse problems. The focus is on cases where regularization is introduced in a Bayesian framework and the prior is modeled by a diffusion process. In this context, the issue of posterior sampling is known to be thorny, and a recent paper proposes a notably simple and effective solution. Additionally, it opens an remarkable flexibility when it comes to estimating observation parameters. The proposed strategy enables to define an optimal estimator for both observation parameters and image of interest. Furthermore, the strategy provides a means for uncertainty quantification. In addition, MCMC algorithms allow for the computation of estimates and properties of posteriors, while offering some guarantees. The paper presents several numerical experiments that clearly confirm the computational efficiency and the quality of both estimates and uncertainty quantification.