Audio Latent

While Large Language Models excel in natural language processing, efficiently extending their capabilities to spoken input remains a significant challenge. Existing methods for building SpeechLLMs often rely on computationally expensive full-model fine-tuning, or employ parameter-efficient projectors that suffer from inefficient token sequence lengths and costly full-model supervision. In this paper, we introduce Aligned Continuous Integrate-and-Fire, a highly efficient framework for zero-shot speech processing. Our method dynamically compresses continuous acoustic frames into the exact discrete token length of the target text utilizing explicit Dynamic Time Warping alignments. This allows our initial training stage to establish a robust acoustic-to-semantic bridge using lightweight distance metrics, entirely bypassing the computationally expensive LLM forward pass. For subsequent fine-tuning, we propose a memory-efficient knowledge distillation objective that targets a single LLM layer, performing competitively with full-model cross-entropy training at a fraction of the computational cost. Through extensive evaluations on Automatic Speech Recognition and Speech Translation, we demonstrate that our method achieves superior performance compared to prior parameter-efficient baselines.

Lightweight audio-visual speech enhancement (AVSE) models face a critical trade-off between computational efficiency and cross-modal alignment accuracy. While simple concatenation lacks relational expressiveness, dense cross-attention incurs computational overhead and is prone to unreliable cross-modal correspondence under strong acoustic interference. We propose Sparse Graph-Guided Mamba (SG-Mamba), a lightweight AVSE framework that integrates a sparse heterogeneous graph with a linear-complexity Mamba backbone. The graph explicitly models modality-specific relations through content-adaptive attention and cross-frame audio-visual connections, while Mamba captures long-range temporal context. We further introduce an audio skip connection to preserve spectral detail without sacrificing noise suppression. Evaluated on LRS3, SG-Mamba achieves competitive or superior performance against strong lightweight baselines and reaches 13.091 dB SI-SDR under noise-only condition. It also remains robust in cluttered multi-speaker conditions with a competitive cost of 3.45 G MACs (or 6.90 G FLOPs). Results on VoxCeleb2 further suggest that explicit structural priors improve robustness, generalizability, and computational efficiency in lightweight AVSE.

Procedural audio has emerged as a viable source for transferable audio representation learning, but its design principles remain unclear.We revisit two questions: how a procedural source should be scaled, and whether training choices developed on natural audio should transfer unchanged to procedural data.Using a controlled source, we separate scale into formula-class coverage C and within-class rendering diversity I.Experiments with FDSL and AudioMAE show that these two forms of scale provide different benefits and depend on the learning formulation and downstream task. A matched AudioMAE study further shows that procedural audio favors low mask ratios (10%--25%), whereas AudioSet-28K favors 50%--75%. Shared-codebook analysis reveals lower patch diversity and stronger temporal predictability in procedural audio. These results motivate source-aware procedural pre-training, where source scaling and learning configuration are considered jointly.Code is available at https://github.com/Cross-Innovation-Lab/Formula-Bank.

Although pretrained joint audio-visual diffusion models offer rich control over \emph{what} to generate, they provide no explicit control over \emph{when} an utterance should occur. To address this, we study \emph{inference-time speech scheduling}, a novel task that places coupled speech and visual articulation within user-specified begin--end intervals without finetuning the backbone model. We uncover two intrinsic properties of the denoising process that enable this task. First, a timing-sensitive text-to-audio cross-attention head exposes each utterance's model-implied source span along the latent timeline. Second, the predicted clean latent already organizes coupled speech and visual articulation, allowing their temporal placement to be edited without regenerating the content. Building on these discoveries, we propose \textbf{TimeSteer}, a training-free framework that localizes each utterance's source span through \textbf{Source Span Localization} and transfers the associated audio-visual latent content from the source interval to the specified target interval through \textbf{Region-Aware Latent Remapping}. We further introduce \textbf{SpeechShift}, the first benchmark for interval-level speech scheduling in joint audio-visual generation. Experiments across two representative backbones show that TimeSteer substantially improves interval controllability over training-free baselines while maintaining competitive overall generation quality.

Large audio-language models (LALMs) describe audio at the clip level but cannot assign timestamps to the events, speakers, or sounds they identify. Despite being essential for downstream tasks like speech recognition and dense audio captioning, timestamping remains a key limitation of most LALMs. We present TEMPO (Temporally-grounded Multi-task Post-training), the first unified model to handle audio, speech, and music timestamping tasks. Our core contribution is a supervised fine-tuning (SFT) stage built on three innovations: atomic timestamp tokens, a time-aware projector that injects sinusoidal wall-clock encodings into audio frame embeddings, and a distance-aware Gaussian loss. Our training is based on a synthetic-to-real curriculum. We further introduce, to our knowledge, the first application of reinforcement learning to unified audio timestamping, using GRPO with verifiable temporal rewards that directly optimize the evaluation objectives. Rather than serving as the primary source of performance gains, GRPO acts as a refinement stage on top of the SFT checkpoint, providing modest additional improvements. To support this work, we build a training dataset containing 119K samples and an evaluation benchmark containing 10K samples, drawn from established corpora across five tasks. On this benchmark, TEMPO outperforms Audio Flamingo Next and Qwen3-Omni, two state-of-the-art LALMs explicitly trained on timestamped data. Experiments confirm that SFT delivers most of these gains, with GRPO providing consistent but moderate refinements.

We present DINO-A, an adaptation of self-distillation from vision to general audio representation learning. While DINO has become a canonical method in self-supervised vision and prior audio work has explored latent prediction (BYOL-A) and masked modeling (Audio-MAE, BEATs), no prior work has brought canonical DINO to general audio classification in the way BYOL-A brought BYOL. DINO-A retains DINO's multi-crop, EMA teacher, and high-dimensional projection, replacing only the input modality and augmentations with log-mel spectrograms and the BYOL-A v2 augmentation block. We pretrain three backbones, two Vision Transformers with 8x8 and 16x16 patches and a convolutional encoder, on FSD50K and evaluate them with linear probing on ESC-50, Speech Commands v2, UrbanSound8K, and GTZAN. Three findings characterize the resulting representations. Patch resolution within the Vision Transformer family has consistent effect on representation quality, with smaller patches winning across all four tasks. The choice between Vision Transformer and convolutional backbone interacts with task type: convolutional networks lead on speech while Vision Transformers lead on environmental sounds and music. Under identical pretraining and evaluation conditions, DINO-A and BYOL-A v2 differ by 11.96 percentage points on average, and we trace this difference to two mechanisms: the interaction between DINO's high-dimensional projection space and FSD50K's limited scale, and the additional cost of multi-crop augmentation, which DINO uses but BYOL-A v2 does not. The high-dimensional projection space, central to DINO's success in vision, becomes a liability at FSD50K scale.

Audio effects (Fx) representation learning plays a key role in intelligent music production, including automatic mixing and Fx style transfer. Existing methods typically rely on dry or nearly dry references for effect modeling, yet truly unprocessed audio is rarely available in practice, as real recordings inevitably reflect the microphone, room acoustics, and preceding signal processing. Instead of pursuing absolute effect encodings, we argue that the relative effect distance between audio signals is more meaningful for real-world music production. Motivated by this, we propose RelFx, a contrastive learning framework that learns relative effect transformations from general audio collections without requiring dry references during representation training. Our approach uses a dual-branch Siamese encoder equipped with cross-attention and differential gating fusion to infer the shared effect transformation from a reference clip and an effect-processed, content-related clip. We further propose an antisymmetric fusion variant for bidirectional effect encoding, such that swapping the input order directly produces a nearly sign-reversed embedding, a property not explored in earlier work. Moreover, our dry-reference-free formulation eliminates the reliance on dry multitrack datasets and enables training on effect-bearing audio. Experiments on Fx style transfer demonstrate state-of-the-art performance under the standard Fx-Encoder++ MUSDB18 evaluation protocol, consistently outperforming existing approaches across all four instrument categories.

Video-to-audio (V2A) generation extends image-to-audio generation (I2A) by introducing consecutive frames that provide essential temporal cues for audio synthesis. However, existing conditional diffusion-based V2A methods typically enhance visual conditioning with additional audio-visual supervision, acoustic structure prediction, or reasoning from large multimodal models, requiring extra networks or strong inductive biases. Inspired by recent advances in visual representation learning, we introduce TD-V2A, which leverages temporal differences (TD) as the key representation that distinguishes V2A from I2A, enriching visual conditioning with minimal architectural modification. We first investigate TD at both the frame and feature levels to identify the most effective representation level at which TD complements visual representations. Based on these findings, we develop a hierarchically continual learning strategy and an annealed temporal differences guidance method to progressively learn and exploit TD information during diffusion training and sampling process, respectively. Extensive experiments on benchmark datasets demonstrate that effectively exploiting TD through our proposed framework significantly improves end-to-end V2A generation quality, even outperforming dedicated V2A representations such as contrastive audio-visual pretraining.

Collaborative music agents need internal representations rich enough to support both understanding and generation, yet flexible enough for a workflow where the human retains agency. We present a hierarchical self-supervised ``world model'' for symbolic music: a 2.55M-parameter Swin V2 encoder trained on MIDI piano-roll images with JEPA-style objectives (pitch- and time-shift equivariance, masked embedding prediction, and a distributional regularizer), using no labels and no music-theory vocabulary. Probing the frozen embeddings shows that the level at which a musical property becomes decodable tracks its musical time scale: phrase boundaries are read off the coarsest levels, note density and harmonic detail off the finest. Temporal and phrase structure emerge from the self-supervised objectives alone, while harmonic content must be asked for; a small chord-supervision head raises joint chord recovery from .18 to .54, and key detection, which is never supervised, from .16 to .70. Following the Representation AutoEncoder paradigm, a conditional flow-matching model stands in for a trained decoder, flowing in pixel space from PCA-reduced conditioning: it reproduces a target window at pixel F1 $0.996$, and the same per-level conditioning dropout that controls how far variations stray also enables graphical prompting for masked inpainting with no inpainting-specific sampler. The pipeline runs on CPU producing a suggestion in $2.8$ s, or $0.6$ s on Apple MPS, which we demonstrate in a live interactive demo. In concert with an LLM-based brain, these capabilities supply the core of a collaborative music creation agent in service of, rather than in place of, human agency.

Humans recognize a musical passage even when it is shifted in time or transposed in pitch, indicating a notion of equivariance in the representation space. Our analysis, however, shows that standard music transformers map such time-shifted or pitch-transposed inputs onto uncorrelated representations: these models become progressively less equivariant as they scale in size or train longer. This suggests that in standard music transformers, additional model capacity is allocated to memorizing absolute patterns rather than capturing shared musical structures. In this paper, we propose the Equivariant Music Transformer (EMT), which enforces equivariance through self-distillation by jointly optimizing a next-token-prediction and an auxiliary equivariance regularization loss. We find that the additional equivariance loss acts as a beneficial regularizer, simultaneously improving next-token prediction and producing equivariant latent representations. Through both objective and subjective evaluations, EMT demonstrates superior equivariance and generative capability compared to data augmentation, feature engineering, and state-of-the-art (SOTA) baselines. More broadly, our findings reveal that standard language modeling methods alone do not capture music's translational symmetries, and dedicated inductive biases are required to produce better music representations. The code, weights and demos are available online.

Scaling the corpus is the default remedy when a contrastive representation lacks an attribute. We report a case where it does nothing, and identify what does: adding a lexical-speech round to a frozen-base multimodal embedding model raises zero-shot keyword spotting by 76 points while reducing speech-emotion recognition by 14. The loss is not a capacity limit: fine-tuning on 7,442 clips from a prosody-controlled corpus recovers emotion past its pre-speech level at a five-point keyword cost. Nor is it data volume: 29,428 mined clips whose captions explicitly name emotions, at matched exposure, move emotion by -0.0007. The difference is structural: a contrastive objective encodes an attribute only when the in-batch negatives cannot be separated without it; the controlled corpus holds sentence content fixed, so prosody is the only separating signal, whereas mined captions name emotion yet remain separable by scene content. Intervention on the same audio confirms causality: raising caption similarity does not recover emotion, but collapsing caption diversity so that emotion becomes the only separating axis recovers it by 8.9 points across three seeds, with a smaller, same-signed gain on a non-acted corpus, while keyword accuracy trades back. Corpus structure, not size or caption vocabulary, controls what a contrastive audio embedding encodes.

High-polyphony symbolic music is increasingly used in generation, analysis, and arrangement, yet many downstream tasks require bounded representations with fixed tracks or slots. Converting richly orchestrated scores into compact forms is therefore necessary, but existing approaches relying on heuristic simplification or generic representation-space reduction often fail to preserve structural roles, orchestration compatibility, and playability under strict budgets. To address the issue, this study reformulates the compression problem as a fixed-budget structured routing problem and proposes Unbalanced Optimal Transport for Information Routing (UOT-IR), a training-free framework based on constrained unbalanced optimal transport. UOT-IR combines an orchestration prior, adaptive marginal relaxation, temporal decoding, and playability-aware projection to produce compact and musically coherent bounded representations. This work further studies two practical settings under the same slot budget: template standardization, which maps each input to a predefined bounded template, and adaptive preservation, which retains representative content without assuming an external template. Experiments on the SymphonyNet corpus show that UOT-IR delivers strong overall performance across both settings, including the best Note-F1 in adaptive preservation (0.9120), together with the lowest structural cost (14.7165) and bad structural confusion rate (0.3406) in template standardization. This work establishes a principled paradigm for fixed-budget symbolic music compression, offering a practical path toward compact, structured, and musically coherent symbolic representations.

Audio-video generative models achieve impressive quality but suffer from high latency, making them unsuitable for real-time applications. Although several streaming audio-video generation methods have been proposed, they remain costly and fail to support long-form generation. To address this, we propose \textbf{Ripple}, a real-time joint audio-video generation system with a cross-modal recurrent memory mechanism. To enable efficient streaming inference while preserving long-term context, Ripple combines a fixed-length sliding-window attention with modality-specific memory states that continuously summarize audio and video context. Cross-modal memory interaction is further introduced to enhance audio-visual synchronization. To learn this memory-augmented model effectively, we devise a three-stage training recipe: (1) adapting a bidirectional audio-video teacher to block-wise causal attention with simulated memory, (2) optimizing the memory construction and interaction pipeline through end-to-end distillation, and (3) applying online reinforcement post-training tailored for streaming audio-video generation. As a result, Ripple achieves ~28 FPS at 480P resolution, over faster than the teacher, while capable of coherent long-form generation. Extensive experiments on both short-video and long-video benchmarks demonstrate our superior performance over existing offline and online joint audio-video generation methods.

Production-ready audio-driven avatar generation requires efficient inference without sacrificing fidelity or motion expressiveness. However, existing acceleration methods often compromise quality through restrictive architectural choices, such as causal attention and short temporal horizons, or by reducing model capacity and resolution. Without such compromises, we propose AptAvatar, a 14B-parameter long-form audio-driven avatar generation framework that delivers fast and expressive inference. For efficiency in production-level applications, AptAvatar addresses the extreme two-step generation challenge. To bridge the gap between the multi-step teacher model and the two-step student model, we introduce Endpoint-Anchored Distribution Distillation. It augments vanilla distribution matching with a dedicated Anchor Score Estimator trained on the trajectory-endpoint distribution defined from a frozen pretrained 4-step bridge generator. This provides an attainable endpoint-level anchor for the evolving two-step student. To improve long-horizon consistency, we further introduce Self-Generated History Replay, which reuses cached outputs from earlier generator checkpoints as history conditions during chunk-wise training. This approximates inference-time conditioning on self-generated histories without costly online rollouts, mitigating quality degradation from accumulated history errors. Extensive experiments demonstrate that AptAvatar generates vivid 720p long-form avatar videos with only 2 NFEs, achieving a 60x speedup while preserving visual fidelity and long-horizon identity. Code is available at https://github.com/TaoLiveAIGC/AptAvatar

Recent generative models are moving beyond silent video or standalone audio synthesis toward the joint generation of synchronized audio and video. Despite this progress, jointly generating audio and video with fine-grained cross-modal correspondence remains challenging due to their fundamental structural differences. Most existing methods use audio and video VAEs trained separately. As a result, the two latent spaces lack cross-modal alignment, leaving the downstream generative model to learn cross-modal synchronization from scratch. We present OmniVAE, a jointly trained audio-video VAE that learns fine-grained semantic alignment between audio and video latent representations. Beyond reconstruction, OmniVAE uses a segment-level audio-video contrastive objective to capture temporal-semantic correspondence and align the two latent spaces. In parallel, it distills features from pretrained modality-specific semantic encoders into each modality, improving the downstream learnability of both latent spaces. Extensive experiments show that both objectives consistently improve the learnability of the latent spaces, translating into higher generation quality and more accurate cross-modal synchronization in downstream text-to-audio-video generation. These findings underscore the importance of learning unified representations as a foundation for omnimodal modeling.1

Rich internal representations of musical structure are essential for music understanding tasks such as machine-assisted music co-writing, yet self-supervised approaches for symbolic music representation remain underexplored, particularly those that encode the hierarchical multiscale nature of musical structures. We present MIDI-RAE-JEPA, combining a pitch- and time-shift equivariance objective with LeJEPA and a Swin Transformer V2 encoder to learn such hierarchical representations of symbolic music encoded as piano roll images. The time-shift equivariance objective encourages the model to internalize temporal musical relationships. The encoder is trained purely on self-supervised objectives -- including a masked embedding predictor (MEP) -- with collapse prevented via SIGReg. A separate decoder trained on the frozen encoder embeddings achieves reconstruction F1 of 0.995, and a flow matching generative model conditioned on those embeddings produces generations that closely match the pitch register and rhythmic density of the conditioning excerpt, while mismatched conditioning yields unrelated but musically plausible output. Learned representations outperform a Haar scattering transform baseline on a downstream emotion classification task, and embedding distances increase monotonically with pitch and time shift magnitude, confirming measurable equivariance. These results suggest that equivariance-based SSL objectives, combined with sufficient fine-level encoder capacity, provide a viable path toward semantically rich, generatively useful representations of symbolic music.

Since the paradigm centered on convolutional neural networks and recurrent architectures was established in 2020, the fundamental backbone networks for audio-visual navigation have undergone no essential changes for more than five years, making them inadequate to support efficient representation of dynamic multimodal sequences. This paper proposes Samba(A Hybrid Mamba for Audio-Visual Navigation). It uses the adaptive selection-enabled Mamba State Encoder (M-SE) to replace conventional GRUs for temporal aggregation, and constructs an Audio Mamba Encoder (AME) to remedy the limitations of convolutional operators in capturing global time-frequency dependencies in spectrograms. Experiments demonstrate that Samba exhibits exceptional generalization performance when facing unheard sound sources and unseen scenes. On the Matterport3D dataset, it improves the navigation success rate (SR) by 11.3% compared with existing state-of-the-art models, and the performance gain is even more pronounced on the Replica dataset, which features finer scene structures. Such modernized architectural reconstruction unlocks stronger embodied representation capabilities at a lower computational cost, thereby providing a highly robust technical pathway for paradigm evolution in the field of audio-visual navigation.

Dance-to-music generation is a promising task for applications such as choreography support and automatic accompaniment, where temporal coordination between body movement and sound is essential. In particular, using human joint positions as the motion representation is attractive because they explicitly capture body dynamics while being lightweight, privacy-preserving, and easy to integrate with motion capture and pose-estimation pipelines. A central challenge in this setting, however, is the scarcity of high-quality paired dance-music data, since collecting accurately synchronized pairs is costly and often constrained by copyright and performance rights. This makes it difficult to train end-to-end models solely from paired data. To address this issue, we propose a dance-conditioned music generation framework that efficiently exploits both unpaired and paired data. Our method combines pretrained unimodal encoders for motion and music, beat-guided contrastive pretraining to align their feature spaces, and a ControlNet-style conditioning module on top of a pretrained text-to-audio diffusion model. Experiments on AIST++ demonstrate that the proposed techniques improve both dance-music alignment and audio quality, as confirmed by quantitative and qualitative evaluations. Compared to a state-of-the-art method, our approach achieves superior dance alignment performance and competitive audio quality. Code is available at https://github.com/kmraven/AudioLDM-ControlNet .

While recent few-step sampling text-to-audio generation models like MeanAudio substantially accelerate generation by modeling average velocities, their strict one-step generation quality still lags significantly behind multi-step counterparts. We propose FdAudio to bridge this gap. Unlike MeanAudio, which relies solely on regression against target velocity fields, our post-training approach optimizes the final one-step distribution directly across pre-trained embedding spaces via a multi-representation Fréchet-distance (FD) loss. Crucially, to prevent the multi-step degradation that naive post-training with FD-loss causes, we introduce a MeanFlow consistency objective as a structural anchor. Results demonstrate that FdAudio establishes state-of-the-art one-step T2A generation quality among few-step systems, yielding an 11.4% reduction in FD score and a 28.8% improvement in FAD score relative to the baseline MeanAudio framework. Notably, we solve FD post-training's naive multi-step degradation issue by proposing the MeanFlow anchor, enabling a 25-step sampling path to maintain high-fidelity audio synthesis that matches or surpasses strong multi-step models at a fraction of their computational latency.

Understanding music requires understanding localized relationships across data modalities, e.g., how time in performance audio maps onto position in a score image. Yet supervision for such local correspondences is difficult to obtain-in practice, we often only have access to coarser global supervision like paired segments of audio and images. To address this gap, we propose FuSiLi (Fused Sinkhorn-Localized Similarity), a similarity score for multimodal contrastive learning operating directly on local image patch and audio frame features via Sinkhorn-based soft alignment. We show that FuSiLi (i) effectively learns local relationships, (ii) requires only global supervision, and (iii) retains the global alignment capabilities of conventional contrastive approaches. We fine-tune pretrained CLIP and CLAP encoders on pairs of raw sheet music images and audio using a hybrid contrastive objective combining FuSiLi with conventional global similarity. We evaluate on cross-modal retrieval and frame-level alignment tasks against a range of global and local baselines, showing that our approach outperforms them on local alignment while remaining competitive on retrieval.

Self-supervised learning for symbolic music has advanced largely through token-level pretraining, but such representations remain tied to tokenizer-specific sequences and often provide time-span-level embeddings only indirectly. In this paper, we propose ARIMA, a reconstruction-grounded latent predictive framework for symbolic music that learns compact window-based representations directly from data. ARIMA encodes each fixed-duration window into a continuous latent representation, trains a causal predictor with contrastive next-latent prediction, and grounds the encoder through structured reconstruction of music elements. This design preserves local musical details while modeling temporal progression across windows. We evaluate ARIMA on downstream tasks spanning various levels of music understanding. Results show that ARIMA is particularly efficient and effective on tasks involving harmonic, timing, and cross-performance retrieval, while remaining competitive with much larger baselines on other tasks. Ablations further show that next-latent prediction is essential for temporally integrated representations, and that structured reconstruction stabilizes latent learning without requiring explicit variance regularization. The code is at https://github.com/AndyWeasley2004/symbolic_music_wm.

Representation alignment (REPA) has been investigated to accelerate diffusion training, but we observe that regularizing intermediate representations in diffusion Transformers (DiT) may implicitly entangle latents and limit generative capacity. To address this issue, we propose ReGen, a hierarchical multi-prompt representation generation framework that jointly estimates multiple vector fields for both representations and data within a single diffusion model. We further introduce generalized flow matching (GFM) to improve the generalization of conditional flow matching (CFM). We validate ReGen on single-stage waveform diffusion models including neural audio codec and Wave-VAE. ReGen significantly improves waveform generation quality from highly compressed latent representations at 12.5 Hz. We also present ReGenVoice, a latent diffusion model (LDM)-based text-to-speech model that achieves strong speech intelligibility (WER) and speaker similarity (SIM) with a small dataset. Moreover, operating the LDM at 6.25 Hz with rich semantic and acoustic latent representation enables efficient training and sampling, requiring only 1 day of training on 4 GPUs and fast inference with an RTF of 0.08. Audio samples are available at https://regenvoice.github.io/demo/.

Video-to-audio (V2A) generation aims to synthesize realistic audio that is both semantically consistent with and temporally synchronized to a silent video. Despite recent progress, many methods still rely on multi-stage training, resulting in high computational costs and long runtimes, or transform visual input into text to leverage pretrained text-to-audio models, sacrificing fine-grained temporal cues. To overcome these limitations, we propose Flowley, an end-to-end, single-stage training architecture that produces soundtracks by combining visual features with textual prompts. Crucially, we introduce Progressive Soft-masked Cross-Attention, which embeds audio-visual synchronization directly within its attention mechanism, adding zero additional computational cost compared to standard attention layers. We further observe that existing V2A benchmarks lack sound-oriented descriptive captions, which can potentially degrade the quality of the synthesized audio. To remedy this, we propose SoundCap, a plug-and-play pipeline for creating detailed, sound-aware captions that guide the model. Remarkably, without integrating any pretrained audio-visual alignment modules, Flowley achieves state-of-the-art performance on VGGSound across multiple metrics. Moreover, by incorporating SoundCap, we further exceed the performance of the strongest existing close-sourced methods in terms of audio quality in the zero-shot setting.

Modern automated audio captioning systems pair a frozen audio encoder with a large language model (LLM) via a trainable projector, incurring the encoder's inference cost and bottlenecking the model through its fixed acoustic features. We present CARD, an encoder-free audio captioning model that removes the encoder at inference: a 13.2M projector feeds a frozen LLM with merged LoRA adapters, while the teacher used to train it is discarded. CARD distills a pretrained audio teacher (CLAP-HTSAT) into the model, but rather than injecting it into the LLM alone, it routes the teacher's representations across components: perceptual stages to the projector and semantic stages to the LLM. This placement improves CIDEr-D by +12.18 over an LLM-only distilled model on AudioCaps and by +5.21 on Clotho, reaching 55.4 against a 66.4 encoder-kept upper bound with no encoder at inference, showing that where a teacher's knowledge is placed matters as much as its presence.

With the proliferation of AI-generated content, sophisticated multimedia manipulation has raised critical concerns about malicious applications such as opinion manipulation and evidence fabrication, making Audio-Visual Temporal Forgery Localization (AV-TFL) an urgent research frontier. Existing TFL methods have progressed along two main paradigms: Transformer-based temporal modeling and channel-wise multimodal fusion. While these approaches capture temporal dependencies and cross-modal correlations, they process all frequency components indiscriminately, leading to overfitting on high-frequency noise and limited robustness under real-world data degradation. Through systematic frequency domain analysis, we find that forgery-discriminative patterns concentrate in the low/mid-frequency range (normalized frequency 0-0.15), while high-frequency components primarily introduce noise, removing them even improves detection performance by +1.4%. Based on this phenomenon, we propose UniSkip-Mamba, a frequency-aware State Space Model framework that incorporates Unified Multimodal Sequence Fusion to preserve cross-modal phase relationships, and Skip-Scanning Mamba Blocks that implement frequency-aware regularization through a novel Group-Scan-Merge mechanism, naturally biasing learning toward discriminative low/mid-frequency patterns (0-0.15) while maintaining representational completeness. We achieve state-of-the-art (SOTA) performance: 63.4% AP@0.95 on LAV-DF (+9.8% improvement) and 63.58% mAP on AV-Deepfake1M (+14.32% improvement), with 6x faster inference. Our frequency-domain analysis provides theoretical justification from a signal processing perspective for why skip-scanning inherently improves both accuracy and robustness.

Recognizing jazz standards from audio is a challenging form of tune-level music retrieval: different performances of the same standard may vary in tempo, key, arrangement, instrumentation, improvisational content, and even whether the head melody is present. We study this problem using a curated subset of the Jazz Trio Database designed for cross-performance standard recognition. We compare a from-scratch trained Harmonic CNN baseline against frozen pretrained music representations from recent music understanding foundation models, using both supervised probing and nearest-neighbor retrieval. Our results suggest that from-scratch spectrogram models overfit strongly to training performances, while pretrained embeddings provide better top-$k$ results but are sensitive to performer identity, which can be partially reduced with a lightweight contrastive projection. Our findings motivate jazz standard recognition as a useful stress test for music representation models and as a step toward retrieval-based standard identification. Project page: https://github.com/cagries/tipofmyear.

Some neural audio codecs disentangle speech into latent subspaces encoding content, speaker identity, and acoustics, enabling acoustic teleportation and voice conversion. Existing evaluations rely on cross-reconstruction quality, which cannot reliably detect leakage across partitions. We extend a probing based framework to assess disentanglement by regressing room-acoustic parameters (reverberation time, clarity, and direct-to-reverberant ratio) and classifying speaker identity, using the gap between intended and unintended partitions as the disentanglement measure. Applied to an acoustic teleportation codec, we find speaker identity is largely confined to its partition, while acoustics leak into the speech embeddings due to the training objective. Acoustic embeddings blindly estimate room parameters within 0.02 s of supervised baselines, indicating physically meaningful structure emerges without explicit supervision.

Diffusion-based text-to-audio (TTA) models achieve impressive synthesis quality but suffer from high inference latency due to iterative multi-step denoising. Existing one-step approaches alleviate this issue but still rely on paired text--audio data during distillation. To address these limitations, we propose SwiftAudio, a one-step TTA framework that performs audio-free distillation from a pretrained diffusion teacher using only text captions. Specifically, we adapt Variational Score Distillation (VSD) to the audio domain and introduce a temporal smoothness regularization objective to encourage coherent latent audio representations. This design enables the student model to inherit the teacher's generative prior without requiring paired audio supervision and allows effective training with only approximately 45K captions. Experiments on AudioCaps and Clotho demonstrate that SwiftAudio achieves state-of-the-art performance among strict one-step methods and substantially narrows the gap to multi-step diffusion systems. Project page: https://swiftaudio.org/

Diffusion Transformers (DiTs) have significantly advanced audio-driven portrait animation, but their high computational cost leads to substantial inference latency. Although training-free diffusion caching accelerates inference significant, existing methods are primarily developed for text-conditioned generation and overlook the spatial and modality imbalances inherent in audio-driven portrait animation. In this paper, we propose SyncCache, a training-free caching acceleration method tailored for DiT-based portrait animation that explicitly exploits asymmetric dynamics. Specifically, high-frequency dynamics driven by audio conditions and concentrated in human regions are more challenging and critical to cache and reuse than the low-frequency visual background in portrait animation. First, we introduce Spatially-Asymmetric Probing to prioritize error sensitivity in dynamic human region. Second, through Modality-Decoupled Caching, we bypass heavy DiT block by reusing stable inter-block residuals, while continuously recomputing lightweight audio blocks to preserve precise lip synchronization. Furthermore, we introduce a cache ratio to control cache capacity and formulate memory-adaptive cache selection as an offline dynamic programming problem without online overhead. Extensive experiments demonstrate that SyncCache achieves superior speed-quality trade-offs, delivering up to 4.12x acceleration on HunyuanVideo-Avatar and 3.75x on Wan-S2V with near-lossless visual fidelity and precise audio alignment.

Self-supervised learning enables audio representations that transfer across domains and tasks. We present BEST-RQ-2, an evolution of BEST-RQ that retains frozen randomprojection-based discrete targets while introducing a two-step contextualize-then-predict pretraining scheme. A ViT context encoder processes only the unmasked spectrogram regions, and a lightweight predictor infers targets for the masked regions; the predictor is discarded after pretraining. Replacing the original Conformer encoder with a ViT shifts performance across domains, slightly reducing speech performance while improving music and environmental sounds, with comparable average scores. The main improvement comes from decomposing masked prediction into separate contextualization and prediction stages. On the X-ARES and XARES-LLM benchmarks, BEST-RQ-2 consistently outperforms one-stage baselines in overall transfer while keeping inference compute unchanged. Code and model checkpoints are publicly available.

Recent advances in language--audio retrieval have been largely driven by contrastive dual-encoder architectures that align audio and text in a shared embedding space. While effective, existing retrieval embeddings are primarily optimized for audio--caption matching, limiting their ability to support diverse retrieval objectives and controllable retrieval behaviors. We present ALM2Vec, a universal audio embedding framework derived from pretrained large audio--language models (LALMs). By transferring the audio understanding, instruction-following, and reasoning capabilities acquired through large-scale multimodal training, ALM2Vec learns a unified embedding space for retrieval across audio domains and task types. Beyond conventional text--audio retrieval, ALM2Vec incorporates natural-language instructions into the embedding process, enabling instruction-aware retrieval for scenarios such as audio question answering and aspect-conditioned retrieval. Experimental results show that ALM2Vec achieves competitive performance on standard audio and speech retrieval benchmarks while exhibiting promising compositional and controllable retrieval capabilities, highlighting its potential as a unified audio embedding model for retrieval across domains, tasks, and user intents.

Discrete audio representations have become increasingly popular for building multimodal text-audio systems and integrating audio capabilities into Large Language Models (LLMs). However, numerous studies report performance degradation on various downstream tasks due to information loss during discretization. To address this, we propose a novel approach combining temporally compressed discrete tokens with dimensionality-reduced continuous residuals. Our framework consists of a hybridized discrete-continuous focal modulation codec and a hybrid Transformer. This architecture performs autoregressive inference in the discrete domain, coupled with non-autoregressive prediction and continuous residual upsampling. Experimental results show that our approach significantly improves the retention of speaker characteristics compared to discrete-only methods, while simultaneously reducing the number of required autoregressive steps.

While pre-trained models excel in specialized tasks, learning universal representations across diverse acoustic domains remains challenging. To address this, we propose WQ-Fusion, a robust dual-encoder framework for cross-domain audio representation learning. Overcoming the limitations of static concatenation, WQ-Fusion integrates whisper and qwen via an Adaptive Feature Modulation module and a novel element-wise gated attention mechanism. This design enables dynamic feature selection, allowing the model to selectively emphasize relevant acoustic and semantic dimensions. Extensive experiments on the Interspeech 2026 Audio Encoder Capability Challenge (Track A) benchmark demonstrate that by effectively routing heterogeneous information, WQ-Fusion achieves a superior overall score of 0.836, significantly outperforming the strongest single-encoder baseline.

Self-supervised learning (SSL) has emerged as an essential paradigm for music information retrieval (MIR). While current SSL models achieve state-of-the-art performance across various MIR tasks, they typically treat audio as 1D sequences, either operating on time-domain waveforms or on flattened time-frequency-domain spectrograms. This discards the rich spatial and structural information in time-frequency representations and overlooks a fundamental intuition in music production. In particular, music is naturally represented as time-frequency grids in MIDI-based workflows, a structure that tightly corresponds to 2D spectrograms and inherently makes many MIR tasks trivial. Motivated by this intuition, we propose PupuM2D, a musical Masked Modeling Duo (M2D) model that is trained directly on 2D music spectrograms. Instead of applying masked language modeling (MLM) to 1D sequences, PupuM2D learns robust representations by predicting the latent embeddings of masked 2D music spectrogram patches from unmasked contexts. To optimally adapt such a framework to music signals, we also apply domain-specific modifications to model architecture, training scheme, and inference paradigm, with comprehensive ablation studies showing their effectiveness. Evaluations on the MARBLEv2 benchmark show that PupuM2D outperforms the sequence-based SSL models across multiple MIR tasks in linear probing. Additionally, case studies of the attention maps also confirm that PupuM2D captures musically meaningful patterns within the 2D time-frequency domain. Codes and checkpoints are available at: https://www.yichenggu.com/PupuM2D/.

Unifying speech, sound, and music generation in one model is hindered by tradeoffs between fidelity, end-to-end training, in-context conditioning, and variable-length synthesis that no current paradigm fully resolves. To address this challenge, we present AudioCALM, a universal audio generation framework that extends autoregressive (AR) next-token prediction from discrete tokens to continuous audio latents: a thin flow-matching head replaces the softmax to predict rectified-flow velocities at each position, and a block-causal AR-Flow attention pattern produces arbitrary-length output. Joint training of multiple audio generation tasks faces an asymmetric text--audio mismatch: speech transcripts align to specific time spans and demand tight, time-aligned attention, whereas sound and music captions describe only overall semantics and rely on diffuse, holistic attention; mixing the two disproportionately degrades sound and music generation. We address this asymmetry at two levels: a data reformulation strategy that unifies all three tasks under a single description-style conditioning interface, and a novel architecture Asymmetric Mixture-of-Modality-Experts (A-MoME), which adds a dedicated residual expert for speech while sound and music share the backbone, incurring no inference overhead on non-speech inputs. Experimental results demonstrate that AudioCALM matches modality-specific state-of-the-art and outperforms prior unified baselines on speech, sound, and music generation benchmarks.

Continuous Variational Autoencoders (VAEs) serve as the fundamental continuous tokenizer for modern neural audio generation systems, enabling high-fidelity reconstruction while providing a compact, smooth latent space for downstream generative priors. However, continuous VAEs face a fundamental conflict among compression rate, reconstruction fidelity, and latent space topology, which we formalize as the Rate-Distortion-Regularity Trilemma. This trilemma stems from a topological mismatch: the isotropic Gaussian prior in standard VAEs imposes a flat latent geometry that fails to accommodate audio's hierarchical nature, where low-frequency components are structured and compressible while high-frequency components are stochastic and incompressible, leading to disordered information packing in which crucial semantic features are interleaved with high-entropy noise. To address this challenge, we propose Structured Topology-Aware Regularization (STAR), a general training strategy that reshapes latent space geometry by imposing a growth-based constraint field, routing structural and textural information into channel subspaces with matching capacities. STAR is applicable to any VAE architecture and effectively resolves the trilemma, as demonstrated in CNN-based VAEs. We further present STAR-VAE, which combines STAR with a hybrid CNN-Mamba architecture for local feature extraction and linear-complexity global context modeling, and STAR-Gen, an LLM-based Flow Matching framework that leverages STAR-VAE's structured latent space for high-fidelity generation without vector quantization artifacts. Experiments across diverse audio domains show that STAR-VAE achieves state-of-the-art reconstruction fidelity and enhanced semantic information preservation, while the structured latent space improves both traditional diffusion models and STAR-Gen for text-to-audio generation.

Generating a coherent multi-shot video requires structured cross-shot memory. Subject appearance, scene context, and speaker identity must persist across cuts. Existing approaches either train end-to-end over fixed-length sequences and cannot scale, generate shot-by-shot with memory banks that grow linearly, or orchestrate pretrained generators under an LLM planner without a multi-shot-aware backbone. We present UnityShots, a memory-driven multi-shot audio-video generation system built on LTX-2.3, trained on annotated cinematic and music-video shots. The video stream maintains two fixed-size slots, a long-term memory (LTM) slot anchored to the opening shot and a short-term memory (STM) slot holding the immediately preceding tail, both updated at every cut by a boundary-conditioned gate that fuses visual cut probability and beat-tracker signals. The audio stream injects a reference speaker token at every shot to preserve vocal timbre without a sliding audio bank. A discrete cut-type prior, learned through AdaLN, becomes an inference-time control knob over transition strength. We release a benchmark of $200$ multi-cultural multi-shot sequences spanning six ethnic regions and ten or more languages, with per-shot reference identities, reference audio, and per-boundary transition labels. Evaluated across I2V, T2V, and R2V conditioning modes, UnityShots leads open-source baselines on every cross-shot coherence metric and matches the strongest closed-source system on the multi-shot axes.

Fine-tuning Transformer-based foundation models has become the dominant strategy for domain adaptation in audio and speech processing. To reduce the computational and memory costs of this process, parameter-efficient transfer learning (PETL) methods have been widely explored. Meanwhile, Mamba, a recent state-space model, has emerged as a promising alternative to Transformers for sequence modeling. In this work, we present MambAdapter, a parameter-efficient transfer learning approach that integrates Mamba into low-rank bottleneck adapters. Our design combines parameter sharing across adapters with the injection of a lightweight Mamba module, enabling more effective modeling of audio features. We demonstrate that MambAdapter matches or outperforms strong PETL baselines on four audio classification tasks and five speech recognition languages, even when operating under reduced parameter budgets.

We present MaskedFOP, a system for closed-set polyglot speaker identification under two simultaneous challenges: the face modality is entirely absent at test time, and speech comes from Urdu, a language unseen during face-supervised training. The system integrates three complementary mechanisms. First, a modality-dropout dual-head network built on the Fusion and Orthogonal Projection (FOP) backbone forces the audio branch to develop independent discriminative power via per-sample face masking, ensuring that the audio encoder remains capable when face is absent. Second, two MaskedFOP instances trained on Emphasized Channel Attention, Propagation, and Aggregation in Time Delay Neural Network (ECAPA-TDNN) features with different random seeds produce complementary audio embeddings whose element-wise average yields a more robust 512-dimensional representation than any single model. Third, a two-stage cascaded inference procedure first refines multimodal labels through a fused Graph Label Propagation (GLP) pass (Stage 1), then assigns audio-only labels by cosine nearest-centroid (Stage 2), replacing the 70 sparse training prototypes with ~1,500 in-domain test-set centroids from Stage 1. Submitted to the POLY-SIM 2026 Grand Challenge, the system achieves a mean P-accuracy of 0.9989, placing first among all submissions evaluated on the challenge server. An ablation identifies cascaded seeding as the single largest gain (>8 pp on P4/P6). The code is available at https://github.com/Ayoub-Elkhouzari/POLY-SIM2026.

Self-supervised learning advances audio representation for multimedia analysis. However, prevailing data-centric approaches rely on massive real-world corpora, increasing training costs, curation burdens, and privacy barriers. To address this, we present AudioPG, a procedural synthesis framework eliminating real audio recordings during pre-training. AudioPG trains a Transformer-based masked autoencoder on waveforms generated on-the-fly from basic acoustic primitives and composition rules. The encoder transfers effectively to real audio benchmarks, achieving 90.60% accuracy on ESC-50, 0.546 mAP on FSD50K, 88.17% on UrbanSound8K, and 97.03% on Speech Commands V2. Notably, pre-training completes in under 20 minutes on a single GPU. Latent space analysis reveals physical factors, including fundamental frequency and relative intensity, emerge in orthogonal subspaces, making representations linearly decodable. These results establish procedural synthesis as an efficient, interpretable pre-training signal when large-scale corpora are unavailable. Our code is available at: https://github.com/Freyliu0516/audioPG.

Audio-visual Generalized Zero-shot Learning (AV-GZSL) is a challenging task that aims to classify both seen and unseen objects or scenes by integrating data from audio and visual modalities. Recent studies primarily focus on fusing or aligning audio and visual features to generate more informative audio-visual embeddings. Also, aligning the audio-visual and textual features of most existing methods relies solely on the optimization objectives. However, those methods neglect the inherent distributional and structural differences between audio-visual and textual modalities. To address this limitation, we propose a method termed Aligning Hierarchical Standardized Embedding (AHSE), which enables hierarchical alignment of standardized audio-visual and textual embeddings within a shared embedding space. Specifically, we first apply Z-score standardization to the fused audio-visual and textual embeddings to reduce distributional mismatches. We then introduce a hierarchical alignment strategy that minimizes discrepancies at the semantic, class, and batch levels, thereby constructing a more robust and well-structured embedding space. This strategy not only preserves semantic and inter-class relationships but also maintains spatial consistency within each batch. Extensive experiments on three benchmark datasets: VGGSound-GZSL, UCF-GZSL, and ActivityNet-GZSL, demonstrate that AHSE achieves competitive performance in zero-shot learning.

While song generation and singing voice conversion (SVC) have evolved significantly, they have long been developed isolated: the former lacks zero-shot speaker cloning, while the latter overlooks vocal-accompaniment synergy. To bridge this gap, we propose UniSinger, the first end-to-end framework unifying speaker cloning song generation and accompaniment co-generation SVC. Building on the multimodal diffusion transformer, we construct a unified speaker embedding space transferring speaker representation from SVC to song generation, endowing fine-grained cross-task timbre control. To mitigate multi-task optimization conflicts, we design a curriculum learning strategy using task-specific modality masking to guide the model to gradually master the generative mechanisms among semantic content, vocal timbre, and accompaniment. Experiments show state-of-the-art performance on both tasks and realizes complementary benefits, offering new possibilities for intelligent music production.

Full-duplex spoken dialogue models allow voice agents to listen and speak concurrently, enabling natural interaction with real-time overlap. However, end-to-end dual-channel models that jointly encode user and agent streams may degrade in realistic acoustic environments: interfering speakers leaking into the user microphone can be encoded as part of the user query, corrupting the LLM's conditioning and causing unstable turn-taking and reduced response quality. We propose Interference-Resilient Adaptive Fusion (IRAF), a lightweight, streaming-compatible module that modulates the contribution of user audio to the LLM frame by frame. IRAF predicts a scalar reliability gate from target-speaker and user audio embeddings and rescales user representations before fusion with agent embeddings. Experiments on MS-MARCO and InstructS2S-200K show consistent gains in response quality and full-duplex interaction under interfering-speaker conditions.

Joint audio-video generation aims to synthesize realistic audio-video pairs that are both semantically aligned with text prompts and precisely synchronized. While existing joint audio-video generation models often require substantial training resources to improve fidelity, Inference-Time Scaling (ITS) has recently emerged as a promising training-free alternative in single-modality domains. However, extending ITS from a single modality to multimodal domains is non-trivial, as it requires balancing multiple heterogeneous objectives. In this paper, we present the first comprehensive study of ITS for joint audio-video generation. We first demonstrate that a multi-verifier framework is essential to address the limitations of single-objective guidance, including asymmetric performance trade-offs and verifier hacking. Through systematic analysis, we then identify an optimal multi-verifier combination that yields balanced improvements across all quality dimensions. Finally, to effectively aggregate diverse reward signals, we propose Adaptive Reward Weighting (ARW), a novel test-time optimization algorithm. ARW treats reward aggregation as an online optimization problem, utilizing learnable parameters to calibrate reward variances without requiring prior knowledge of reward distributions, thereby ensuring robust multi-objective selection. Experimental results on VGGSound and JavisBench-mini benchmarks demonstrate that our framework significantly enhances semantic alignment, perceptual quality, and audio-visual synchronization of generated outputs. Synthesized samples and code are available on the project page: https://jung-jaemin.github.io/ITS-AVGen-Proj.

Multi-pitch estimation (MPE) typically predicts which pitches are active in a mixture, but not which instrument or source produced them. This paper investigates a lightweight slot-attention framework for multi-instrument MPE (MI-MPE), where a mixture CQT is mapped to an unordered set of source-like pitch maps. The model uses permutation-invariant Hungarian matching to avoid fixed output semantics and treats the number of slots as an upper bound on the number of active sources. We further study two modular extensions: a self-supervised timbre encoder that provides training-time targets for slot-level timbre embeddings, and a polyphony branch that regularizes the pitch density of mixture- and slot-level predictions. Experiments show that Hungarian matching substantially improves instrument family decomposition on URMP. Stem-level prediction remains more challenging: timbre and polyphony supervision improve selected configurations, but do not consistently resolve source assignment. The results suggest that slot-based architectures are a promising direction for source-aware MPE, while highlighting the need to couple auxiliary musical cues to slot identity more carefully.

We present UNISON, a latent diffusion framework that unifies speech generation, sound generation, and audio editing within a single model. A single model handles text-to-audio, text-to-speech, zero-shot speaker cloning, mixed speech-and-sound generation, scene-level audio editing, speech-in-scene editing, and timed temporal composition, all of which share a single set of weights. Our architecture features two core designs: (1) Layer-wise deep LLM fusion, which injects hidden states from uniformly sampled layers of a frozen MLLM into corresponding MM-DiT blocks via learned projections, providing depth-matched semantic conditioning that improves instruction following over single-layer baselines; and (2) a unified multi-task architecture where task identity is encoded solely by a channel-wise mask and source audio is provided through VAE-encoded channel concatenation. Training is stabilized by an online GPU-side multi-task data synthesis pipeline with task-homogeneous batching and a two-stage curriculum. With 621M--732M trainable parameters, UNISON achieves results competitive with or exceeding task-specialist models across evaluated domains, while being roughly $4\times$ smaller than comparable unified systems.

Real-time and accurate spatial audio generation is pivotal for delivering an immersive experience. However, existing spatial audio synthesis technologies are often encumbered by a tradeoff between generation quality and high inference latency, as well as difficulty in capturing precise spatial information from multimodal inputs. To address these challenges, we propose SwanSphere, a unified streaming framework for high-fidelity spatial audio generation from panoramic videos and text prompts. SwanSphere mainly makes the following contributions: 1) We introduce a causal autoregressive diffusion transformer architecture that enables streaming high-quality spatial audio generation. 2) We design a Spatial Video-Audio Contrastive (SVAC) learning strategy to align the video encoder with the acoustic domain, and further employ a multi-objective online direct preference optimization (ODPO) scheme, resulting in strong spatial perception and robust multimodal spatial audio synthesis. 3) To alleviate the current scarcity of spatial audio datasets, we also develop an automated annotation pipeline for generating detailed spatial captions. Experimental results demonstrate that SwanSphere achieves superior performance in both video-to-spatial and text-to-spatial audio generation tasks. Demos can be found at: https://swanaigc.github.io.

Audio generation has long been fragmented, with speech, music, and sound effects produced by domain-specific models that fail to jointly generate coherent audio scenes from a single description. The key obstacles are insufficient fine-grained supervision for real-world mixed audio and limited acoustic representations for modeling concurrent audio components. We present Dasheng AudioGen, a unified framework for generating general mixed-audio scenes from text. Dasheng AudioGen introduces structured multi-view captions, which explicitly decouple complex acoustic scenes into complementary description views, thereby enabling fine-grained control over audio layers. Furthermore, we employ a high-dimensional unified semantic-acoustic representation as the shared latent space. It injects semantic priors that facilitate cross-modal training convergence, while its high-dimensional feature space provides sufficient capacity to disentangle and fuse concurrent audio components effectively. With these designs, a simple flow-matching DiT achieves high-quality end-to-end audio scene generation. We also establish a comprehensive evaluation pipeline for audio scene generation. Experiments demonstrate that Dasheng AudioGen achieves performance approaching real-world recordings in mixed-audio categories, while remaining competitive with specialized models in single-type generation tasks. Demos are available at https://nieeim.github.io/Dasheng-AudioGen-Web/.

Current music similarity models typically compute a single, monolithic score, entangling distinct musical dimensions like melody, rhythm, and timbre. This limits user control and interpretability, making it impossible to execute nuanced queries. We introduce MERIT, a framework for learning disentangled, factor-specific music representations tailored to these three core dimensions. To overcome the lack of isolated musical variations in real-world audio, we use a novel training strategy that uses conditional audio generation and source-separated stems to strongly encourage single-factor variation in training data. Our evaluations demonstrate strong factor-wise disentanglement. Each head responds strongly to its intended perceptual dimension while remaining near chance on the others, a representational property that holds across both the synthetic training domain and independent real-world audio.

Large-batch Contrastive Learning (CL), the foundation of modern representation learning, is fundamentally incompatible with the volatile resource constraints of edge devices. This conflict creates a dilemma: small on-device batches degrade model fidelity, while offloading to the cloud incurs unacceptable latency and bandwidth costs. Existing solutions often resort to static model compression, which fails to adapt to the runtime volatility of edge environments. To bridge this gap, we present StreamSplit, a novel framework that makes streaming CL practical across heterogeneous ARM client platforms. StreamSplit resolves the conflict between the continuous nature of ambient audio and the discrete batch requirements of models like CLAP and COLA. We introduce: (1) A distribution-based streaming framework that decouples representation quality from local batch size, using a tractable Hybrid Loss to maintain fidelity despite sparse updates; and (2) An Uncertainty-Guided Adaptive Splitter that uses a lightweight Reinforcement Learning (RL) policy to dynamically partition computation. Uniquely, this policy integrates real-time resource monitoring with embedding ambiguity to optimize the accuracy-latency trade-off on the fly. We evaluate StreamSplit on diverse hardware, from the resource-constrained Raspberry Pi 4 to the high-performance Apple M2. Results demonstrate that StreamSplit reduces per-sample latency by up to 4.7x and cuts bandwidth by 77.1% and energy by 52.3% compared to server-centric baselines. Crucially, it maintains accuracy within 2.2% of server-centric models, proving that adaptive, distributed learning is a viable path for the modern edge ecosystem.

Current open-source diffusion models struggle to generate stable and synchronized audio-visual content, particularly in scenarios demanding complex semantic reasoning. The root cause is that existing methods rely on coarse text embeddings from off-the-shelf encoders to guide audio-video denoising, which discards fine-grained semantics and, critically, lacks a shared long-horizon plan, leading to uncoordinated denoising trajectories and fragile cross-modal alignment. We propose Baton, the first framework that introduces explicit semantic planning into joint video-audio generation. Our key insight is that complementing coarse text guidance with semantically rich, modality-aware planned tokens, jointly reasoned and mutually aligned before denoising, can simultaneously restore fine-grained semantic detail and establish a shared blueprint that coordinates both audio and video denoising trajectories. Concretely, Baton first introduces the VA-Planner, a multimodal language model equipped with dual semantic alignment towers, where learnable queries cross-attend to both video and audio features to produce a pair of semantically aligned video and audio planned tokens as keyframe-level blueprints. These planned tokens are injected into the diffusion backbone via cross-attention layers, providing temporally grounded guidance complementary to coarse text embeddings. Since planned tokens do not share one-to-one spatial-temporal correspondence with diffusion latents, we further propose Relative Semantic RoPE, a relative positional encoding that maps planned tokens and latents into a shared spatial-temporal coordinate frame, enabling each latent to accurately attend to its positionally corresponding semantic cues. Experiments on benchmarks show the effectiveness of Baton both qualitatively and quantitatively.

Modern audio generation predominantly relies on latent-space compression, introducing additional complexity and potential information loss. In this work, we challenge this paradigm with WavFlow, a framework that generates high-fidelity audio directly in raw waveform space without intermediate representations. To overcome the inherent difficulties of modeling high-dimensional and low-energy signals, we reshape audio into 2D token grids through waveform patchify and introduce amplitude lifting to align signal scales, enabling stable optimization via direct x-prediction in flow matching. To capture complex semantic alignment and temporal synchronization, we leverage an automated data pipeline to curate 5 million high-quality video-text-audio triplets, allowing the model to learn fine-grained acoustic patterns from scratch. Experimental results show that WavFlow achieves competitive performance on the video-to-audio benchmark VGGSound (FD_PaSST: 59.98, IS_PANNs: 17.40, DeSync: 0.44) and the text-to-audio benchmark AudioCaps (FD_PANNs: 10.63, IS_PANNs: 12.62), matching or exceeding the performance of established latent-based methods. Our work demonstrates that intermediate compression is not a prerequisite for high-quality synthesis, offering a simpler and more scalable alternative for multimodal audio generation.

We investigate Counterfactual Video Foley Generation, which aims to adopt a sound-source identity that contradicts the visual evidence while remaining temporally synchronized to a silent video. Existing Video&Text-to-Audio (VT2A) models struggle with this, often remaining anchored to the visually implied sound source when video and text contents disagree. We present ConterFlow, an inference-time dual-phase sampling scheme for pretrained flow-matching VT2A models. Phase 1 builds a video-derived temporal structure while suppressing the visually implied source; Phase 2 drops video conditioning to focus entirely on shaping audio timbre toward the target prompt. ConterFlow substantially improves counterfactual Video Foley generation compared to naive negative prompting and state-of-the-art baselines. To evaluate replacement quality, we propose a metric leveraging a text-audio co-embedding space to measure both target-prompt evidence and residual visually implied source leakage. Video demonstrations and code are available at https://gyubin-lee.github.io/counterflow-demo/

The landscape of joint audio and video generation has been fundamentally transformed by the advent of powerful foundation models. Despite these strides, achieving cohesive multimodal customization for the simultaneous preservation of visual identities and vocal timbres across multiple interacting subjects remains largely underexplored. To bridge this gap, we present Omni-Customizer, an end-to-end framework targeted at the precise binding and seamless fusion of multimodal identity information. Specifically, we introduce an Omni-Context Fusion (OCF) module that effectively enriches the base textual prompt with dense, multimodal identity cues, along with a Masked TTS Cross-Attention (MTP-CA) mechanism explicitly designed to prevent the severe "speech leakage" problem. Within this architecture, we propose Semantic-Anchored Multimodal RoPE (SA-MRoPE) to anchor visual and audio reference tokens, along with TTS embeddings, to their corresponding semantic descriptions, enabling structured multimodal fusion and robust identity binding. Furthermore, we devise a comprehensive training strategy that incorporates interleaved audio-video scheduling to rapidly adapt the audio branch to multilingual scenarios without degrading foundational priors, and a progressive in-pair to cross-pair curriculum to facilitate the learning of high-level and robust identity features. Extensive experiments demonstrate that Omni-Customizer achieves state-of-the-art performance in dual-modal customized generation, excelling across visual identity similarity, timbre consistency, precise audio-video synchronization, and overall video-audio fidelity.

Latent diffusion models have emerged as the dominant paradigm for many generation tasks including audio generation such as text-to-audio, text-to-music and text-to-speech. A key component of latent diffusion is an autoencoder (VAE) that compresses high-dimensional signals into a low frame rate continuous representation that is conducive for downstream prediction. Regularizing these VAEs is challenging, as there is a trade-off between over-regularized (poor output quality) and under-regularized (difficult to predict) latent representations. We propose a framework for studying this trade-off through compression and train Audio VAEs at specific bitrates via target-KL regularization. This allows direct comparison to well-studied discrete neural audio codec models, and the construction of rate-distortion curves for audio VAEs. We evaluate the impact of target-KL regularization on text-to-sound generation and find that sweeping compression rates is helpful in identifying the optimal generation setting.

Motion-centric video editing remains difficult for large generative video models, which often respond well to appearance changes but struggle to produce specific, localized actions or state transitions in an existing clip. We introduce Sound Sparks Motion, a training-free framework that enables motion editing in an audio-visual video generation model by tuning its internal multimodal conditioning signals at test time. Rather than modifying model weights, our method tunes only two lightweight variables: an audio latent derived from the source video and a residual perturbation in the text-conditioning. We find that this combination can encourage motion edits that the underlying model often struggles to realize under prompt-only control. Since there is no direct way to evaluate temporal alignment between text and motion, we guide the tuning process using a vision-language model that provides feedback indicating whether the intended motion appears in the generated video. This simple supervision yields an effective semantic objective for motion editing, while regularization and perceptual-temporal constraints help preserve content and visual quality. Beyond per-video tuning, we show that the learned latent controls are transferable across videos, suggesting that they capture reusable motion-edit directions rather than overfitting to a single example. Our results highlight multimodal conditioning tuning, particularly through the audio pathway, as a promising direction for motion-aware video editing, and suggest that test-time tuning can serve as a lightweight probing mechanism that helps reveal latent motion controls embedded in the model's multimodal conditioning. Code and data are available via our project page: https://amirhossein-razlighi.github.io/Sound_Sparks_Motion/

Audio self-supervised learning (SSL) aims to learn general-purpose representations from large-scale unlabeled audio data. While recent advances have been driven mainly by generative reconstruction objectives, contrastive approaches remain less explored, partly due to the difficulty of designing effective audio augmentations and the large batch sizes required for contrastive pre-training. We introduce \textbf{AudioMosaic}, a contrastive learning-based audio encoder for general audio understanding. During pre-training, AudioMosaic constructs positive pairs by applying structured time-frequency masking to spectrogram patches, which reduces memory usage and enables efficient large-batch training. Compared with generative approaches, the AudioMosaic encoder learns more discriminative utterance-level representations that demonstrate strong transferability across datasets, domains, and acoustic conditions. Extensive experiments show that AudioMosaic achieves state-of-the-art performance on several standard audio benchmarks under both linear probing and fine-tuning. We further show that integrating the pretrained AudioMosaic encoder into audio-language models improves performance on audio-language tasks. The code is publicly available in our \href{https://github.com/HanxunH/AudioMosaic}{GitHub repository}.

Recent advances in joint audio-video generation have been remarkable, yet real-world applications demand strong per-modality fidelity, cross-modal alignment, and fine-grained synchronization. Reinforcement Learning (RL) offers a promising paradigm, but its extension to multi-objective and multi-modal joint audio-video generation remains unexplored. Notably, our in-depth analysis first reveals that the primary obstacles to applying RL in this stem from: (i) multi-objective advantages inconsistency, where the advantages of multimodal outputs are not always consistent within a group; (ii) multi-modal gradients imbalance, where video-branch gradients leak into shallow audio layers responsible for intra-modal generation; (iii) uniform credit assignment, where fine-grained cross-modal alignment regions fail to get efficient exploration. These shortcomings suggest that vanilla RL fine-tuning strategy with a single global advantage often leads to suboptimal results. To address these challenges, we propose OmniNFT, a novel modality-aware online diffusion RL framework with three key innovations: (1) Modality-wise advantage routing, which routes independent per-reward advantages to their respective modality generation branches. (2) Layer-wise gradient surgery, which selectively detaches video-branch gradients on shallow audio layers while retaining those for cross-modal interaction layers. (3) Region-wise loss reweighting, which modulates policy optimization toward critical regions related to audio-video synchronization and fine-grained alignment. Extensive experiments on JavisBench and VBench with the LTX-2 backbone demonstrate that OmniNFT achieves comprehensive improvements in audio and video perceptual quality, cross-modal alignment, and audio-video synchronization.

Recent advancements in video-audio joint generation have achieved remarkable success in semantic correspondence. However, achieving precise temporal synchronization, which requires fine-grained alignment between audio events and their visual triggers, remains a challenging problem. The post-training method for joint generation is largely dominated by Supervised Fine-Tuning, but the commonly used Mean Squared Error loss provides insufficient penalties for subtle temporal misalignments. Direct Preference Optimization offers an alternative by introducing explicit misaligned counterparts to better improve temporal sensitivity. In this paper we propose a post-training framework SyncDPO, leveraging DPO to improve the temporal sensitivity of V-A joint generation. Conventional DPO pipelines typically depend on costly sampling-and-ranking procedures to construct preference pairs, resulting in substantial computational cost. To improve efficiency, we introduce a suite of on-the-fly rule-based negative construction strategies that distort temporal structures without incurring additional annotation or sampling. We demonstrate that the temporal alignment capability can be effectively reinforced by providing explicit negative supervision through temporally distorted V-A pairs. Accordingly, we implement a curriculum learning strategy that progressively increases the difficulty of negative samples, transitioning from coarse misalignment to subtle inconsistencies. Extensive objective and subjective experiments across four diverse benchmarks, ranging from ambient sound videos to human speech videos, demonstrate that SyncDPO significantly outperforms other methods in improving model's temporal alignment capability. It also demonstrates superior generalization on out-of-distribution benchmark by capturing intrinsic motion-sound dynamics. Demo and code is available in https://syncdpo.github.io/syncdpo/.

Audio-visual understanding requires effective alignment between heterogeneous modalities, yet cross-modal correspondence remains challenging when temporally aligned audio and visual signals lack clear semantic correspondence. We propose to use text as a semantic anchor for audio-visual representation learning. To this end, we introduce a parameter-efficient adaptation framework built on frozen audio and visual encoders, centered on Text-Bridged Audio-Visual Adapter (TB-AVA), which enables text-mediated interaction between audio and visual streams. At the core of TB-AVA, Gated Semantic Modulation (GSM) selectively modulates feature channels based on text-inferred semantic relevance. We evaluate the proposed approach on multiple benchmarks, including AVE, AVS, and AVVP, where the proposed framework achieves state-of-the-art performance, demonstrating text as an effective semantic anchor for parameter-efficient fine-tuning (PEFT) in audio-visual learning.