Daily Papers

This paper presents a configurable version of Extreme Bandwidth Extension Network (EBEN), a Generative Adversarial Network (GAN) designed to improve audio captured with body-conduction microphones. We show that although these microphones significantly reduce environmental noise, this insensitivity to ambient noise happens at the expense of the bandwidth of the speech signal acquired by the wearer of the devices. The obtained captured signals therefore require the use of signal enhancement techniques to recover the full-bandwidth speech. EBEN leverages a configurable multiband decomposition of the raw captured signal. This decomposition allows the data time domain dimensions to be reduced and the full band signal to be better controlled. The multiband representation of the captured signal is processed through a U-Net-like model, which combines feature and adversarial losses to generate an enhanced speech signal. We also benefit from this original representation in the proposed configurable discriminators architecture. The configurable EBEN approach can achieve state-of-the-art enhancement results on synthetic data with a lightweight generator that allows real-time processing.

In this paper, we present Extreme Bandwidth Extension Network (EBEN), a Generative Adversarial network (GAN) that enhances audio measured with body-conduction microphones. This type of capture equipment suppresses ambient noise at the expense of speech bandwidth, thereby requiring signal enhancement techniques to recover the wideband speech signal. EBEN leverages a multiband decomposition of the raw captured speech to decrease the data time-domain dimensions, and give better control over the full-band signal. This multiband representation is fed to a U-Net-like model, which adopts a combination of feature and adversarial losses to recover an enhanced audio signal. We also benefit from this original representation in the proposed discriminator architecture. Our approach can achieve state-of-the-art results with a lightweight generator and real-time compatible operation.

Deep generative models applied to audio have improved by a large margin the state-of-the-art in many speech and music related tasks. However, as raw waveform modelling remains an inherently difficult task, audio generative models are either computationally intensive, rely on low sampling rates, are complicated to control or restrict the nature of possible signals. Among those models, Variational AutoEncoders (VAE) give control over the generation by exposing latent variables, although they usually suffer from low synthesis quality. In this paper, we introduce a Realtime Audio Variational autoEncoder (RAVE) allowing both fast and high-quality audio waveform synthesis. We introduce a novel two-stage training procedure, namely representation learning and adversarial fine-tuning. We show that using a post-training analysis of the latent space allows a direct control between the reconstruction fidelity and the representation compactness. By leveraging a multi-band decomposition of the raw waveform, we show that our model is the first able to generate 48kHz audio signals, while simultaneously running 20 times faster than real-time on a standard laptop CPU. We evaluate synthesis quality using both quantitative and qualitative subjective experiments and show the superiority of our approach compared to existing models. Finally, we present applications of our model for timbre transfer and signal compression. All of our source code and audio examples are publicly available.

Recently, multi-band spectrogram-based approaches such as Band-Split RNN (BSRNN) have demonstrated promising results for music source separation. In our recent work, we introduce the BS-RoFormer model which inherits the idea of band-split scheme in BSRNN at the front-end, and then uses the hierarchical Transformer with Rotary Position Embedding (RoPE) to model the inner-band and inter-band sequences for multi-band mask estimation. This model has achieved state-of-the-art performance, but the band-split scheme is defined empirically, without analytic supports from the literature. In this paper, we propose Mel-RoFormer, which adopts the Mel-band scheme that maps the frequency bins into overlapped subbands according to the mel scale. In contract, the band-split mapping in BSRNN and BS-RoFormer is non-overlapping and designed based on heuristics. Using the MUSDB18HQ dataset for experiments, we demonstrate that Mel-RoFormer outperforms BS-RoFormer in the separation tasks of vocals, drums, and other stems.

The performance of music source separation (MSS) models has been greatly improved in recent years thanks to the development of novel neural network architectures and training pipelines. However, recent model designs for MSS were mainly motivated by other audio processing tasks or other research fields, while the intrinsic characteristics and patterns of the music signals were not fully discovered. In this paper, we propose band-split RNN (BSRNN), a frequency-domain model that explictly splits the spectrogram of the mixture into subbands and perform interleaved band-level and sequence-level modeling. The choices of the bandwidths of the subbands can be determined by a priori knowledge or expert knowledge on the characteristics of the target source in order to optimize the performance on a certain type of target musical instrument. To better make use of unlabeled data, we also describe a semi-supervised model finetuning pipeline that can further improve the performance of the model. Experiment results show that BSRNN trained only on MUSDB18-HQ dataset significantly outperforms several top-ranking models in Music Demixing (MDX) Challenge 2021, and the semi-supervised finetuning stage further improves the performance on all four instrument tracks.

Deep learning-based methods have made significant achievements in music source separation. However, obtaining good results while maintaining a low model complexity remains challenging in super wide-band music source separation. Previous works either overlook the differences in subbands or inadequately address the problem of information loss when generating subband features. In this paper, we propose SCNet, a novel frequency-domain network to explicitly split the spectrogram of the mixture into several subbands and introduce a sparsity-based encoder to model different frequency bands. We use a higher compression ratio on subbands with less information to improve the information density and focus on modeling subbands with more information. In this way, the separation performance can be significantly improved using lower computational consumption. Experiment results show that the proposed model achieves a signal to distortion ratio (SDR) of 9.0 dB on the MUSDB18-HQ dataset without using extra data, which outperforms state-of-the-art methods. Specifically, SCNet's CPU inference time is only 48% of HT Demucs, one of the previous state-of-the-art models.

Periodic signals play an important role in daily lives. Although conventional sequential models have shown remarkable success in various fields, they still come short in modeling periodicity; they either collapse, diverge or ignore details. In this paper, we introduce a novel framework inspired by Fourier series to generate periodic signals. We first decompose the given signals into multiple sines and cosines and then conditionally generate periodic signals with the output components. We have shown our model efficacy on three tasks: reconstruction, imputation and conditional generation. Our model outperforms baselines in all tasks and shows more stable and refined results.

Music source separation (MSS) aims to separate a music recording into multiple musically distinct stems, such as vocals, bass, drums, and more. Recently, deep learning approaches such as convolutional neural networks (CNNs) and recurrent neural networks (RNNs) have been used, but the improvement is still limited. In this paper, we propose a novel frequency-domain approach based on a Band-Split RoPE Transformer (called BS-RoFormer). BS-RoFormer relies on a band-split module to project the input complex spectrogram into subband-level representations, and then arranges a stack of hierarchical Transformers to model the inner-band as well as inter-band sequences for multi-band mask estimation. To facilitate training the model for MSS, we propose to use the Rotary Position Embedding (RoPE). The BS-RoFormer system trained on MUSDB18HQ and 500 extra songs ranked the first place in the MSS track of Sound Demixing Challenge (SDX23). Benchmarking a smaller version of BS-RoFormer on MUSDB18HQ, we achieve state-of-the-art result without extra training data, with 9.80 dB of average SDR.

Music source separation in the time-frequency domain is commonly achieved by applying a soft or binary mask to the magnitude component of (complex) spectrograms. The phase component is usually not estimated, but instead copied from the mixture and applied to the magnitudes of the estimated isolated sources. While this method has several practical advantages, it imposes an upper bound on the performance of the system, where the estimated isolated sources inherently exhibit audible "phase artifacts". In this paper we address these shortcomings by directly estimating masks in the complex domain, extending recent work from the speech enhancement literature. The method is particularly well suited for multi-instrument musical source separation since residual phase artifacts are more pronounced for spectrally overlapping instrument sources, a common scenario in music. We show that complex masks result in better separation than masks that operate solely on the magnitude component.

With the advent of surveys like Euclid and Vera C. Rubin, astrophysicists will have access to both deep, high-resolution images and multiband images. However, these two types are not simultaneously available in any single dataset. It is therefore vital to devise image deconvolution algorithms that exploit the best of both worlds and that can jointly analyze datasets spanning a range of resolutions and wavelengths. In this work we introduce a novel multiband deconvolution technique aimed at improving the resolution of ground-based astronomical images by leveraging higher-resolution space-based observations. The method capitalizes on the fortunate fact that the Rubin r, i, and z bands lie within the Euclid VIS band. The algorithm jointly de-convolves all the data to convert the r-, i-, and z-band Rubin images to the resolution of Euclid by leveraging the correlations between the different bands. We also investigate the performance of deep-learning-based denoising with DRUNet to further improve the results. We illustrate the effectiveness of our method in terms of resolution and morphology recovery, flux preservation, and generalization to different noise levels. This approach extends beyond the specific Euclid-Rubin combination, offering a versatile solution to improving the resolution of ground-based images in multiple photometric bands by jointly using any space-based images with overlapping filters.

Given a factorization of an image into a sum of linear components, we present a zero-shot method to control each individual component through diffusion model sampling. For example, we can decompose an image into low and high spatial frequencies and condition these components on different text prompts. This produces hybrid images, which change appearance depending on viewing distance. By decomposing an image into three frequency subbands, we can generate hybrid images with three prompts. We also use a decomposition into grayscale and color components to produce images whose appearance changes when they are viewed in grayscale, a phenomena that naturally occurs under dim lighting. And we explore a decomposition by a motion blur kernel, which produces images that change appearance under motion blurring. Our method works by denoising with a composite noise estimate, built from the components of noise estimates conditioned on different prompts. We also show that for certain decompositions, our method recovers prior approaches to compositional generation and spatial control. Finally, we show that we can extend our approach to generate hybrid images from real images. We do this by holding one component fixed and generating the remaining components, effectively solving an inverse problem.

Music demixing is the task of separating different tracks from the given single audio signal into components, such as drums, bass, and vocals from the rest of the accompaniment. Separation of sources is useful for a range of areas, including entertainment and hearing aids. In this paper, we introduce two new benchmarks for the sound source separation tasks and compare popular models for sound demixing, as well as their ensembles, on these benchmarks. For the models' assessments, we provide the leaderboard at https://mvsep.com/quality_checker/, giving a comparison for a range of models. The new benchmark datasets are available for download. We also develop a novel approach for audio separation, based on the ensembling of different models that are suited best for the particular stem. The proposed solution was evaluated in the context of the Music Demixing Challenge 2023 and achieved top results in different tracks of the challenge. The code and the approach are open-sourced on GitHub.

Despite significant recent progress across multiple subtasks of audio source separation, few music source separation systems support separation beyond the four-stem vocals, drums, bass, and other (VDBO) setup. Of the very few current systems that support source separation beyond this setup, most continue to rely on an inflexible decoder setup that can only support a fixed pre-defined set of stems. Increasing stem support in these inflexible systems correspondingly requires increasing computational complexity, rendering extensions of these systems computationally infeasible for long-tail instruments. In this work, we propose Banquet, a system that allows source separation of multiple stems using just one decoder. A bandsplit source separation model is extended to work in a query-based setup in tandem with a music instrument recognition PaSST model. On the MoisesDB dataset, Banquet, at only 24.9 M trainable parameters, approached the performance level of the significantly more complex 6-stem Hybrid Transformer Demucs on VDBO stems and outperformed it on guitar and piano. The query-based setup allows for the separation of narrow instrument classes such as clean acoustic guitars, and can be successfully applied to the extraction of less common stems such as reeds and organs. Implementation is available at https://github.com/kwatcharasupat/query-bandit.

Spatial audio quality is a highly multifaceted concept, with many interactions between environmental, geometrical, anatomical, psychological, and contextual considerations. Methods for characterization or evaluation of the geometrical components of spatial audio quality, however, remain scarce, despite being perhaps the least subjective aspect of spatial audio quality to quantify. By considering interchannel time and level differences relative to a reference signal, it is possible to construct a signal model to isolate some of the spatial distortion. By using a combination of least-square optimization and heuristics, we propose a signal decomposition method to isolate the spatial error from a processed signal, in terms of interchannel gain leakages and changes in relative delays. This allows the computation of simple energy-ratio metrics, providing objective measures of spatial and non-spatial signal qualities, with minimal assumptions and no dataset dependency. Experiments demonstrate the robustness of the method against common spatial signal degradation introduced by, e.g., audio compression and music source separation. Implementation is available at https://github.com/karnwatcharasupat/spauq.

In this paper, we introduce Jointist, an instrument-aware multi-instrument framework that is capable of transcribing, recognizing, and separating multiple musical instruments from an audio clip. Jointist consists of the instrument recognition module that conditions the other modules: the transcription module that outputs instrument-specific piano rolls, and the source separation module that utilizes instrument information and transcription results. The instrument conditioning is designed for an explicit multi-instrument functionality while the connection between the transcription and source separation modules is for better transcription performance. Our challenging problem formulation makes the model highly useful in the real world given that modern popular music typically consists of multiple instruments. However, its novelty necessitates a new perspective on how to evaluate such a model. During the experiment, we assess the model from various aspects, providing a new evaluation perspective for multi-instrument transcription. We also argue that transcription models can be utilized as a preprocessing module for other music analysis tasks. In the experiment on several downstream tasks, the symbolic representation provided by our transcription model turned out to be helpful to spectrograms in solving downbeat detection, chord recognition, and key estimation.

Deep neural network based methods have been successfully applied to music source separation. They typically learn a mapping from a mixture spectrogram to a set of source spectrograms, all with magnitudes only. This approach has several limitations: 1) its incorrect phase reconstruction degrades the performance, 2) it limits the magnitude of masks between 0 and 1 while we observe that 22% of time-frequency bins have ideal ratio mask values of over~1 in a popular dataset, MUSDB18, 3) its potential on very deep architectures is under-explored. Our proposed system is designed to overcome these. First, we propose to estimate phases by estimating complex ideal ratio masks (cIRMs) where we decouple the estimation of cIRMs into magnitude and phase estimations. Second, we extend the separation method to effectively allow the magnitude of the mask to be larger than 1. Finally, we propose a residual UNet architecture with up to 143 layers. Our proposed system achieves a state-of-the-art MSS result on the MUSDB18 dataset, especially, a SDR of 8.98~dB on vocals, outperforming the previous best performance of 7.24~dB. The source code is available at: https://github.com/bytedance/music_source_separation

Deep learning-based music source separation has gained a lot of interest in the last decades. Most of the existing methods operate with either spectrograms or waveforms. Spectrogram based models learn suitable masks for separating magnitude spectrogram into different sources, and waveform-based models directly generate waveforms of individual sources. The two types of models have complementary strengths; the former is superior given harmonic sources such as vocals, while the latter demonstrates better results for percussion and bass instruments. In this work, we improved upon the state-of-the-art (SoTA) models and successfully combined the best of both worlds. The backbones of the proposed framework, dubbed Danna-Sep, are two spectrogram-based models including a modified X-UMX and U-Net, and an enhanced Demucs as the waveform-based model. Given an input of mixture, we linearly combined respective outputs from the three models to obtain the final result. We showed in the experiments that, despite its simplicity, Danna-Sep surpassed the SoTA models by a large margin in terms of Source-to-Distortion Ratio.

Recently, many methods based on deep learning have been proposed for music source separation. Some state-of-the-art methods have shown that stacking many layers with many skip connections improve the SDR performance. Although such a deep and complex architecture shows outstanding performance, it usually requires numerous computing resources and time for training and evaluation. This paper proposes a two-stream neural network for music demixing, called KUIELab-MDX-Net, which shows a good balance of performance and required resources. The proposed model has a time-frequency branch and a time-domain branch, where each branch separates stems, respectively. It blends results from two streams to generate the final estimation. KUIELab-MDX-Net took second place on leaderboard A and third place on leaderboard B in the Music Demixing Challenge at ISMIR 2021. This paper also summarizes experimental results on another benchmark, MUSDB18. Our source code is available online.

In this paper, we propose multi-band MelGAN, a much faster waveform generation model targeting to high-quality text-to-speech. Specifically, we improve the original MelGAN by the following aspects. First, we increase the receptive field of the generator, which is proven to be beneficial to speech generation. Second, we substitute the feature matching loss with the multi-resolution STFT loss to better measure the difference between fake and real speech. Together with pre-training, this improvement leads to both better quality and better training stability. More importantly, we extend MelGAN with multi-band processing: the generator takes mel-spectrograms as input and produces sub-band signals which are subsequently summed back to full-band signals as discriminator input. The proposed multi-band MelGAN has achieved high MOS of 4.34 and 4.22 in waveform generation and TTS, respectively. With only 1.91M parameters, our model effectively reduces the total computational complexity of the original MelGAN from 5.85 to 0.95 GFLOPS. Our Pytorch implementation, which will be open-resourced shortly, can achieve a real-time factor of 0.03 on CPU without hardware specific optimization.

Separation of multiple singing voices into each voice is a rarely studied area in music source separation research. The absence of a benchmark dataset has hindered its progress. In this paper, we present an evaluation dataset and provide baseline studies for multiple singing voices separation. First, we introduce MedleyVox, an evaluation dataset for multiple singing voices separation. We specify the problem definition in this dataset by categorizing it into i) unison, ii) duet, iii) main vs. rest, and iv) N-singing separation. Second, to overcome the absence of existing multi-singing datasets for a training purpose, we present a strategy for construction of multiple singing mixtures using various single-singing datasets. Third, we propose the improved super-resolution network (iSRNet), which greatly enhances initial estimates of separation networks. Jointly trained with the Conv-TasNet and the multi-singing mixture construction strategy, the proposed iSRNet achieved comparable performance to ideal time-frequency masks on duet and unison subsets of MedleyVox. Audio samples, the dataset, and codes are available on our website (https://github.com/jeonchangbin49/MedleyVox).

Model order reduction has been extensively studied over the last two decades. Projection-based methods such as the Proper Orthogonal Decomposition and the Reduced Basis Method enjoy the important advantages of Galerkin methods in the derivation of the reduced problem, but are limited to linear data compression for which the reduced solution is sought as a linear combination of spatial modes. Nonlinear data compression must be used when the solution manifold is not embedded in a low-dimensional subspace. Early methods involve piecewise linear data compression, by constructing a dictionary of reduced-order models tailored to a partition of the solution manifold. In this work, we introduce the concept of optimal partition of the solution manifold in terms of normalized Kolmogorov widths, and prove that the optimal partitions can be found by means of a representative-based clustering algorithm using the sine dissimilarity measure on the solution manifold.

Deep generative models can generate high-fidelity audio conditioned on various types of representations (e.g., mel-spectrograms, Mel-frequency Cepstral Coefficients (MFCC)). Recently, such models have been used to synthesize audio waveforms conditioned on highly compressed representations. Although such methods produce impressive results, they are prone to generate audible artifacts when the conditioning is flawed or imperfect. An alternative modeling approach is to use diffusion models. However, these have mainly been used as speech vocoders (i.e., conditioned on mel-spectrograms) or generating relatively low sampling rate signals. In this work, we propose a high-fidelity multi-band diffusion-based framework that generates any type of audio modality (e.g., speech, music, environmental sounds) from low-bitrate discrete representations. At equal bit rate, the proposed approach outperforms state-of-the-art generative techniques in terms of perceptual quality. Training and, evaluation code, along with audio samples, are available on the facebookresearch/audiocraft Github page.

This paper thoroughly analyses the effect of different input representations on polyphonic multi-instrument music transcription. We use our own GPU based spectrogram extraction tool, nnAudio, to investigate the influence of using a linear-frequency spectrogram, log-frequency spectrogram, Mel spectrogram, and constant-Q transform (CQT). Our results show that a 8.33% increase in transcription accuracy and a 9.39% reduction in error can be obtained by choosing the appropriate input representation (log-frequency spectrogram with STFT window length 4,096 and 2,048 frequency bins in the spectrogram) without changing the neural network design (single layer fully connected). Our experiments also show that Mel spectrogram is a compact representation for which we can reduce the number of frequency bins to only 512 while still keeping a relatively high music transcription accuracy.

This paper makes a formal connection between two families of widely used matrix factorization algorithms in numerical linear algebra. One family consists of the Jacobi eigenvalue algorithm and its variants for computing the Hermitian eigendecomposition and singular value decomposition. The other consists of Gaussian elimination and the Gram-Schmidt procedure with various pivoting rules for computing the Cholesky decomposition and QR decomposition respectively. Both families are cast as special cases of a more general class of factorization algorithms. We provide a randomized pivoting rule that applies to this general class (which differs substantially from the usual pivoting rules for Gaussian elimination / Gram-Schmidt) which results in the same linear rate of convergence for each algorithm, irrespective of which factorization it computes. A second important consequence of this randomized pivoting rule is a provable, effective bound on the numerical stability of the Jacobi eigenvalue algorithm, which addresses a longstanding open problem of Demmel and Veseli\'c `92.

Developing a versatile deep neural network to model music audio is crucial in MIR. This task is challenging due to the intricate spectral variations inherent in music signals, which convey melody, harmonics, and timbres of diverse instruments. In this paper, we introduce Mel-RoFormer, a spectrogram-based model featuring two key designs: a novel Mel-band Projection module at the front-end to enhance the model's capability to capture informative features across multiple frequency bands, and interleaved RoPE Transformers to explicitly model the frequency and time dimensions as two separate sequences. We apply Mel-RoFormer to tackle two essential MIR tasks: vocal separation and vocal melody transcription, aimed at isolating singing voices from audio mixtures and transcribing their lead melodies, respectively. Despite their shared focus on singing signals, these tasks possess distinct optimization objectives. Instead of training a unified model, we adopt a two-step approach. Initially, we train a vocal separation model, which subsequently serves as a foundation model for fine-tuning for vocal melody transcription. Through extensive experiments conducted on benchmark datasets, we showcase that our models achieve state-of-the-art performance in both vocal separation and melody transcription tasks, underscoring the efficacy and versatility of Mel-RoFormer in modeling complex music audio signals.

Cinematic audio source separation is a relatively new subtask of audio source separation, with the aim of extracting the dialogue, music, and effects stems from their mixture. In this work, we developed a model generalizing the Bandsplit RNN for any complete or overcomplete partitions of the frequency axis. Psychoacoustically motivated frequency scales were used to inform the band definitions which are now defined with redundancy for more reliable feature extraction. A loss function motivated by the signal-to-noise ratio and the sparsity-promoting property of the 1-norm was proposed. We additionally exploit the information-sharing property of a common-encoder setup to reduce computational complexity during both training and inference, improve separation performance for hard-to-generalize classes of sounds, and allow flexibility during inference time with detachable decoders. Our best model sets the state of the art on the Divide and Remaster dataset with performance above the ideal ratio mask for the dialogue stem.

Source separation for music is the task of isolating contributions, or stems, from different instruments recorded individually and arranged together to form a song. Such components include voice, bass, drums and any other accompaniments.Contrarily to many audio synthesis tasks where the best performances are achieved by models that directly generate the waveform, the state-of-the-art in source separation for music is to compute masks on the magnitude spectrum. In this paper, we compare two waveform domain architectures. We first adapt Conv-Tasnet, initially developed for speech source separation,to the task of music source separation. While Conv-Tasnet beats many existing spectrogram-domain methods, it suffersfrom significant artifacts, as shown by human evaluations. We propose instead Demucs, a novel waveform-to-waveform model,with a U-Net structure and bidirectional LSTM.Experiments on the MusDB dataset show that, with proper data augmentation, Demucs beats allexisting state-of-the-art architectures, including Conv-Tasnet, with 6.3 SDR on average, (and up to 6.8 with 150 extra training songs, even surpassing the IRM oracle for the bass source).Using recent development in model quantization, Demucs can be compressed down to 120MBwithout any loss of accuracy.We also provide human evaluations, showing that Demucs benefit from a large advantagein terms of the naturalness of the audio. However, it suffers from some bleeding,especially between the vocals and other source.

There have been significant advances in deep learning for music demixing in recent years. However, there has been little attention given to how these neural networks can be adapted for real-time low-latency applications, which could be helpful for hearing aids, remixing audio streams and live shows. In this paper, we investigate the various challenges involved in adapting current demixing models in the literature for this use case. Subsequently, inspired by the Hybrid Demucs architecture, we propose the Hybrid Spectrogram Time-domain Audio Separation Network HS-TasNet, which utilises the advantages of spectral and waveform domains. For a latency of 23 ms, the HS-TasNet obtains an overall signal-to-distortion ratio (SDR) of 4.65 on the MusDB test set, and increases to 5.55 with additional training data. These results demonstrate the potential of efficient demixing for real-time low-latency music applications.

Multi-instrument music transcription aims to convert polyphonic music recordings into musical scores assigned to each instrument. This task is challenging for modeling as it requires simultaneously identifying multiple instruments and transcribing their pitch and precise timing, and the lack of fully annotated data adds to the training difficulties. This paper introduces YourMT3+, a suite of models for enhanced multi-instrument music transcription based on the recent language token decoding approach of MT3. We enhance its encoder by adopting a hierarchical attention transformer in the time-frequency domain and integrating a mixture of experts. To address data limitations, we introduce a new multi-channel decoding method for training with incomplete annotations and propose intra- and cross-stem augmentation for dataset mixing. Our experiments demonstrate direct vocal transcription capabilities, eliminating the need for voice separation pre-processors. Benchmarks across ten public datasets show our models' competitiveness with, or superiority to, existing transcription models. Further testing on pop music recordings highlights the limitations of current models. Fully reproducible code and datasets are available with demos at https://github.com/mimbres/YourMT3.

Consistency models have exhibited remarkable capabilities in facilitating efficient image/video generation, enabling synthesis with minimal sampling steps. It has proven to be advantageous in mitigating the computational burdens associated with diffusion models. Nevertheless, the application of consistency models in music generation remains largely unexplored. To address this gap, we present Music Consistency Models (MusicCM), which leverages the concept of consistency models to efficiently synthesize mel-spectrogram for music clips, maintaining high quality while minimizing the number of sampling steps. Building upon existing text-to-music diffusion models, the MusicCM model incorporates consistency distillation and adversarial discriminator training. Moreover, we find it beneficial to generate extended coherent music by incorporating multiple diffusion processes with shared constraints. Experimental results reveal the effectiveness of our model in terms of computational efficiency, fidelity, and naturalness. Notable, MusicCM achieves seamless music synthesis with a mere four sampling steps, e.g., only one second per minute of the music clip, showcasing the potential for real-time application.

The goal of this paper is to generate realistic audio with a lightweight and fast diffusion-based vocoder, named FreGrad. Our framework consists of the following three key components: (1) We employ discrete wavelet transform that decomposes a complicated waveform into sub-band wavelets, which helps FreGrad to operate on a simple and concise feature space, (2) We design a frequency-aware dilated convolution that elevates frequency awareness, resulting in generating speech with accurate frequency information, and (3) We introduce a bag of tricks that boosts the generation quality of the proposed model. In our experiments, FreGrad achieves 3.7 times faster training time and 2.2 times faster inference speed compared to our baseline while reducing the model size by 0.6 times (only 1.78M parameters) without sacrificing the output quality. Audio samples are available at: https://mm.kaist.ac.kr/projects/FreGrad.

Models for audio source separation usually operate on the magnitude spectrum, which ignores phase information and makes separation performance dependant on hyper-parameters for the spectral front-end. Therefore, we investigate end-to-end source separation in the time-domain, which allows modelling phase information and avoids fixed spectral transformations. Due to high sampling rates for audio, employing a long temporal input context on the sample level is difficult, but required for high quality separation results because of long-range temporal correlations. In this context, we propose the Wave-U-Net, an adaptation of the U-Net to the one-dimensional time domain, which repeatedly resamples feature maps to compute and combine features at different time scales. We introduce further architectural improvements, including an output layer that enforces source additivity, an upsampling technique and a context-aware prediction framework to reduce output artifacts. Experiments for singing voice separation indicate that our architecture yields a performance comparable to a state-of-the-art spectrogram-based U-Net architecture, given the same data. Finally, we reveal a problem with outliers in the currently used SDR evaluation metrics and suggest reporting rank-based statistics to alleviate this problem.

In this report, we present our award-winning solutions for the Music Demixing Track of Sound Demixing Challenge 2023. First, we propose TFC-TDF-UNet v3, a time-efficient music source separation model that achieves state-of-the-art results on the MUSDB benchmark. We then give full details regarding our solutions for each Leaderboard, including a loss masking approach for noise-robust training. Code for reproducing model training and final submissions is available at github.com/kuielab/sdx23.

Given the recent advances in music source separation and automatic mixing, removing audio effects in music tracks is a meaningful step toward developing an automated remixing system. This paper focuses on removing distortion audio effects applied to guitar tracks in music production. We explore whether effect removal can be solved by neural networks designed for source separation and audio effect modeling. Our approach proves particularly effective for effects that mix the processed and clean signals. The models achieve better quality and significantly faster inference compared to state-of-the-art solutions based on sparse optimization. We demonstrate that the models are suitable not only for declipping but also for other types of distortion effects. By discussing the results, we stress the usefulness of multiple evaluation metrics to assess different aspects of reconstruction in distortion effect removal.

We propose the Multi-Track Music Machine (MMM), a generative system based on the Transformer architecture that is capable of generating multi-track music. In contrast to previous work, which represents musical material as a single time-ordered sequence, where the musical events corresponding to different tracks are interleaved, we create a time-ordered sequence of musical events for each track and concatenate several tracks into a single sequence. This takes advantage of the Transformer's attention-mechanism, which can adeptly handle long-term dependencies. We explore how various representations can offer the user a high degree of control at generation time, providing an interactive demo that accommodates track-level and bar-level inpainting, and offers control over track instrumentation and note density.

Pan-sharpening involves reconstructing missing high-frequency information in multi-spectral images with low spatial resolution, using a higher-resolution panchromatic image as guidance. Although the inborn connection with frequency domain, existing pan-sharpening research has not almost investigated the potential solution upon frequency domain. To this end, we propose a novel Frequency Adaptive Mixture of Experts (FAME) learning framework for pan-sharpening, which consists of three key components: the Adaptive Frequency Separation Prediction Module, the Sub-Frequency Learning Expert Module, and the Expert Mixture Module. In detail, the first leverages the discrete cosine transform to perform frequency separation by predicting the frequency mask. On the basis of generated mask, the second with low-frequency MOE and high-frequency MOE takes account for enabling the effective low-frequency and high-frequency information reconstruction. Followed by, the final fusion module dynamically weights high-frequency and low-frequency MOE knowledge to adapt to remote sensing images with significant content variations. Quantitative and qualitative experiments over multiple datasets demonstrate that our method performs the best against other state-of-the-art ones and comprises a strong generalization ability for real-world scenes. Code will be made publicly at https://github.com/alexhe101/FAME-Net.

Automatic Music Transcription (AMT) has been recognized as a key enabling technology with a wide range of applications. Given the task's complexity, best results have typically been reported for systems focusing on specific settings, e.g. instrument-specific systems tend to yield improved results over instrument-agnostic methods. Similarly, higher accuracy can be obtained when only estimating frame-wise f_0 values and neglecting the harder note event detection. Despite their high accuracy, such specialized systems often cannot be deployed in the real-world. Storage and network constraints prohibit the use of multiple specialized models, while memory and run-time constraints limit their complexity. In this paper, we propose a lightweight neural network for musical instrument transcription, which supports polyphonic outputs and generalizes to a wide variety of instruments (including vocals). Our model is trained to jointly predict frame-wise onsets, multipitch and note activations, and we experimentally show that this multi-output structure improves the resulting frame-level note accuracy. Despite its simplicity, benchmark results show our system's note estimation to be substantially better than a comparable baseline, and its frame-level accuracy to be only marginally below those of specialized state-of-the-art AMT systems. With this work we hope to encourage the community to further investigate low-resource, instrument-agnostic AMT systems.

Time series forecasting is widely used in extensive applications, such as traffic planning and weather forecasting. However, real-world time series usually present intricate temporal variations, making forecasting extremely challenging. Going beyond the mainstream paradigms of plain decomposition and multiperiodicity analysis, we analyze temporal variations in a novel view of multiscale-mixing, which is based on an intuitive but important observation that time series present distinct patterns in different sampling scales. The microscopic and the macroscopic information are reflected in fine and coarse scales respectively, and thereby complex variations can be inherently disentangled. Based on this observation, we propose TimeMixer as a fully MLP-based architecture with Past-Decomposable-Mixing (PDM) and Future-Multipredictor-Mixing (FMM) blocks to take full advantage of disentangled multiscale series in both past extraction and future prediction phases. Concretely, PDM applies the decomposition to multiscale series and further mixes the decomposed seasonal and trend components in fine-to-coarse and coarse-to-fine directions separately, which successively aggregates the microscopic seasonal and macroscopic trend information. FMM further ensembles multiple predictors to utilize complementary forecasting capabilities in multiscale observations. Consequently, TimeMixer is able to achieve consistent state-of-the-art performances in both long-term and short-term forecasting tasks with favorable run-time efficiency.

Harmonic retrieval techniques are the foundation of radio channel sounding, estimation and modeling. This paper introduces a Deep Learning approach for two-dimensional spectral estimation from frequency and time samples of a radio channel transfer function. Our work can estimate two-dimensional parameters from a signal containing an unknown number of paths. In contrast to existing deep learning-based methods, the signal parameters are not estimated via classification but instead in a quasi-grid-free manner. This alleviates the bias, spectral leakage, and ghost targets that grid-based approaches inherently produce. The proposed architecture also reliably estimates the number of spectral components in the measurement. Hence, the architecture jointly solves the model order selection problem and the parameter estimation task. Additionally, we propose a multi-channel windowing of the data during preprocessing, increasing the resulting estimator's robustness. We verify the performance compared to existing harmonic retrieval methods and also show how it can be integrated into an existing maximum likelihood estimator for efficient initialization of a gradient-based iteration.

We consider a family of linear systems A_mu alpha=C with system matrix A_mu depending on a parameter mu and for simplicity parameter-independent right-hand side C. These linear systems typically result from the finite-dimensional approximation of a parameter-dependent boundary-value problem. We derive a procedure based on the Empirical Interpolation Method to obtain a separated representation of the system matrix in the form A_muapproxsum_{m}beta_m(mu)A_{mu_m} for some selected values of the parameter. Such a separated representation is in particular useful in the Reduced Basis Method. The procedure is called nonintrusive since it only requires to access the matrices A_{mu_m}. As such, it offers a crucial advantage over existing approaches that instead derive separated representations requiring to enter the code at the level of assembly. Numerical examples illustrate the performance of our new procedure on a simple one-dimensional boundary-value problem and on three-dimensional acoustic scattering problems solved by a boundary element method.

We present and release MIDI-GPT, a generative system based on the Transformer architecture that is designed for computer-assisted music composition workflows. MIDI-GPT supports the infilling of musical material at the track and bar level, and can condition generation on attributes including: instrument type, musical style, note density, polyphony level, and note duration. In order to integrate these features, we employ an alternative representation for musical material, creating a time-ordered sequence of musical events for each track and concatenating several tracks into a single sequence, rather than using a single time-ordered sequence where the musical events corresponding to different tracks are interleaved. We also propose a variation of our representation allowing for expressiveness. We present experimental results that demonstrate that MIDI-GPT is able to consistently avoid duplicating the musical material it was trained on, generate music that is stylistically similar to the training dataset, and that attribute controls allow enforcing various constraints on the generated material. We also outline several real-world applications of MIDI-GPT, including collaborations with industry partners that explore the integration and evaluation of MIDI-GPT into commercial products, as well as several artistic works produced using it.

Strategies for the generation of periodic discrete structures with identical two-point correlation are developed. Starting from a pair of root structures, which are not related by translation, phase inversion or axis reflections, child structures of arbitrary resolution (i.e., pixel or voxel numbers) and number of phases (i.e., material phases/species) can be generated by means of trivial embedding based phase extension, application of kernels and/or phase coalescence, such that the generated structures inherit the two-point-correlation equivalence. Proofs of the inheritance property are provided by means of the Discrete Fourier Transform theory. A Python 3 implementation of the results is offered by the authors through the Github repository https://github.com/DataAnalyticsEngineering/EQ2PC in order to make the provided results reproducible and useful for all interested readers. Examples for the generation of structures are demonstrated, together with applications in the homogenization theory of periodic media.

We study the algorithm configuration (AC) problem, in which one seeks to find an optimal parameter configuration of a given target algorithm in an automated way. Recently, there has been significant progress in designing AC approaches that satisfy strong theoretical guarantees. However, a significant gap still remains between the practical performance of these approaches and state-of-the-art heuristic methods. To this end, we introduce AC-Band, a general approach for the AC problem based on multi-armed bandits that provides theoretical guarantees while exhibiting strong practical performance. We show that AC-Band requires significantly less computation time than other AC approaches providing theoretical guarantees while still yielding high-quality configurations.

Implicit neural representations (INRs) have arisen as useful methods for representing signals on Euclidean domains. By parameterizing an image as a multilayer perceptron (MLP) on Euclidean space, INRs effectively represent signals in a way that couples spatial and spectral features of the signal that is not obvious in the usual discrete representation, paving the way for continuous signal processing and machine learning approaches that were not previously possible. Although INRs using sinusoidal activation functions have been studied in terms of Fourier theory, recent works have shown the advantage of using wavelets instead of sinusoids as activation functions, due to their ability to simultaneously localize in both frequency and space. In this work, we approach such INRs and demonstrate how they resolve high-frequency features of signals from coarse approximations done in the first layer of the MLP. This leads to multiple prescriptions for the design of INR architectures, including the use of complex wavelets, decoupling of low and band-pass approximations, and initialization schemes based on the singularities of the desired signal.

Song generation focuses on producing controllable high-quality songs based on various prompts. However, existing methods struggle to generate vocals and accompaniments with prompt-based control and proper alignment. Additionally, they fall short in supporting various tasks. To address these challenges, we introduce VersBand, a multi-task song generation framework for synthesizing high-quality, aligned songs with prompt-based control. VersBand comprises these primary models: 1) VocalBand, a decoupled model, leverages the flow-matching method for generating singing styles, pitches, and mel-spectrograms, allowing fast, high-quality vocal generation with style control. 2) AccompBand, a flow-based transformer model, incorporates the Band-MOE, selecting suitable experts for enhanced quality, alignment, and control. This model allows for generating controllable, high-quality accompaniments aligned with vocals. 3) Two generation models, LyricBand for lyrics and MelodyBand for melodies, contribute to the comprehensive multi-task song generation system, allowing for extensive control based on multiple prompts. Experimental results demonstrate that VersBand performs better over baseline models across multiple song generation tasks using objective and subjective metrics. Audio samples are available at https://VersBand.github.io.

Generative Adversarial Network (GAN) based vocoders are superior in inference speed and synthesis quality when reconstructing an audible waveform from an acoustic representation. This study focuses on improving the discriminator to promote GAN-based vocoders. Most existing time-frequency-representation-based discriminators are rooted in Short-Time Fourier Transform (STFT), whose time-frequency resolution in a spectrogram is fixed, making it incompatible with signals like singing voices that require flexible attention for different frequency bands. Motivated by that, our study utilizes the Constant-Q Transform (CQT), which owns dynamic resolution among frequencies, contributing to a better modeling ability in pitch accuracy and harmonic tracking. Specifically, we propose a Multi-Scale Sub-Band CQT (MS-SB-CQT) Discriminator, which operates on the CQT spectrogram at multiple scales and performs sub-band processing according to different octaves. Experiments conducted on both speech and singing voices confirm the effectiveness of our proposed method. Moreover, we also verified that the CQT-based and the STFT-based discriminators could be complementary under joint training. Specifically, enhanced by the proposed MS-SB-CQT and the existing MS-STFT Discriminators, the MOS of HiFi-GAN can be boosted from 3.27 to 3.87 for seen singers and from 3.40 to 3.78 for unseen singers.

We introduce meta-factorization, a theory that describes matrix decompositions as solutions of linear matrix equations: the projector and the reconstruction equation. Meta-factorization reconstructs known factorizations, reveals their internal structures, and allows for introducing modifications, as illustrated with SVD, QR, and UTV factorizations. The prospect of meta-factorization also provides insights into computational aspects of generalized matrix inverses and randomized linear algebra algorithms. The relations between the Moore-Penrose pseudoinverse, generalized Nystr\"{o}m method, and the CUR decomposition are revealed here as an illustration. Finally, meta-factorization offers hints on the structure of new factorizations and provides the potential of creating them.

Efficiently capturing the long-range patterns in sequential data sources salient to a given task -- such as classification and generative modeling -- poses a fundamental challenge. Popular approaches in the space tradeoff between the memory burden of brute-force enumeration and comparison, as in transformers, the computational burden of complicated sequential dependencies, as in recurrent neural networks, or the parameter burden of convolutional networks with many or large filters. We instead take inspiration from wavelet-based multiresolution analysis to define a new building block for sequence modeling, which we call a MultiresLayer. The key component of our model is the multiresolution convolution, capturing multiscale trends in the input sequence. Our MultiresConv can be implemented with shared filters across a dilated causal convolution tree. Thus it garners the computational advantages of convolutional networks and the principled theoretical motivation of wavelet decompositions. Our MultiresLayer is straightforward to implement, requires significantly fewer parameters, and maintains at most a O(Nlog N) memory footprint for a length N sequence. Yet, by stacking such layers, our model yields state-of-the-art performance on a number of sequence classification and autoregressive density estimation tasks using CIFAR-10, ListOps, and PTB-XL datasets.

Source separation models either work on the spectrogram or waveform domain. In this work, we show how to perform end-to-end hybrid source separation, letting the model decide which domain is best suited for each source, and even combining both. The proposed hybrid version of the Demucs architecture won the Music Demixing Challenge 2021 organized by Sony. This architecture also comes with additional improvements, such as compressed residual branches, local attention or singular value regularization. Overall, a 1.4 dB improvement of the Signal-To-Distortion (SDR) was observed across all sources as measured on the MusDB HQ dataset, an improvement confirmed by human subjective evaluation, with an overall quality rated at 2.83 out of 5 (2.36 for the non hybrid Demucs), and absence of contamination at 3.04 (against 2.37 for the non hybrid Demucs and 2.44 for the second ranking model submitted at the competition).

In this paper, we find a sample complexity bound for learning a simplex from noisy samples. Assume a dataset of size n is given which includes i.i.d. samples drawn from a uniform distribution over an unknown simplex in R^K, where samples are assumed to be corrupted by a multi-variate additive Gaussian noise of an arbitrary magnitude. We prove the existence of an algorithm that with high probability outputs a simplex having a ell_2 distance of at most varepsilon from the true simplex (for any varepsilon>0). Also, we theoretically show that in order to achieve this bound, it is sufficient to have ngeleft(K^2/varepsilon^2right)e^{Omegaleft(K/SNR^2right)} samples, where SNR stands for the signal-to-noise ratio. This result solves an important open problem and shows as long as SNRgeOmegaleft(K^{1/2}right), the sample complexity of the noisy regime has the same order to that of the noiseless case. Our proofs are a combination of the so-called sample compression technique in ashtiani2018nearly, mathematical tools from high-dimensional geometry, and Fourier analysis. In particular, we have proposed a general Fourier-based technique for recovery of a more general class of distribution families from additive Gaussian noise, which can be further used in a variety of other related problems.

Proposing an effective and flexible matrix to represent a graph is a fundamental challenge that has been explored from multiple perspectives, e.g., filtering in Graph Fourier Transforms. In this work, we develop a novel and general framework which unifies many existing GNN models from the view of parameterized decomposition and filtering, and show how it helps to enhance the flexibility of GNNs while alleviating the smoothness and amplification issues of existing models. Essentially, we show that the extensively studied spectral graph convolutions with learnable polynomial filters are constrained variants of this formulation, and releasing these constraints enables our model to express the desired decomposition and filtering simultaneously. Based on this generalized framework, we develop models that are simple in implementation but achieve significant improvements and computational efficiency on a variety of graph learning tasks. Code is available at https://github.com/qslim/PDF.

Controllable music generation promotes the interaction between humans and composition systems by projecting the users' intent on their desired music. The challenge of introducing controllability is an increasingly important issue in the symbolic music generation field. When building controllable generative popular multi-instrument music systems, two main challenges typically present themselves, namely weak controllability and poor music quality. To address these issues, we first propose spatiotemporal features as powerful and fine-grained controls to enhance the controllability of the generative model. In addition, an efficient music representation called REMI_Track is designed to convert multitrack music into multiple parallel music sequences and shorten the sequence length of each track with Byte Pair Encoding (BPE) techniques. Subsequently, we release BandControlNet, a conditional model based on parallel Transformers, to tackle the multiple music sequences and generate high-quality music samples that are conditioned to the given spatiotemporal control features. More concretely, the two specially designed modules of BandControlNet, namely structure-enhanced self-attention (SE-SA) and Cross-Track Transformer (CTT), are utilized to strengthen the resulting musical structure and inter-track harmony modeling respectively. Experimental results tested on two popular music datasets of different lengths demonstrate that the proposed BandControlNet outperforms other conditional music generation models on most objective metrics in terms of fidelity and inference speed and shows great robustness in generating long music samples. The subjective evaluations show BandControlNet trained on short datasets can generate music with comparable quality to state-of-the-art models, while outperforming them significantly using longer datasets.

The application of generative adversarial networks (GANs) has recently advanced speech super-resolution (SR) based on intermediate representations like mel-spectrograms. However, existing SR methods that typically rely on independently trained and concatenated networks may lead to inconsistent representations and poor speech quality, especially in out-of-domain scenarios. In this work, we propose HiFi-SR, a unified network that leverages end-to-end adversarial training to achieve high-fidelity speech super-resolution. Our model features a unified transformer-convolutional generator designed to seamlessly handle both the prediction of latent representations and their conversion into time-domain waveforms. The transformer network serves as a powerful encoder, converting low-resolution mel-spectrograms into latent space representations, while the convolutional network upscales these representations into high-resolution waveforms. To enhance high-frequency fidelity, we incorporate a multi-band, multi-scale time-frequency discriminator, along with a multi-scale mel-reconstruction loss in the adversarial training process. HiFi-SR is versatile, capable of upscaling any input speech signal between 4 kHz and 32 kHz to a 48 kHz sampling rate. Experimental results demonstrate that HiFi-SR significantly outperforms existing speech SR methods across both objective metrics and ABX preference tests, for both in-domain and out-of-domain scenarios (https://github.com/modelscope/ClearerVoice-Studio).

Hyperspectral unmixing is one of the crucial steps for many hyperspectral applications. The problem of hyperspectral unmixing has proven to be a difficult task in unsupervised work settings where the endmembers and abundances are both unknown. What is more, this task becomes more challenging in the case that the spectral bands are degraded with noise. This paper presents a robust model for unsupervised hyperspectral unmixing. Specifically, our model is developed with the correntropy based metric where the non-negative constraints on both endmembers and abundances are imposed to keep physical significance. In addition, a sparsity prior is explicitly formulated to constrain the distribution of the abundances of each endmember. To solve our model, a half-quadratic optimization technique is developed to convert the original complex optimization problem into an iteratively re-weighted NMF with sparsity constraints. As a result, the optimization of our model can adaptively assign small weights to noisy bands and give more emphasis on noise-free bands. In addition, with sparsity constraints, our model can naturally generate sparse abundances. Experiments on synthetic and real data demonstrate the effectiveness of our model in comparison to the related state-of-the-art unmixing models.

The Empirical Interpolation Method (EIM) is a greedy procedure that constructs approximate representations of two-variable functions in separated form. In its classical presentation, the two variables play a non-symmetric role. In this work, we give an equivalent definition of the EIM approximation, in which the two variables play symmetric roles. Then, we give a proof for the existence of this approximation, and extend it up to the convergence of the EIM, and for any norm chosen to compute the error in the greedy step. Finally, we introduce a way to compute a separated representation in the case where the number of selected values is different for each variable. In the case of a physical field measured by sensors, this is useful to discard a broken sensor while keeping the information provided by the associated selected field.

Existing approaches for generating multitrack music with transformer models have been limited in terms of the number of instruments, the length of the music segments and slow inference. This is partly due to the memory requirements of the lengthy input sequences necessitated by existing representations. In this work, we propose a new multitrack music representation that allows a diverse set of instruments while keeping a short sequence length. Our proposed Multitrack Music Transformer (MMT) achieves comparable performance with state-of-the-art systems, landing in between two recently proposed models in a subjective listening test, while achieving substantial speedups and memory reductions over both, making the method attractive for real time improvisation or near real time creative applications. Further, we propose a new measure for analyzing musical self-attention and show that the trained model attends more to notes that form a consonant interval with the current note and to notes that are 4N beats away from the current step.

In this work, we define a diffusion-based generative model capable of both music synthesis and source separation by learning the score of the joint probability density of sources sharing a context. Alongside the classic total inference tasks (i.e., generating a mixture, separating the sources), we also introduce and experiment on the partial generation task of source imputation, where we generate a subset of the sources given the others (e.g., play a piano track that goes well with the drums). Additionally, we introduce a novel inference method for the separation task based on Dirac likelihood functions. We train our model on Slakh2100, a standard dataset for musical source separation, provide qualitative results in the generation settings, and showcase competitive quantitative results in the source separation setting. Our method is the first example of a single model that can handle both generation and separation tasks, thus representing a step toward general audio models.

Source separation involves the ill-posed problem of retrieving a set of source signals that have been observed through a mixing operator. Solving this problem requires prior knowledge, which is commonly incorporated by imposing regularity conditions on the source signals, or implicitly learned through supervised or unsupervised methods from existing data. While data-driven methods have shown great promise in source separation, they often require large amounts of data, which rarely exists in planetary space missions. To address this challenge, we propose an unsupervised source separation scheme for domains with limited data access that involves solving an optimization problem in the wavelet scattering covariance representation spacex2014an interpretable, low-dimensional representation of stationary processes. We present a real-data example in which we remove transient, thermally-induced microtiltsx2014known as glitchesx2014from data recorded by a seismometer during NASA's InSight mission on Mars. Thanks to the wavelet scattering covariances' ability to capture non-Gaussian properties of stochastic processes, we are able to separate glitches using only a few glitch-free data snippets.

In this paper, we introduce the MoisesDB dataset for musical source separation. It consists of 240 tracks from 45 artists, covering twelve musical genres. For each song, we provide its individual audio sources, organized in a two-level hierarchical taxonomy of stems. This will facilitate building and evaluating fine-grained source separation systems that go beyond the limitation of using four stems (drums, bass, other, and vocals) due to lack of data. To facilitate the adoption of this dataset, we publish an easy-to-use Python library to download, process and use MoisesDB. Alongside a thorough documentation and analysis of the dataset contents, this work provides baseline results for open-source separation models for varying separation granularities (four, five, and six stems), and discuss their results.

Electronic band structure (BS) and crystal structure are the two complementary identifiers of solid state materials. While convenient instruments and reconstruction algorithms have made large, empirical, crystal structure databases possible, extracting quasiparticle dispersion (closely related to BS) from photoemission band mapping data is currently limited by the available computational methods. To cope with the growing size and scale of photoemission data, we develop a pipeline including probabilistic machine learning and the associated data processing, optimization and evaluation methods for band structure reconstruction, leveraging theoretical calculations. The pipeline reconstructs all 14 valence bands of a semiconductor and shows excellent performance on benchmarks and other materials datasets. The reconstruction uncovers previously inaccessible momentum-space structural information on both global and local scales, while realizing a path towards integration with materials science databases. Our approach illustrates the potential of combining machine learning and domain knowledge for scalable feature extraction in multidimensional data.

Echocardiography has been a prominent tool for the diagnosis of cardiac disease. However, these diagnoses can be heavily impeded by poor image quality. Acoustic clutter emerges due to multipath reflections imposed by layers of skin, subcutaneous fat, and intercostal muscle between the transducer and heart. As a result, haze and other noise artifacts pose a real challenge to cardiac ultrasound imaging. In many cases, especially with difficult-to-image patients such as patients with obesity, a diagnosis from B-Mode ultrasound imaging is effectively rendered unusable, forcing sonographers to resort to contrast-enhanced ultrasound examinations or refer patients to other imaging modalities. Tissue harmonic imaging has been a popular approach to combat haze, but in severe cases is still heavily impacted by haze. Alternatively, denoising algorithms are typically unable to remove highly structured and correlated noise, such as haze. It remains a challenge to accurately describe the statistical properties of structured haze, and develop an inference method to subsequently remove it. Diffusion models have emerged as powerful generative models and have shown their effectiveness in a variety of inverse problems. In this work, we present a joint posterior sampling framework that combines two separate diffusion models to model the distribution of both clean ultrasound and haze in an unsupervised manner. Furthermore, we demonstrate techniques for effectively training diffusion models on radio-frequency ultrasound data and highlight the advantages over image data. Experiments on both in-vitro and in-vivo cardiac datasets show that the proposed dehazing method effectively removes haze while preserving signals from weakly reflected tissue.

Intrinsic image decomposition aims to separate the surface reflectance and the effects from the illumination given a single photograph. Due to the complexity of the problem, most prior works assume a single-color illumination and a Lambertian world, which limits their use in illumination-aware image editing applications. In this work, we separate an input image into its diffuse albedo, colorful diffuse shading, and specular residual components. We arrive at our result by gradually removing first the single-color illumination and then the Lambertian-world assumptions. We show that by dividing the problem into easier sub-problems, in-the-wild colorful diffuse shading estimation can be achieved despite the limited ground-truth datasets. Our extended intrinsic model enables illumination-aware analysis of photographs and can be used for image editing applications such as specularity removal and per-pixel white balancing.

State-of-the-art end-to-end Optical Music Recognition (OMR) has, to date, primarily been carried out using monophonic transcription techniques to handle complex score layouts, such as polyphony, often by resorting to simplifications or specific adaptations. Despite their efficacy, these approaches imply challenges related to scalability and limitations. This paper presents the Sheet Music Transformer, the first end-to-end OMR model designed to transcribe complex musical scores without relying solely on monophonic strategies. Our model employs a Transformer-based image-to-sequence framework that predicts score transcriptions in a standard digital music encoding format from input images. Our model has been tested on two polyphonic music datasets and has proven capable of handling these intricate music structures effectively. The experimental outcomes not only indicate the competence of the model, but also show that it is better than the state-of-the-art methods, thus contributing to advancements in end-to-end OMR transcription.

Dynamic Mode Decomposition (DMD) is an equation-free method that aims at reconstructing the best linear fit from temporal datasets. In this paper, we show that DMD does not provide accurate approximation for datasets describing oscillatory dynamics, like spiral waves and relaxation oscillations, or spatio-temporal Turing instability. Inspired from the classical "divide and conquer" approach, we propose a piecewise version of DMD (pDMD) to overcome this problem. The main idea is to split the original dataset in N submatrices and then apply the exact (randomized) DMD method in each subset of the obtained partition. We describe the pDMD algorithm in detail and we introduce some error indicators to evaluate its performance when N is increased. Numerical experiments show that very accurate reconstructions are obtained by pDMD for datasets arising from time snapshots of some reaction-diffusion PDE systems, like the FitzHugh-Nagumo model, the lambda-omega system and the DIB morpho-chemical system for battery modeling.

Music Emotion Recognition involves the automatic identification of emotional elements within music tracks, and it has garnered significant attention due to its broad applicability in the field of Music Information Retrieval. It can also be used as the upstream task of many other human-related tasks such as emotional music generation and music recommendation. Due to existing psychology research, music emotion is determined by multiple factors such as the Timbre, Velocity, and Structure of the music. Incorporating multiple factors in MER helps achieve more interpretable and finer-grained methods. However, most prior works were uni-domain and showed weak consistency between arousal modeling performance and valence modeling performance. Based on this background, we designed a multi-domain emotion modeling method for instrumental music that combines symbolic analysis and acoustic analysis. At the same time, because of the rarity of music data and the difficulty of labeling, our multi-domain approach can make full use of limited data. Our approach was implemented and assessed using the publicly available piano dataset EMOPIA, resulting in a notable improvement over our baseline model with a 2.4% increase in overall accuracy, establishing its state-of-the-art performance.

Missing values, irregularly collected samples, and multi-resolution signals commonly occur in multivariate time series data, making predictive tasks difficult. These challenges are especially prevalent in the healthcare domain, where patients' vital signs and electronic records are collected at different frequencies and have occasionally missing information due to the imperfections in equipment or patient circumstances. Researchers have handled each of these issues differently, often handling missing data through mean value imputation and then using sequence models over the multivariate signals while ignoring the different resolution of signals. We propose a unified model named Multi-resolution Flexible Irregular Time series Network (Multi-FIT). The building block for Multi-FIT is the FIT network. The FIT network creates an informative dense representation at each time step using signal information such as last observed value, time difference since the last observed time stamp and overall mean for the signal. Vertical FIT (FIT-V) is a variant of FIT which also models the relationship between different temporal signals while creating the informative dense representations for the signal. The multi-FIT model uses multiple FIT networks for sets of signals with different resolutions, further facilitating the construction of flexible representations. Our model has three main contributions: a.) it does not impute values but rather creates informative representations to provide flexibility to the model for creating task-specific representations b.) it models the relationship between different signals in the form of support signals c.) it models different resolutions in parallel before merging them for the final prediction task. The FIT, FIT-V and Multi-FIT networks improve upon the state-of-the-art models for three predictive tasks, including the forecasting of patient survival.

Graphs can be leveraged to model polyphonic multitrack symbolic music, where notes, chords and entire sections may be linked at different levels of the musical hierarchy by tonal and rhythmic relationships. Nonetheless, there is a lack of works that consider graph representations in the context of deep learning systems for music generation. This paper bridges this gap by introducing a novel graph representation for music and a deep Variational Autoencoder that generates the structure and the content of musical graphs separately, one after the other, with a hierarchical architecture that matches the structural priors of music. By separating the structure and content of musical graphs, it is possible to condition generation by specifying which instruments are played at certain times. This opens the door to a new form of human-computer interaction in the context of music co-creation. After training the model on existing MIDI datasets, the experiments show that the model is able to generate appealing short and long musical sequences and to realistically interpolate between them, producing music that is tonally and rhythmically consistent. Finally, the visualization of the embeddings shows that the model is able to organize its latent space in accordance with known musical concepts.

Diffusion-based audio and music generation models commonly generate music by constructing an image representation of audio (e.g., a mel-spectrogram) and then converting it to audio using a phase reconstruction model or vocoder. Typical vocoders, however, produce monophonic audio at lower resolutions (e.g., 16-24 kHz), which limits their effectiveness. We propose MusicHiFi -- an efficient high-fidelity stereophonic vocoder. Our method employs a cascade of three generative adversarial networks (GANs) that convert low-resolution mel-spectrograms to audio, upsamples to high-resolution audio via bandwidth expansion, and upmixes to stereophonic audio. Compared to previous work, we propose 1) a unified GAN-based generator and discriminator architecture and training procedure for each stage of our cascade, 2) a new fast, near downsampling-compatible bandwidth extension module, and 3) a new fast downmix-compatible mono-to-stereo upmixer that ensures the preservation of monophonic content in the output. We evaluate our approach using both objective and subjective listening tests and find our approach yields comparable or better audio quality, better spatialization control, and significantly faster inference speed compared to past work. Sound examples are at https://MusicHiFi.github.io/web/.

As digital music production has become mainstream, the selection of appropriate virtual instruments plays a crucial role in determining the quality of music. To search the musical instrument samples or virtual instruments that make one's desired sound, music producers use their ears to listen and compare each instrument sample in their collection, which is time-consuming and inefficient. In this paper, we call this task as Musical Instrument Retrieval and propose a method for retrieving desired musical instruments using reference music mixture as a query. The proposed model consists of the Single-Instrument Encoder and the Multi-Instrument Encoder, both based on convolutional neural networks. The Single-Instrument Encoder is trained to classify the instruments used in single-track audio, and we take its penultimate layer's activation as the instrument embedding. The Multi-Instrument Encoder is trained to estimate multiple instrument embeddings using the instrument embeddings computed by the Single-Instrument Encoder as a set of target embeddings. For more generalized training and realistic evaluation, we also propose a new dataset called Nlakh. Experimental results showed that the Single-Instrument Encoder was able to learn the mapping from the audio signal of unseen instruments to the instrument embedding space and the Multi-Instrument Encoder was able to extract multiple embeddings from the mixture of music and retrieve the desired instruments successfully. The code used for the experiment and audio samples are available at: https://github.com/minju0821/musical_instrument_retrieval

Music source separation demixes a piece of music into its individual sound sources (vocals, percussion, melodic instruments, etc.), a task with no simple mathematical solution. It requires deep learning methods involving training on large datasets of isolated music stems. The most commonly available datasets are made from commercial Western music, limiting the models' applications to non-Western genres like Carnatic music. Carnatic music is a live tradition, with the available multi-track recordings containing overlapping sounds and bleeds between the sources. This poses a challenge to commercially available source separation models like Spleeter and Hybrid Demucs. In this work, we introduce 'Sanidha', the first open-source novel dataset for Carnatic music, offering studio-quality, multi-track recordings with minimal to no overlap or bleed. Along with the audio files, we provide high-definition videos of the artists' performances. Additionally, we fine-tuned Spleeter, one of the most commonly used source separation models, on our dataset and observed improved SDR performance compared to fine-tuning on a pre-existing Carnatic multi-track dataset. The outputs of the fine-tuned model with 'Sanidha' are evaluated through a listening study.

Machine learning based solvers have garnered much attention in physical simulation and scientific computing, with a prominent example, physics-informed neural networks (PINNs). However, PINNs often struggle to solve high-frequency and multi-scale PDEs, which can be due to spectral bias during neural network training. To address this problem, we resort to the Gaussian process (GP) framework. To flexibly capture the dominant frequencies, we model the power spectrum of the PDE solution with a student t mixture or Gaussian mixture. We apply the inverse Fourier transform to obtain the covariance function (by Wiener-Khinchin theorem). The covariance derived from the Gaussian mixture spectrum corresponds to the known spectral mixture kernel. Next, we estimate the mixture weights in the log domain, which we show is equivalent to placing a Jeffreys prior. It automatically induces sparsity, prunes excessive frequencies, and adjusts the remaining toward the ground truth. Third, to enable efficient and scalable computation on massive collocation points, which are critical to capture high frequencies, we place the collocation points on a grid, and multiply our covariance function at each input dimension. We use the GP conditional mean to predict the solution and its derivatives so as to fit the boundary condition and the equation itself. As a result, we can derive a Kronecker product structure in the covariance matrix. We use Kronecker product properties and multilinear algebra to promote computational efficiency and scalability, without low-rank approximations. We show the advantage of our method in systematic experiments. The code is released at https://github.com/xuangu-fang/Gaussian-Process-Slover-for-High-Freq-PDE.

Most neural vocoders employ band-limited mel-spectrograms to generate waveforms. If full-band spectral features are used as the input, the vocoder can be provided with as much acoustic information as possible. However, in some models employing full-band mel-spectrograms, an over-smoothing problem occurs as part of which non-sharp spectrograms are generated. To address this problem, we propose UnivNet, a neural vocoder that synthesizes high-fidelity waveforms in real time. Inspired by works in the field of voice activity detection, we added a multi-resolution spectrogram discriminator that employs multiple linear spectrogram magnitudes computed using various parameter sets. Using full-band mel-spectrograms as input, we expect to generate high-resolution signals by adding a discriminator that employs spectrograms of multiple resolutions as the input. In an evaluation on a dataset containing information on hundreds of speakers, UnivNet obtained the best objective and subjective results among competing models for both seen and unseen speakers. These results, including the best subjective score for text-to-speech, demonstrate the potential for fast adaptation to new speakers without a need for training from scratch.

We present the Melody Guided Music Generation (MMGen) model, the first novel approach using melody to guide the music generation that, despite a pretty simple method and extremely limited resources, achieves excellent performance. Specifically, we first align the melody with audio waveforms and their associated descriptions using the multimodal alignment module. Subsequently, we condition the diffusion module on the learned melody representations. This allows MMGen to generate music that matches the style of the provided audio while also producing music that reflects the content of the given text description. To address the scarcity of high-quality data, we construct a multi-modal dataset, MusicSet, which includes melody, text, and audio, and will be made publicly available. We conduct extensive experiments which demonstrate the superiority of the proposed model both in terms of experimental metrics and actual performance quality.

Tucker decomposition is a powerful tensor model to handle multi-aspect data. It demonstrates the low-rank property by decomposing the grid-structured data as interactions between a core tensor and a set of object representations (factors). A fundamental assumption of such decomposition is that there are finite objects in each aspect or mode, corresponding to discrete indexes of data entries. However, real-world data is often not naturally posed in this setting. For example, geographic data is represented as continuous indexes of latitude and longitude coordinates, and cannot fit tensor models directly. To generalize Tucker decomposition to such scenarios, we propose Functional Bayesian Tucker Decomposition (FunBaT). We treat the continuous-indexed data as the interaction between the Tucker core and a group of latent functions. We use Gaussian processes (GP) as functional priors to model the latent functions. Then, we convert each GP into a state-space prior by constructing an equivalent stochastic differential equation (SDE) to reduce computational cost. An efficient inference algorithm is developed for scalable posterior approximation based on advanced message-passing techniques. The advantage of our method is shown in both synthetic data and several real-world applications. We release the code of FunBaT at https://github.com/xuangu-fang/Functional-Bayesian-Tucker-Decomposition.

We present a novel type of neural fields that uses general radial bases for signal representation. State-of-the-art neural fields typically rely on grid-based representations for storing local neural features and N-dimensional linear kernels for interpolating features at continuous query points. The spatial positions of their neural features are fixed on grid nodes and cannot well adapt to target signals. Our method instead builds upon general radial bases with flexible kernel position and shape, which have higher spatial adaptivity and can more closely fit target signals. To further improve the channel-wise capacity of radial basis functions, we propose to compose them with multi-frequency sinusoid functions. This technique extends a radial basis to multiple Fourier radial bases of different frequency bands without requiring extra parameters, facilitating the representation of details. Moreover, by marrying adaptive radial bases with grid-based ones, our hybrid combination inherits both adaptivity and interpolation smoothness. We carefully designed weighting schemes to let radial bases adapt to different types of signals effectively. Our experiments on 2D image and 3D signed distance field representation demonstrate the higher accuracy and compactness of our method than prior arts. When applied to neural radiance field reconstruction, our method achieves state-of-the-art rendering quality, with small model size and comparable training speed.

Inferring music time structures has a broad range of applications in music production, processing and analysis. Scholars have proposed various methods to analyze different aspects of time structures, such as beat, downbeat, tempo and meter. Many state-of-the-art (SOFA) methods, however, are computationally expensive. This makes them inapplicable in real-world industrial settings where the scale of the music collections can be millions. This paper proposes a new state space and a semi-Markov model for music time structure analysis. The proposed approach turns the commonly used 2D state spaces into a 1D model through a jump-back reward strategy. It reduces the state spaces size drastically. We then utilize the proposed method for causal, joint beat, downbeat, tempo, and meter tracking, and compare it against several previous methods. The proposed method delivers similar performance with the SOFA joint causal models with a much smaller state space and a more than 30 times speedup.

We introduce a state-of-the-art real-time, high-fidelity, audio codec leveraging neural networks. It consists in a streaming encoder-decoder architecture with quantized latent space trained in an end-to-end fashion. We simplify and speed-up the training by using a single multiscale spectrogram adversary that efficiently reduces artifacts and produce high-quality samples. We introduce a novel loss balancer mechanism to stabilize training: the weight of a loss now defines the fraction of the overall gradient it should represent, thus decoupling the choice of this hyper-parameter from the typical scale of the loss. Finally, we study how lightweight Transformer models can be used to further compress the obtained representation by up to 40%, while staying faster than real time. We provide a detailed description of the key design choices of the proposed model including: training objective, architectural changes and a study of various perceptual loss functions. We present an extensive subjective evaluation (MUSHRA tests) together with an ablation study for a range of bandwidths and audio domains, including speech, noisy-reverberant speech, and music. Our approach is superior to the baselines methods across all evaluated settings, considering both 24 kHz monophonic and 48 kHz stereophonic audio. Code and models are available at github.com/facebookresearch/encodec.

Intrinsic imaging or intrinsic image decomposition has traditionally been described as the problem of decomposing an image into two layers: a reflectance, the albedo invariant color of the material; and a shading, produced by the interaction between light and geometry. Deep learning techniques have been broadly applied in recent years to increase the accuracy of those separations. In this survey, we overview those results in context of well-known intrinsic image data sets and relevant metrics used in the literature, discussing their suitability to predict a desirable intrinsic image decomposition. Although the Lambertian assumption is still a foundational basis for many methods, we show that there is increasing awareness on the potential of more sophisticated physically-principled components of the image formation process, that is, optically accurate material models and geometry, and more complete inverse light transport estimations. We classify these methods in terms of the type of decomposition, considering the priors and models used, as well as the learning architecture and methodology driving the decomposition process. We also provide insights about future directions for research, given the recent advances in neural, inverse and differentiable rendering techniques.

Low Rank Decomposition of matrix - splitting a large matrix into a product of two smaller matrix offers a means for compression that reduces the parameters of a model without sparsification, and hence delivering more speedup on modern hardware. Moreover, unlike quantization, the compressed linear layers remain fully differentiable and all the parameters trainable, while being able to leverage the existing highly efficient kernels over floating point matrices. We study the potential to compress Large Language Models (LLMs) for monolingual Code generation via Low Rank Decomposition (LoRD) and observe that ranks for the linear layers in these models can be reduced by upto 39.58% with less than 1% increase in perplexity. We then use Low Rank Decomposition (LoRD) to compress StarCoder 16B to 13.2B parameter with no drop and to 12.3B with minimal drop in HumanEval Pass@1 score, in less than 10 minutes on a single A100. The compressed models speeds up inference by up to 22.35% with just a single line of change in code over huggingface's implementation with pytorch backend. Low Rank Decomposition (LoRD) models remain compatible with state of the art near-lossless quantization method such as SpQR, which allows leveraging further compression gains of quantization. Lastly, QLoRA over Low Rank Decomposition (LoRD) model further reduces memory requirements by as much as 21.2% over vanilla QLoRA while offering similar gains from parameter efficient fine tuning. Our work shows Low Rank Decomposition (LoRD) as a promising new paradigm for LLM compression.

We present AERO, a audio super-resolution model that processes speech and music signals in the spectral domain. AERO is based on an encoder-decoder architecture with U-Net like skip connections. We optimize the model using both time and frequency domain loss functions. Specifically, we consider a set of reconstruction losses together with perceptual ones in the form of adversarial and feature discriminator loss functions. To better handle phase information the proposed method operates over the complex-valued spectrogram using two separate channels. Unlike prior work which mainly considers low and high frequency concatenation for audio super-resolution, the proposed method directly predicts the full frequency range. We demonstrate high performance across a wide range of sample rates considering both speech and music. AERO outperforms the evaluated baselines considering Log-Spectral Distance, ViSQOL, and the subjective MUSHRA test. Audio samples and code are available at https://pages.cs.huji.ac.il/adiyoss-lab/aero

Separating a singing voice from its music accompaniment remains an important challenge in the field of music information retrieval. We present a unique neural network approach inspired by a technique that has revolutionized the field of vision: pixel-wise image classification, which we combine with cross entropy loss and pretraining of the CNN as an autoencoder on singing voice spectrograms. The pixel-wise classification technique directly estimates the sound source label for each time-frequency (T-F) bin in our spectrogram image, thus eliminating common pre- and postprocessing tasks. The proposed network is trained by using the Ideal Binary Mask (IBM) as the target output label. The IBM identifies the dominant sound source in each T-F bin of the magnitude spectrogram of a mixture signal, by considering each T-F bin as a pixel with a multi-label (for each sound source). Cross entropy is used as the training objective, so as to minimize the average probability error between the target and predicted label for each pixel. By treating the singing voice separation problem as a pixel-wise classification task, we additionally eliminate one of the commonly used, yet not easy to comprehend, postprocessing steps: the Wiener filter postprocessing. The proposed CNN outperforms the first runner up in the Music Information Retrieval Evaluation eXchange (MIREX) 2016 and the winner of MIREX 2014 with a gain of 2.2702 ~ 5.9563 dB global normalized source to distortion ratio (GNSDR) when applied to the iKala dataset. An experiment with the DSD100 dataset on the full-tracks song evaluation task also shows that our model is able to compete with cutting-edge singing voice separation systems which use multi-channel modeling, data augmentation, and model blending.

Spectral analysis provides one of the most effective paradigms for information-preserving dimensionality reduction, as simple descriptions of naturally occurring signals are often obtained via few terms of periodic basis functions. In this work, we study deep neural networks designed to harness the structure in frequency domain for efficient learning of long-range correlations in space or time: frequency-domain models (FDMs). Existing FDMs are based on complex-valued transforms i.e. Fourier Transforms (FT), and layers that perform computation on the spectrum and input data separately. This design introduces considerable computational overhead: for each layer, a forward and inverse FT. Instead, this work introduces a blueprint for frequency domain learning through a single transform: transform once (T1). To enable efficient, direct learning in the frequency domain we derive a variance-preserving weight initialization scheme and investigate methods for frequency selection in reduced-order FDMs. Our results noticeably streamline the design process of FDMs, pruning redundant transforms, and leading to speedups of 3x to 10x that increase with data resolution and model size. We perform extensive experiments on learning the solution operator of spatio-temporal dynamics, including incompressible Navier-Stokes, turbulent flows around airfoils and high-resolution video of smoke. T1 models improve on the test performance of FDMs while requiring significantly less computation (5 hours instead of 32 for our large-scale experiment), with over 20% reduction in average predictive error across tasks.

End-to-end learning models have demonstrated a remarkable capability in performing speech segregation. Despite their wide-scope of real-world applications, little is known about the mechanisms they employ to group and consequently segregate individual speakers. Knowing that harmonicity is a critical cue for these networks to group sources, in this work, we perform a thorough investigation on ConvTasnet and DPT-Net to analyze how they perform a harmonic analysis of the input mixture. We perform ablation studies where we apply low-pass, high-pass, and band-stop filters of varying pass-bands to empirically analyze the harmonics most critical for segregation. We also investigate how these networks decide which output channel to assign to an estimated source by introducing discontinuities in synthetic mixtures. We find that end-to-end networks are highly unstable, and perform poorly when confronted with deformations which are imperceptible to humans. Replacing the encoder in these networks with a spectrogram leads to lower overall performance, but much higher stability. This work helps us to understand what information these network rely on for speech segregation, and exposes two sources of generalization-errors. It also pinpoints the encoder as the part of the network responsible for these errors, allowing for a redesign with expert knowledge or transfer learning.

Hyperparameter optimization (HPO) is concerned with the automated search for the most appropriate hyperparameter configuration (HPC) of a parameterized machine learning algorithm. A state-of-the-art HPO method is Hyperband, which, however, has its own parameters that influence its performance. One of these parameters, the maximal budget, is especially problematic: If chosen too small, the budget needs to be increased in hindsight and, as Hyperband is not incremental by design, the entire algorithm must be re-run. This is not only costly but also comes with a loss of valuable knowledge already accumulated. In this paper, we propose incremental variants of Hyperband that eliminate these drawbacks, and show that these variants satisfy theoretical guarantees qualitatively similar to those for the original Hyperband with the "right" budget. Moreover, we demonstrate their practical utility in experiments with benchmark data sets.

The loudness war, an ongoing phenomenon in the music industry characterized by the increasing final loudness of music while reducing its dynamic range, has been a controversial topic for decades. Music mastering engineers have used limiters to heavily compress and make music louder, which can induce ear fatigue and hearing loss in listeners. In this paper, we introduce music de-limiter networks that estimate uncompressed music from heavily compressed signals. Inspired by the principle of a limiter, which performs sample-wise gain reduction of a given signal, we propose the framework of sample-wise gain inversion (SGI). We also present the musdb-XL-train dataset, consisting of 300k segments created by applying a commercial limiter plug-in for training real-world friendly de-limiter networks. Our proposed de-limiter network achieves excellent performance with a scale-invariant source-to-distortion ratio (SI-SDR) of 23.8 dB in reconstructing musdb-HQ from musdb- XL data, a limiter-applied version of musdb-HQ. The training data, codes, and model weights are available in our repository (https://github.com/jeonchangbin49/De-limiter).

We propose the use of low bit-depth Sigma-Delta and distributed noise-shaping methods for quantizing the Random Fourier features (RFFs) associated with shift-invariant kernels. We prove that our quantized RFFs -- even in the case of 1-bit quantization -- allow a high accuracy approximation of the underlying kernels, and the approximation error decays at least polynomially fast as the dimension of the RFFs increases. We also show that the quantized RFFs can be further compressed, yielding an excellent trade-off between memory use and accuracy. Namely, the approximation error now decays exponentially as a function of the bits used. Moreover, we empirically show by testing the performance of our methods on several machine learning tasks that our method compares favorably to other state of the art quantization methods in this context.

The Reduced Basis Method can be exploited in an efficient way only if the so-called affine dependence assumption on the operator and right-hand side of the considered problem with respect to the parameters is satisfied. When it is not, the Empirical Interpolation Method is usually used to recover this assumption approximately. In both cases, the Reduced Basis Method requires to access and modify the assembly routines of the corresponding computational code, leading to an intrusive procedure. In this work, we derive variants of the EIM algorithm and explain how they can be used to turn the Reduced Basis Method into a nonintrusive procedure. We present examples of aeroacoustic problems solved by integral equations and show how our algorithms can benefit from the linear algebra tools available in the considered code.

Recently, universal waveform generation tasks have been investigated conditioned on various out-of-distribution scenarios. Although GAN-based methods have shown their strength in fast waveform generation, they are vulnerable to train-inference mismatch scenarios such as two-stage text-to-speech. Meanwhile, diffusion-based models have shown their powerful generative performance in other domains; however, they stay out of the limelight due to slow inference speed in waveform generation tasks. Above all, there is no generator architecture that can explicitly disentangle the natural periodic features of high-resolution waveform signals. In this paper, we propose PeriodWave, a novel universal waveform generation model. First, we introduce a period-aware flow matching estimator that can capture the periodic features of the waveform signal when estimating the vector fields. Additionally, we utilize a multi-period estimator that avoids overlaps to capture different periodic features of waveform signals. Although increasing the number of periods can improve the performance significantly, this requires more computational costs. To reduce this issue, we also propose a single period-conditional universal estimator that can feed-forward parallel by period-wise batch inference. Additionally, we utilize discrete wavelet transform to losslessly disentangle the frequency information of waveform signals for high-frequency modeling, and introduce FreeU to reduce the high-frequency noise for waveform generation. The experimental results demonstrated that our model outperforms the previous models both in Mel-spectrogram reconstruction and text-to-speech tasks. All source code will be available at https://github.com/sh-lee-prml/PeriodWave.

Universal source separation targets at separating the audio sources of an arbitrary mix, removing the constraint to operate on a specific domain like speech or music. Yet, the potential of universal source separation is limited because most existing works focus on mixes with predominantly sound events, and small training datasets also limit its potential for supervised learning. Here, we study a single general audio source separation (GASS) model trained to separate speech, music, and sound events in a supervised fashion with a large-scale dataset. We assess GASS models on a diverse set of tasks. Our strong in-distribution results show the feasibility of GASS models, and the competitive out-of-distribution performance in sound event and speech separation shows its generalization abilities. Yet, it is challenging for GASS models to generalize for separating out-of-distribution cinematic and music content. We also fine-tune GASS models on each dataset and consistently outperform the ones without pre-training. All fine-tuned models (except the music separation one) obtain state-of-the-art results in their respective benchmarks.

In this paper, we propose a dual-stage architecture for bandwidth extension (BWE) increasing the effective sampling rate of speech signals from 8 kHz to 48 kHz. Unlike existing end-to-end deep learning models, our proposed method explicitly models BWE using excitation and linear time-varying (LTV) filter stages. The excitation stage broadens the spectrum of the input, while the filtering stage properly shapes it based on outputs from an acoustic feature predictor. To this end, an acoustic feature loss term can implicitly promote the excitation subnetwork to produce white spectra in the upper frequency band to be synthesized. Experimental results demonstrate that the added inductive bias provided by our approach can improve upon BWE results using the generators from both SEANet or HiFi-GAN as exciters, and that our means of adapting processing with acoustic feature predictions is more effective than that used in HiFi-GAN-2. Secondary contributions include extensions of the SEANet model to accommodate local conditioning information, as well as the application of HiFi-GAN-2 for the BWE problem.

Most music source separation systems require large collections of isolated sources for training, which can be difficult to obtain. In this work, we use musical scores, which are comparatively easy to obtain, as a weak label for training a source separation system. In contrast with previous score-informed separation approaches, our system does not require isolated sources, and score is used only as a training target, not required for inference. Our model consists of a separator that outputs a time-frequency mask for each instrument, and a transcriptor that acts as a critic, providing both temporal and frequency supervision to guide the learning of the separator. A harmonic mask constraint is introduced as another way of leveraging score information during training, and we propose two novel adversarial losses for additional fine-tuning of both the transcriptor and the separator. Results demonstrate that using score information outperforms temporal weak-labels, and adversarial structures lead to further improvements in both separation and transcription performance.

We consider the problem of computing the Walsh-Hadamard Transform (WHT) of some N-length input vector in the presence of noise, where the N-point Walsh spectrum is K-sparse with K = {O}(N^{delta}) scaling sub-linearly in the input dimension N for some 0<delta<1. Over the past decade, there has been a resurgence in research related to the computation of Discrete Fourier Transform (DFT) for some length-N input signal that has a K-sparse Fourier spectrum. In particular, through a sparse-graph code design, our earlier work on the Fast Fourier Aliasing-based Sparse Transform (FFAST) algorithm computes the K-sparse DFT in time {O}(Klog K) by taking {O}(K) noiseless samples. Inspired by the coding-theoretic design framework, Scheibler et al. proposed the Sparse Fast Hadamard Transform (SparseFHT) algorithm that elegantly computes the K-sparse WHT in the absence of noise using {O}(Klog N) samples in time {O}(Klog^2 N). However, the SparseFHT algorithm explicitly exploits the noiseless nature of the problem, and is not equipped to deal with scenarios where the observations are corrupted by noise. Therefore, a question of critical interest is whether this coding-theoretic framework can be made robust to noise. Further, if the answer is yes, what is the extra price that needs to be paid for being robust to noise? In this paper, we show, quite interestingly, that there is {\it no extra price} that needs to be paid for being robust to noise other than a constant factor. In other words, we can maintain the same sample complexity {O}(Klog N) and the computational complexity {O}(Klog^2 N) as those of the noiseless case, using our SParse Robust Iterative Graph-based Hadamard Transform (SPRIGHT) algorithm.

A multichannel extension to the RVQGAN neural coding method is proposed, and realized for data-driven compression of third-order Ambisonics audio. The input- and output layers of the generator and discriminator models are modified to accept multiple (16) channels without increasing the model bitrate. We also propose a loss function for accounting for spatial perception in immersive reproduction, and transfer learning from single-channel models. Listening test results with 7.1.4 immersive playback show that the proposed extension is suitable for coding scene-based, 16-channel Ambisonics content with good quality at 16 kbit/s.

Modeling and estimating mixed memberships for overlapping unipartite un-weighted networks has been well studied in recent years. However, to our knowledge, there is no model for a more general case, the overlapping bipartite weighted networks. To close this gap, we introduce a novel model, the Bipartite Mixed Membership Distribution-Free (BiMMDF) model. Our model allows an adjacency matrix to follow any distribution as long as its expectation has a block structure related to node membership. In particular, BiMMDF can model overlapping bipartite signed networks and it is an extension of many previous models, including the popular mixed membership stochastic blcokmodels. An efficient algorithm with a theoretical guarantee of consistent estimation is applied to fit BiMMDF. We then obtain the separation conditions of BiMMDF for different distributions. Furthermore, we also consider missing edges for sparse networks. The advantage of BiMMDF is demonstrated in extensive synthetic networks and eight real-world networks.

We introduce Jukebox, a model that generates music with singing in the raw audio domain. We tackle the long context of raw audio using a multi-scale VQ-VAE to compress it to discrete codes, and modeling those using autoregressive Transformers. We show that the combined model at scale can generate high-fidelity and diverse songs with coherence up to multiple minutes. We can condition on artist and genre to steer the musical and vocal style, and on unaligned lyrics to make the singing more controllable. We are releasing thousands of non cherry-picked samples at https://jukebox.openai.com, along with model weights and code at https://github.com/openai/jukebox

Learning decompositions of expensive-to-evaluate black-box functions promises to scale Bayesian optimisation (BO) to high-dimensional problems. However, the success of these techniques depends on finding proper decompositions that accurately represent the black-box. While previous works learn those decompositions based on data, we investigate data-independent decomposition sampling rules in this paper. We find that data-driven learners of decompositions can be easily misled towards local decompositions that do not hold globally across the search space. Then, we formally show that a random tree-based decomposition sampler exhibits favourable theoretical guarantees that effectively trade off maximal information gain and functional mismatch between the actual black-box and its surrogate as provided by the decomposition. Those results motivate the development of the random decomposition upper-confidence bound algorithm (RDUCB) that is straightforward to implement - (almost) plug-and-play - and, surprisingly, yields significant empirical gains compared to the previous state-of-the-art on a comprehensive set of benchmarks. We also confirm the plug-and-play nature of our modelling component by integrating our method with HEBO, showing improved practical gains in the highest dimensional tasks from Bayesmark.

We propose an end-to-end music mixing style transfer system that converts the mixing style of an input multitrack to that of a reference song. This is achieved with an encoder pre-trained with a contrastive objective to extract only audio effects related information from a reference music recording. All our models are trained in a self-supervised manner from an already-processed wet multitrack dataset with an effective data preprocessing method that alleviates the data scarcity of obtaining unprocessed dry data. We analyze the proposed encoder for the disentanglement capability of audio effects and also validate its performance for mixing style transfer through both objective and subjective evaluations. From the results, we show the proposed system not only converts the mixing style of multitrack audio close to a reference but is also robust with mixture-wise style transfer upon using a music source separation model.

Large deep learning models have achieved remarkable success but are resource-intensive, posing challenges such as memory usage. We introduce CURing, a novel model compression method based on CUR matrix decomposition, which approximates weight matrices as the product of selected columns (C) and rows (R), and a small linking matrix (U). We apply this decomposition to weights chosen based on the combined influence of their magnitudes and activations. By identifying and retaining informative rows and columns, CURing significantly reduces model size with minimal performance loss. For example, it reduces Llama3.1-8B's parameters to 7.32B (-9%) in just 129 seconds, over 20 times faster than prior compression methods.

Modeling the natural contour of fundamental frequency (F0) plays a critical role in music audio synthesis. However, transcribing and managing multiple F0 contours in polyphonic music is challenging, and explicit F0 contour modeling has not yet been explored for polyphonic instrumental synthesis. In this paper, we present ViolinDiff, a two-stage diffusion-based synthesis framework. For a given violin MIDI file, the first stage estimates the F0 contour as pitch bend information, and the second stage generates mel spectrogram incorporating these expressive details. The quantitative metrics and listening test results show that the proposed model generates more realistic violin sounds than the model without explicit pitch bend modeling. Audio samples are available online: daewoung.github.io/ViolinDiff-Demo.

Vocal pitch is an important high-level feature in music audio processing. However, extracting vocal pitch in polyphonic music is more challenging due to the presence of accompaniment. To eliminate the influence of the accompaniment, most previous methods adopt music source separation models to obtain clean vocals from polyphonic music before predicting vocal pitches. As a result, the performance of vocal pitch estimation is affected by the music source separation models. To address this issue and directly extract vocal pitches from polyphonic music, we propose a robust model named RMVPE. This model can extract effective hidden features and accurately predict vocal pitches from polyphonic music. The experimental results demonstrate the superiority of RMVPE in terms of raw pitch accuracy (RPA) and raw chroma accuracy (RCA). Additionally, experiments conducted with different types of noise show that RMVPE is robust across all signal-to-noise ratio (SNR) levels. The code of RMVPE is available at https://github.com/Dream-High/RMVPE.

Diffusion models have shown promising results in cross-modal generation tasks involving audio and music, such as text-to-sound and text-to-music generation. These text-controlled music generation models typically focus on generating music by capturing global musical attributes like genre and mood. However, music composition is a complex, multilayered task that often involves musical arrangement as an integral part of the process. This process involves composing each instrument to align with existing ones in terms of beat, dynamics, harmony, and melody, requiring greater precision and control over tracks than text prompts usually provide. In this work, we address these challenges by extending the MusicLDM, a latent diffusion model for music, into a multi-track generative model. By learning the joint probability of tracks sharing a context, our model is capable of generating music across several tracks that correspond well to each other, either conditionally or unconditionally. Additionally, our model is capable of arrangement generation, where the model can generate any subset of tracks given the others (e.g., generating a piano track complementing given bass and drum tracks). We compared our model with an existing multi-track generative model and demonstrated that our model achieves considerable improvements across objective metrics for both total and arrangement generation tasks.

Spectrograms are 2D representations of sound that look very different from the images found in our visual world. And natural images, when played as spectrograms, make unnatural sounds. In this paper, we show that it is possible to synthesize spectrograms that simultaneously look like natural images and sound like natural audio. We call these spectrograms images that sound. Our approach is simple and zero-shot, and it leverages pre-trained text-to-image and text-to-spectrogram diffusion models that operate in a shared latent space. During the reverse process, we denoise noisy latents with both the audio and image diffusion models in parallel, resulting in a sample that is likely under both models. Through quantitative evaluations and perceptual studies, we find that our method successfully generates spectrograms that align with a desired audio prompt while also taking the visual appearance of a desired image prompt. Please see our project page for video results: https://ificl.github.io/images-that-sound/

Diffusion models are rising as a powerful solution for high-fidelity image generation, which exceeds GANs in quality in many circumstances. However, their slow training and inference speed is a huge bottleneck, blocking them from being used in real-time applications. A recent DiffusionGAN method significantly decreases the models' running time by reducing the number of sampling steps from thousands to several, but their speeds still largely lag behind the GAN counterparts. This paper aims to reduce the speed gap by proposing a novel wavelet-based diffusion scheme. We extract low-and-high frequency components from both image and feature levels via wavelet decomposition and adaptively handle these components for faster processing while maintaining good generation quality. Furthermore, we propose to use a reconstruction term, which effectively boosts the model training convergence. Experimental results on CelebA-HQ, CIFAR-10, LSUN-Church, and STL-10 datasets prove our solution is a stepping-stone to offering real-time and high-fidelity diffusion models. Our code and pre-trained checkpoints are available at https://github.com/VinAIResearch/WaveDiff.git.

We present Subtractive Training, a simple and novel method for synthesizing individual musical instrument stems given other instruments as context. This method pairs a dataset of complete music mixes with 1) a variant of the dataset lacking a specific stem, and 2) LLM-generated instructions describing how the missing stem should be reintroduced. We then fine-tune a pretrained text-to-audio diffusion model to generate the missing instrument stem, guided by both the existing stems and the text instruction. Our results demonstrate Subtractive Training's efficacy in creating authentic drum stems that seamlessly blend with the existing tracks. We also show that we can use the text instruction to control the generation of the inserted stem in terms of rhythm, dynamics, and genre, allowing us to modify the style of a single instrument in a full song while keeping the remaining instruments the same. Lastly, we extend this technique to MIDI formats, successfully generating compatible bass, drum, and guitar parts for incomplete arrangements.

Audio restoration has become increasingly significant in modern society, not only due to the demand for high-quality auditory experiences enabled by advanced playback devices, but also because the growing capabilities of generative audio models necessitate high-fidelity audio. Typically, audio restoration is defined as a task of predicting undistorted audio from damaged input, often trained using a GAN framework to balance perception and distortion. Since audio degradation is primarily concentrated in mid- and high-frequency ranges, especially due to codecs, a key challenge lies in designing a generator capable of preserving low-frequency information while accurately reconstructing high-quality mid- and high-frequency content. Inspired by recent advancements in high-sample-rate music separation, speech enhancement, and audio codec models, we propose Apollo, a generative model designed for high-sample-rate audio restoration. Apollo employs an explicit frequency band split module to model the relationships between different frequency bands, allowing for more coherent and higher-quality restored audio. Evaluated on the MUSDB18-HQ and MoisesDB datasets, Apollo consistently outperforms existing SR-GAN models across various bit rates and music genres, particularly excelling in complex scenarios involving mixtures of multiple instruments and vocals. Apollo significantly improves music restoration quality while maintaining computational efficiency. The source code for Apollo is publicly available at https://github.com/JusperLee/Apollo.

This work studies the combinatorial optimization problem of finding an optimal core tensor shape, also called multilinear rank, for a size-constrained Tucker decomposition. We give an algorithm with provable approximation guarantees for its reconstruction error via connections to higher-order singular values. Specifically, we introduce a novel Tucker packing problem, which we prove is NP-hard, and give a polynomial-time approximation scheme based on a reduction to the 2-dimensional knapsack problem with a matroid constraint. We also generalize our techniques to tree tensor network decompositions. We implement our algorithm using an integer programming solver, and show that its solution quality is competitive with (and sometimes better than) the greedy algorithm that uses the true Tucker decomposition loss at each step, while also running up to 1000x faster.

Conventionally, audio super-resolution models fixed the initial and the target sampling rates, which necessitate the model to be trained for each pair of sampling rates. We introduce NU-Wave 2, a diffusion model for neural audio upsampling that enables the generation of 48 kHz audio signals from inputs of various sampling rates with a single model. Based on the architecture of NU-Wave, NU-Wave 2 uses short-time Fourier convolution (STFC) to generate harmonics to resolve the main failure modes of NU-Wave, and incorporates bandwidth spectral feature transform (BSFT) to condition the bandwidths of inputs in the frequency domain. We experimentally demonstrate that NU-Wave 2 produces high-resolution audio regardless of the sampling rate of input while requiring fewer parameters than other models. The official code and the audio samples are available at https://mindslab-ai.github.io/nuwave2.

In this paper, we prove representation bottlenecks of a cascaded convolutional decoder network, considering the capacity of representing different frequency components of an input sample. We conduct the discrete Fourier transform on each channel of the feature map in an intermediate layer of the decoder network. Then, we introduce the rule of the forward propagation of such intermediate-layer spectrum maps, which is equivalent to the forward propagation of feature maps through a convolutional layer. Based on this, we find that each frequency component in the spectrum map is forward propagated independently with other frequency components. Furthermore, we prove two bottlenecks in representing feature spectrums. First, we prove that the convolution operation, the zero-padding operation, and a set of other settings all make a convolutional decoder network more likely to weaken high-frequency components. Second, we prove that the upsampling operation generates a feature spectrum, in which strong signals repetitively appears at certain frequencies.

In this article, we introduce a novel algorithm for efficient near-field synthetic aperture radar (SAR) imaging for irregular scanning geometries. With the emergence of fifth-generation (5G) millimeter-wave (mmWave) devices, near-field SAR imaging is no longer confined to laboratory environments. Recent advances in positioning technology have attracted significant interest for a diverse set of new applications in mmWave imaging. However, many use cases, such as automotive-mounted SAR imaging, unmanned aerial vehicle (UAV) imaging, and freehand imaging with smartphones, are constrained to irregular scanning geometries. Whereas traditional near-field SAR imaging systems and quick personnel security (QPS) scanners employ highly precise motion controllers to create ideal synthetic arrays, emerging applications, mentioned previously, inherently cannot achieve such ideal positioning. In addition, many Internet of Things (IoT) and 5G applications impose strict size and computational complexity limitations that must be considered for edge mmWave imaging technology. In this study, we propose a novel algorithm to leverage the advantages of non-cooperative SAR scanning patterns, small form-factor multiple-input multiple-output (MIMO) radars, and efficient monostatic planar image reconstruction algorithms. We propose a framework to mathematically decompose arbitrary and irregular sampling geometries and a joint solution to mitigate multistatic array imaging artifacts. The proposed algorithm is validated through simulations and an empirical study of arbitrary scanning scenarios. Our algorithm achieves high-resolution and high-efficiency near-field MIMO-SAR imaging, and is an elegant solution to computationally constrained irregularly sampled imaging problems.

In quantised autoencoders, images are usually split into local patches, each encoded by one token. This representation is redundant in the sense that the same number of tokens is spend per region, regardless of the visual information content in that region. Adaptive discretisation schemes like quadtrees are applied to allocate tokens for patches with varying sizes, but this just varies the region of influence for a token which nevertheless remains a local descriptor. Modern architectures add an attention mechanism to the autoencoder which infuses some degree of global information into the local tokens. Despite the global context, tokens are still associated with a local image region. In contrast, our method is inspired by spectral decompositions which transform an input signal into a superposition of global frequencies. Taking the data-driven perspective, we learn custom basis functions corresponding to the codebook entries in our VQ-VAE setup. Furthermore, a decoder combines these basis functions in a non-linear fashion, going beyond the simple linear superposition of spectral decompositions. We can achieve this global description with an efficient transpose operation between features and channels and demonstrate our performance on compression.

Multitrack music transcription aims to transcribe a music audio input into the musical notes of multiple instruments simultaneously. It is a very challenging task that typically requires a more complex model to achieve satisfactory result. In addition, prior works mostly focus on transcriptions of regular instruments, however, neglecting vocals, which are usually the most important signal source if present in a piece of music. In this paper, we propose a novel deep neural network architecture, Perceiver TF, to model the time-frequency representation of audio input for multitrack transcription. Perceiver TF augments the Perceiver architecture by introducing a hierarchical expansion with an additional Transformer layer to model temporal coherence. Accordingly, our model inherits the benefits of Perceiver that posses better scalability, allowing it to well handle transcriptions of many instruments in a single model. In experiments, we train a Perceiver TF to model 12 instrument classes as well as vocal in a multi-task learning manner. Our result demonstrates that the proposed system outperforms the state-of-the-art counterparts (e.g., MT3 and SpecTNT) on various public datasets.

Despite the recent visually-pleasing results achieved, the massive computational cost has been a long-standing flaw for diffusion probabilistic models (DPMs), which, in turn, greatly limits their applications on resource-limited platforms. Prior methods towards efficient DPM, however, have largely focused on accelerating the testing yet overlooked their huge complexity and sizes. In this paper, we make a dedicated attempt to lighten DPM while striving to preserve its favourable performance. We start by training a small-sized latent diffusion model (LDM) from scratch, but observe a significant fidelity drop in the synthetic images. Through a thorough assessment, we find that DPM is intrinsically biased against high-frequency generation, and learns to recover different frequency components at different time-steps. These properties make compact networks unable to represent frequency dynamics with accurate high-frequency estimation. Towards this end, we introduce a customized design for slim DPM, which we term as Spectral Diffusion (SD), for light-weight image synthesis. SD incorporates wavelet gating in its architecture to enable frequency dynamic feature extraction at every reverse steps, and conducts spectrum-aware distillation to promote high-frequency recovery by inverse weighting the objective based on spectrum magni tudes. Experimental results demonstrate that, SD achieves 8-18x computational complexity reduction as compared to the latent diffusion models on a series of conditional and unconditional image generation tasks while retaining competitive image fidelity.

As neural networks grow in scale, their training becomes both computationally demanding and rich in dynamics. Amidst the flourishing interest in these training dynamics, we present a novel observation: Parameters during training exhibit intrinsic correlations over time. Capitalizing on this, we introduce Correlation Mode Decomposition (CMD). This algorithm clusters the parameter space into groups, termed modes, that display synchronized behavior across epochs. This enables CMD to efficiently represent the training dynamics of complex networks, like ResNets and Transformers, using only a few modes. Moreover, test set generalization is enhanced. We introduce an efficient CMD variant, designed to run concurrently with training. Our experiments indicate that CMD surpasses the state-of-the-art method for compactly modeled dynamics on image classification. Our modeling can improve training efficiency and lower communication overhead, as shown by our preliminary experiments in the context of federated learning.

Adapting large-scale pre-trained generative models in a parameter-efficient manner is gaining traction. Traditional methods like low rank adaptation achieve parameter efficiency by imposing constraints but may not be optimal for tasks requiring high representation capacity. We propose a novel spectrum-aware adaptation framework for generative models. Our method adjusts both singular values and their basis vectors of pretrained weights. Using the Kronecker product and efficient Stiefel optimizers, we achieve parameter-efficient adaptation of orthogonal matrices. We introduce Spectral Orthogonal Decomposition Adaptation (SODA), which balances computational efficiency and representation capacity. Extensive evaluations on text-to-image diffusion models demonstrate SODA's effectiveness, offering a spectrum-aware alternative to existing fine-tuning methods.

Deep neural networks have shown promise for music audio signal processing applications, often surpassing prior approaches, particularly as end-to-end models in the waveform domain. Yet results to date have tended to be constrained by low sample rates, noise, narrow domains of signal types, and/or lack of parameterized controls (i.e. "knobs"), making their suitability for professional audio engineering workflows still lacking. This work expands on prior research published on modeling nonlinear time-dependent signal processing effects associated with music production by means of a deep neural network, one which includes the ability to emulate the parameterized settings you would see on an analog piece of equipment, with the goal of eventually producing commercially viable, high quality audio, i.e. 44.1 kHz sampling rate at 16-bit resolution. The results in this paper highlight progress in modeling these effects through architecture and optimization changes, towards increasing computational efficiency, lowering signal-to-noise ratio, and extending to a larger variety of nonlinear audio effects. Toward these ends, the strategies employed involved a three-pronged approach: model speed, model accuracy, and model generalizability. Most of the presented methods provide marginal or no increase in output accuracy over the original model, with the exception of dataset manipulation. We found that limiting the audio content of the dataset, for example using datasets of just a single instrument, provided a significant improvement in model accuracy over models trained on more general datasets.

We demonstrate the efficacy of using intermediate representations from a single foundation model to enhance various music downstream tasks. We introduce SoniDo , a music foundation model (MFM) designed to extract hierarchical features from target music samples. By leveraging hierarchical intermediate features, SoniDo constrains the information granularity, leading to improved performance across various downstream tasks including both understanding and generative tasks. We specifically evaluated this approach on representative tasks such as music tagging, music transcription, music source separation, and music mixing. Our results reveal that the features extracted from foundation models provide valuable enhancements in training downstream task models. This highlights the capability of using features extracted from music foundation models as a booster for downstream tasks. Our approach not only benefits existing task-specific models but also supports music downstream tasks constrained by data scarcity. This paves the way for more effective and accessible music processing solutions.

Music source separation involves a large input field to model a long-term dependence of an audio signal. Previous convolutional neural network (CNN)-based approaches address the large input field modeling using sequentially down- and up-sampling feature maps or dilated convolution. In this paper, we claim the importance of a rapid growth of a receptive field and a simultaneous modeling of multi-resolution data in a single convolution layer, and propose a novel CNN architecture called densely connected dilated DenseNet (D3Net). D3Net involves a novel multi-dilated convolution that has different dilation factors in a single layer to model different resolutions simultaneously. By combining the multi-dilated convolution with DenseNet architecture, D3Net avoids the aliasing problem that exists when we naively incorporate the dilated convolution in DenseNet. Experimental results on MUSDB18 dataset show that D3Net achieves state-of-the-art performance with an average signal to distortion ratio (SDR) of 6.01 dB.

Speech bandwidth expansion is crucial for expanding the frequency range of low-bandwidth speech signals, thereby improving audio quality, clarity and perceptibility in digital applications. Its applications span telephony, compression, text-to-speech synthesis, and speech recognition. This paper presents a novel approach using a high-fidelity generative adversarial network, unlike cascaded systems, our system is trained end-to-end on paired narrowband and wideband speech signals. Our method integrates various bandwidth upsampling ratios into a single unified model specifically designed for speech bandwidth expansion applications. Our approach exhibits robust performance across various bandwidth expansion factors, including those not encountered during training, demonstrating zero-shot capability. To the best of our knowledge, this is the first work to showcase this capability. The experimental results demonstrate that our method outperforms previous end-to-end approaches, as well as interpolation and traditional techniques, showcasing its effectiveness in practical speech enhancement applications.

Optical Music Recognition is a field that has progressed significantly, bringing accurate systems that transcribe effectively music scores into digital formats. Despite this, there are still several limitations that hinder OMR from achieving its full potential. Specifically, state of the art OMR still depends on multi-stage pipelines for performing full-page transcription, as well as it has only been demonstrated in monophonic cases, leaving behind very relevant engravings. In this work, we present the Sheet Music Transformer++, an end-to-end model that is able to transcribe full-page polyphonic music scores without the need of a previous Layout Analysis step. This is done thanks to an extensive curriculum learning-based pretraining with synthetic data generation. We conduct several experiments on a full-page extension of a public polyphonic transcription dataset. The experimental outcomes confirm that the model is competent at transcribing full-page pianoform scores, marking a noteworthy milestone in end-to-end OMR transcription.

Instrument playing technique (IPT) is a key element of musical presentation. However, most of the existing works for IPT detection only concern monophonic music signals, yet little has been done to detect IPTs in polyphonic instrumental solo pieces with overlapping IPTs or mixed IPTs. In this paper, we formulate it as a frame-level multi-label classification problem and apply it to Guzheng, a Chinese plucked string instrument. We create a new dataset, Guzheng\_Tech99, containing Guzheng recordings and onset, offset, pitch, IPT annotations of each note. Because different IPTs vary a lot in their lengths, we propose a new method to solve this problem using multi-scale network and self-attention. The multi-scale network extracts features from different scales, and the self-attention mechanism applied to the feature maps at the coarsest scale further enhances the long-range feature extraction. Our approach outperforms existing works by a large margin, indicating its effectiveness in IPT detection.

Achieving high-fidelity audio compression while preserving perceptual quality across diverse content remains a key challenge in Neural Audio Coding (NAC). We introduce MUFFIN, a fully convolutional Neural Psychoacoustic Coding (NPC) framework that leverages psychoacoustically guided multi-band frequency reconstruction. At its core is a Multi-Band Spectral Residual Vector Quantization (MBS-RVQ) module that allocates bitrate across frequency bands based on perceptual salience. This design enables efficient compression while disentangling speaker identity from content using distinct codebooks. MUFFIN incorporates a transformer-inspired convolutional backbone and a modified snake activation to enhance resolution in fine-grained spectral regions. Experimental results on multiple benchmarks demonstrate that MUFFIN consistently outperforms existing approaches in reconstruction quality. A high-compression variant achieves a state-of-the-art 12.5 Hz rate with minimal loss. MUFFIN also proves effective in downstream generative tasks, highlighting its promise as a token representation for integration with language models. Audio samples and code are available.

In this paper, we propose a speed-up approach for subclass discriminant analysis and formulate a novel efficient multi-view solution to it. The speed-up approach is developed based on graph embedding and spectral regression approaches that involve eigendecomposition of the corresponding Laplacian matrix and regression to its eigenvectors. We show that by exploiting the structure of the between-class Laplacian matrix, the eigendecomposition step can be substituted with a much faster process. Furthermore, we formulate a novel criterion for multi-view subclass discriminant analysis and show that an efficient solution for it can be obtained in a similar to the single-view manner. We evaluate the proposed methods on nine single-view and nine multi-view datasets and compare them with related existing approaches. Experimental results show that the proposed solutions achieve competitive performance, often outperforming the existing methods. At the same time, they significantly decrease the training time.

Symbolic music generation aims to create musical notes, which can help users compose music, such as generating target instrumental tracks from scratch, or based on user-provided source tracks. Considering the diverse and flexible combination between source and target tracks, a unified model capable of generating any arbitrary tracks is of crucial necessity. Previous works fail to address this need due to inherent constraints in music representations and model architectures. To address this need, we propose a unified representation and diffusion framework named GETMusic (`GET' stands for GEnerate music Tracks), which includes a novel music representation named GETScore, and a diffusion model named GETDiff. GETScore represents notes as tokens and organizes them in a 2D structure, with tracks stacked vertically and progressing horizontally over time. During training, tracks are randomly selected as either the target or source. In the forward process, target tracks are corrupted by masking their tokens, while source tracks remain as ground truth. In the denoising process, GETDiff learns to predict the masked target tokens, conditioning on the source tracks. With separate tracks in GETScore and the non-autoregressive behavior of the model, GETMusic can explicitly control the generation of any target tracks from scratch or conditioning on source tracks. We conduct experiments on music generation involving six instrumental tracks, resulting in a total of 665 combinations. GETMusic provides high-quality results across diverse combinations and surpasses prior works proposed for some specific combinations.

Time-series forecasting is crucial for numerous real-world applications including weather prediction and financial market modeling. While temporal-domain methods remain prevalent, frequency-domain approaches can effectively capture multi-scale periodic patterns, reduce sequence dependencies, and naturally denoise signals. However, existing approaches typically train model components for all frequencies under a unified training objective, often leading to mismatched learning speeds: high-frequency components converge faster and risk overfitting, while low-frequency components underfit due to insufficient training time. To deal with this challenge, we propose BEAT (Balanced frEquency Adaptive Tuning), a novel framework that dynamically monitors the training status for each frequency and adaptively adjusts their gradient updates. By recognizing convergence, overfitting, or underfitting for each frequency, BEAT dynamically reallocates learning priorities, moderating gradients for rapid learners and increasing those for slower ones, alleviating the tension between competing objectives across frequencies and synchronizing the overall learning process. Extensive experiments on seven real-world datasets demonstrate that BEAT consistently outperforms state-of-the-art approaches.

Conditional sound separation in multi-source audio mixtures without having access to single source sound data during training is a long standing challenge. Existing mix-and-separate based methods suffer from significant performance drop with multi-source training mixtures due to the lack of supervision signal for single source separation cases during training. However, in the case of language-conditional audio separation, we do have access to corresponding text descriptions for each audio mixture in our training data, which can be seen as (rough) representations of the audio samples in the language modality. To this end, in this paper, we propose a generic bi-modal separation framework which can enhance the existing unsupervised frameworks to separate single-source signals in a target modality (i.e., audio) using the easily separable corresponding signals in the conditioning modality (i.e., language), without having access to single-source samples in the target modality during training. We empirically show that this is well within reach if we have access to a pretrained joint embedding model between the two modalities (i.e., CLAP). Furthermore, we propose to incorporate our framework into two fundamental scenarios to enhance separation performance. First, we show that our proposed methodology significantly improves the performance of purely unsupervised baselines by reducing the distribution shift between training and test samples. In particular, we show that our framework can achieve 71% boost in terms of Signal-to-Distortion Ratio (SDR) over the baseline, reaching 97.5% of the supervised learning performance. Second, we show that we can further improve the performance of the supervised learning itself by 17% if we augment it by our proposed weakly-supervised framework, that enables a powerful semi-supervised framework for audio separation.

Finding the mode of a high dimensional probability distribution D is a fundamental algorithmic problem in statistics and data analysis. There has been particular interest in efficient methods for solving the problem when D is represented as a mixture model or kernel density estimate, although few algorithmic results with worst-case approximation and runtime guarantees are known. In this work, we significantly generalize a result of (LeeLiMusco:2021) on mode approximation for Gaussian mixture models. We develop randomized dimensionality reduction methods for mixtures involving a broader class of kernels, including the popular logistic, sigmoid, and generalized Gaussian kernels. As in Lee et al.'s work, our dimensionality reduction results yield quasi-polynomial algorithms for mode finding with multiplicative accuracy (1-epsilon) for any epsilon > 0. Moreover, when combined with gradient descent, they yield efficient practical heuristics for the problem. In addition to our positive results, we prove a hardness result for box kernels, showing that there is no polynomial time algorithm for finding the mode of a kernel density estimate, unless P = NP. Obtaining similar hardness results for kernels used in practice (like Gaussian or logistic kernels) is an interesting future direction.

An ideal music synthesizer should be both interactive and expressive, generating high-fidelity audio in realtime for arbitrary combinations of instruments and notes. Recent neural synthesizers have exhibited a tradeoff between domain-specific models that offer detailed control of only specific instruments, or raw waveform models that can train on any music but with minimal control and slow generation. In this work, we focus on a middle ground of neural synthesizers that can generate audio from MIDI sequences with arbitrary combinations of instruments in realtime. This enables training on a wide range of transcription datasets with a single model, which in turn offers note-level control of composition and instrumentation across a wide range of instruments. We use a simple two-stage process: MIDI to spectrograms with an encoder-decoder Transformer, then spectrograms to audio with a generative adversarial network (GAN) spectrogram inverter. We compare training the decoder as an autoregressive model and as a Denoising Diffusion Probabilistic Model (DDPM) and find that the DDPM approach is superior both qualitatively and as measured by audio reconstruction and Fr\'echet distance metrics. Given the interactivity and generality of this approach, we find this to be a promising first step towards interactive and expressive neural synthesis for arbitrary combinations of instruments and notes.

Recent progress in music generation has been remarkably advanced by the state-of-the-art MusicLM, which comprises a hierarchy of three LMs, respectively, for semantic, coarse acoustic, and fine acoustic modelings. Yet, sampling with the MusicLM requires processing through these LMs one by one to obtain the fine-grained acoustic tokens, making it computationally expensive and prohibitive for a real-time generation. Efficient music generation with a quality on par with MusicLM remains a significant challenge. In this paper, we present MeLoDy (M for music; L for LM; D for diffusion), an LM-guided diffusion model that generates music audios of state-of-the-art quality meanwhile reducing 95.7% or 99.6% forward passes in MusicLM, respectively, for sampling 10s or 30s music. MeLoDy inherits the highest-level LM from MusicLM for semantic modeling, and applies a novel dual-path diffusion (DPD) model and an audio VAE-GAN to efficiently decode the conditioning semantic tokens into waveform. DPD is proposed to simultaneously model the coarse and fine acoustics by incorporating the semantic information into segments of latents effectively via cross-attention at each denoising step. Our experimental results suggest the superiority of MeLoDy, not only in its practical advantages on sampling speed and infinitely continuable generation, but also in its state-of-the-art musicality, audio quality, and text correlation. Our samples are available at https://Efficient-MeLoDy.github.io/.

We propose a lightweight end-to-end text-to-speech model using multi-band generation and inverse short-time Fourier transform. Our model is based on VITS, a high-quality end-to-end text-to-speech model, but adopts two changes for more efficient inference: 1) the most computationally expensive component is partially replaced with a simple inverse short-time Fourier transform, and 2) multi-band generation, with fixed or trainable synthesis filters, is used to generate waveforms. Unlike conventional lightweight models, which employ optimization or knowledge distillation separately to train two cascaded components, our method enjoys the full benefits of end-to-end optimization. Experimental results show that our model synthesized speech as natural as that synthesized by VITS, while achieving a real-time factor of 0.066 on an Intel Core i7 CPU, 4.1 times faster than VITS. Moreover, a smaller version of the model significantly outperformed a lightweight baseline model with respect to both naturalness and inference speed. Code and audio samples are available from https://github.com/MasayaKawamura/MB-iSTFT-VITS.

We propose a novel symbolic music representation and Generative Adversarial Network (GAN) framework specially designed for symbolic multitrack music generation. The main theme of symbolic music generation primarily encompasses the preprocessing of music data and the implementation of a deep learning framework. Current techniques dedicated to symbolic music generation generally encounter two significant challenges: training data's lack of information about chords and scales and the requirement of specially designed model architecture adapted to the unique format of symbolic music representation. In this paper, we solve the above problems by introducing new symbolic music representation with MusicLang chord analysis model. We propose our MMT-BERT architecture adapting to the representation. To build a robust multitrack music generator, we fine-tune a pre-trained MusicBERT model to serve as the discriminator, and incorporate relativistic standard loss. This approach, supported by the in-depth understanding of symbolic music encoded within MusicBERT, fortifies the consonance and humanity of music generated by our method. Experimental results demonstrate the effectiveness of our approach which strictly follows the state-of-the-art methods.

The kernel thinning (KT) algorithm of Dwivedi and Mackey (2021) compresses a probability distribution more effectively than independent sampling by targeting a reproducing kernel Hilbert space (RKHS) and leveraging a less smooth square-root kernel. Here we provide four improvements. First, we show that KT applied directly to the target RKHS yields tighter, dimension-free guarantees for any kernel, any distribution, and any fixed function in the RKHS. Second, we show that, for analytic kernels like Gaussian, inverse multiquadric, and sinc, target KT admits maximum mean discrepancy (MMD) guarantees comparable to or better than those of square-root KT without making explicit use of a square-root kernel. Third, we prove that KT with a fractional power kernel yields better-than-Monte-Carlo MMD guarantees for non-smooth kernels, like Laplace and Mat\'ern, that do not have square-roots. Fourth, we establish that KT applied to a sum of the target and power kernels (a procedure we call KT+) simultaneously inherits the improved MMD guarantees of power KT and the tighter individual function guarantees of target KT. In our experiments with target KT and KT+, we witness significant improvements in integration error even in 100 dimensions and when compressing challenging differential equation posteriors.

Converting time domain waveforms to frequency domain spectrograms is typically considered to be a prepossessing step done before model training. This approach, however, has several drawbacks. First, it takes a lot of hard disk space to store different frequency domain representations. This is especially true during the model development and tuning process, when exploring various types of spectrograms for optimal performance. Second, if another dataset is used, one must process all the audio clips again before the network can be retrained. In this paper, we integrate the time domain to frequency domain conversion as part of the model structure, and propose a neural network based toolbox, nnAudio, which leverages 1D convolutional neural networks to perform time domain to frequency domain conversion during feed-forward. It allows on-the-fly spectrogram generation without the need to store any spectrograms on the disk. This approach also allows back-propagation on the waveforms-to-spectrograms transformation layer, which implies that this transformation process can be made trainable, and hence further optimized by gradient descent. nnAudio reduces the waveforms-to-spectrograms conversion time for 1,770 waveforms (from the MAPS dataset) from 10.64 seconds with librosa to only 0.001 seconds for Short-Time Fourier Transform (STFT), 18.3 seconds to 0.015 seconds for Mel spectrogram, 103.4 seconds to 0.258 for constant-Q transform (CQT), when using GPU on our DGX work station with CPU: Intel(R) Xeon(R) CPU E5-2698 v4 @ 2.20GHz Tesla v100 32Gb GPUs. (Only 1 GPU is being used for all the experiments.) We also further optimize the existing CQT algorithm, so that the CQT spectrogram can be obtained without aliasing in a much faster computation time (from 0.258 seconds to only 0.001 seconds).

In this paper, we present MusPy, an open source Python library for symbolic music generation. MusPy provides easy-to-use tools for essential components in a music generation system, including dataset management, data I/O, data preprocessing and model evaluation. In order to showcase its potential, we present statistical analysis of the eleven datasets currently supported by MusPy. Moreover, we conduct a cross-dataset generalizability experiment by training an autoregressive model on each dataset and measuring held-out likelihood on the others---a process which is made easier by MusPy's dataset management system. The results provide a map of domain overlap between various commonly used datasets and show that some datasets contain more representative cross-genre samples than others. Along with the dataset analysis, these results might serve as a guide for choosing datasets in future research. Source code and documentation are available at https://github.com/salu133445/muspy .

Images captured in low-light environment often suffer from complex degradation. Simply adjusting light would inevitably result in burst of hidden noise and color distortion. To seek results with satisfied lighting, cleanliness, and realism from degraded inputs, this paper presents a novel framework inspired by the divide-and-rule principle, greatly alleviating the degradation entanglement. Assuming that an image can be decomposed into texture (with possible noise) and color components, one can specifically execute noise removal and color correction along with light adjustment. Towards this purpose, we propose to convert an image from the RGB space into a luminance-chrominance one. An adjustable noise suppression network is designed to eliminate noise in the brightened luminance, having the illumination map estimated to indicate noise boosting levels. The enhanced luminance further serves as guidance for the chrominance mapper to generate realistic colors. Extensive experiments are conducted to reveal the effectiveness of our design, and demonstrate its superiority over state-of-the-art alternatives both quantitatively and qualitatively on several benchmark datasets. Our code is publicly available at https://github.com/mingcv/Bread.

Music scores are written representations of music and contain rich information about musical components. The visual information on music scores includes notes, rests, staff lines, clefs, dynamics, and articulations. This visual information in music scores contains more semantic information than audio and symbolic representations of music. Previous music score datasets have limited sizes and are mainly designed for optical music recognition (OMR). There is a lack of research on creating a large-scale benchmark dataset for music modeling and generation. In this work, we propose MusicScore, a large-scale music score dataset collected and processed from the International Music Score Library Project (IMSLP). MusicScore consists of image-text pairs, where the image is a page of a music score and the text is the metadata of the music. The metadata of MusicScore is extracted from the general information section of the IMSLP pages. The metadata includes rich information about the composer, instrument, piece style, and genre of the music pieces. MusicScore is curated into small, medium, and large scales of 400, 14k, and 200k image-text pairs with varying diversity, respectively. We build a score generation system based on a UNet diffusion model to generate visually readable music scores conditioned on text descriptions to benchmark the MusicScore dataset for music score generation. MusicScore is released to the public at https://huggingface.co/datasets/ZheqiDAI/MusicScore.

Deep Neural Networks (DNNs) have been a large driver and enabler for AI breakthroughs in recent years. These models have been getting larger in their attempt to become more accurate and tackle new upcoming use-cases, including AR/VR and intelligent assistants. However, the training process of such large models is a costly and time-consuming process, which typically yields a single model to fit all targets. To mitigate this, various techniques have been proposed in the literature, including pruning, sparsification or quantization of the model weights and updates. While able to achieve high compression rates, they often incur computational overheads or accuracy penalties. Alternatively, factorization methods have been leveraged to incorporate low-rank compression in the training process. Similarly, such techniques (e.g.,~SVD) frequently rely on the computationally expensive decomposition of layers and are potentially sub-optimal for non-linear models, such as DNNs. In this work, we take a further step in designing efficient low-rank models and propose Maestro, a framework for trainable low-rank layers. Instead of regularly applying a priori decompositions such as SVD, the low-rank structure is built into the training process through a generalized variant of Ordered Dropout. This method imposes an importance ordering via sampling on the decomposed DNN structure. Our theoretical analysis demonstrates that our method recovers the SVD decomposition of linear mapping on uniformly distributed data and PCA for linear autoencoders. We further apply our technique on DNNs and empirically illustrate that Maestro enables the extraction of lower footprint models that preserve model performance while allowing for graceful accuracy-latency tradeoff for the deployment to devices of different capabilities.

With rapid advances in generative artificial intelligence, the text-to-music synthesis task has emerged as a promising direction for music generation from scratch. However, finer-grained control over multi-track generation remains an open challenge. Existing models exhibit strong raw generation capability but lack the flexibility to compose separate tracks and combine them in a controllable manner, differing from typical workflows of human composers. To address this issue, we propose JEN-1 Composer, a unified framework to efficiently model marginal, conditional, and joint distributions over multi-track music via a single model. JEN-1 Composer framework exhibits the capacity to seamlessly incorporate any diffusion-based music generation system, e.g. Jen-1, enhancing its capacity for versatile multi-track music generation. We introduce a curriculum training strategy aimed at incrementally instructing the model in the transition from single-track generation to the flexible generation of multi-track combinations. During the inference, users have the ability to iteratively produce and choose music tracks that meet their preferences, subsequently creating an entire musical composition incrementally following the proposed Human-AI co-composition workflow. Quantitative and qualitative assessments demonstrate state-of-the-art performance in controllable and high-fidelity multi-track music synthesis. The proposed JEN-1 Composer represents a significant advance toward interactive AI-facilitated music creation and composition. Demos will be available at https://jenmusic.ai/audio-demos.

We explore the potential of a popular distributional semantics vector space model, word2vec, for capturing meaningful relationships in ecological (complex polyphonic) music. More precisely, the skip-gram version of word2vec is used to model slices of music from a large corpus spanning eight musical genres. In this newly learned vector space, a metric based on cosine distance is able to distinguish between functional chord relationships, as well as harmonic associations in the music. Evidence, based on cosine distance between chord-pair vectors, suggests that an implicit circle-of-fifths exists in the vector space. In addition, a comparison between pieces in different keys reveals that key relationships are represented in word2vec space. These results suggest that the newly learned embedded vector representation does in fact capture tonal and harmonic characteristics of music, without receiving explicit information about the musical content of the constituent slices. In order to investigate whether proximity in the discovered space of embeddings is indicative of `semantically-related' slices, we explore a music generation task, by automatically replacing existing slices from a given piece of music with new slices. We propose an algorithm to find substitute slices based on spatial proximity and the pitch class distribution inferred in the chosen subspace. The results indicate that the size of the subspace used has a significant effect on whether slices belonging to the same key are selected. In sum, the proposed word2vec model is able to learn music-vector embeddings that capture meaningful tonal and harmonic relationships in music, thereby providing a useful tool for exploring musical properties and comparisons across pieces, as a potential input representation for deep learning models, and as a music generation device.

Skin cancer is a widespread, global, and potentially deadly disease, which over the last three decades has afflicted more lives in the USA than all other forms of cancer combined. There have been a lot of promising recent works utilizing deep network architectures, such as FCNs, U-Nets, and ResNets, for developing automated skin lesion segmentation. This paper investigates various pre- and post-processing techniques for improving the performance of U-Nets as measured by the Jaccard Index. The dataset provided as part of the "2017 ISBI Challenges on Skin Lesion Analysis Towards Melanoma Detection" was used for this evaluation and the performance of the finalist competitors was the standard for comparison. The pre-processing techniques employed in the proposed system included contrast enhancement, artifact removal, and vignette correction. More advanced image transformations, such as local binary patterns and wavelet decomposition, were also employed to augment the raw grayscale images used as network input features. While the performance of the proposed system fell short of the winners of the challenge, it was determined that using wavelet decomposition as an early transformation step improved the overall performance of the system over pre- and post-processing steps alone.

The spectral smoothness properties of the low-frequency array of the Square Kilometer Array (SKA), namely SKA-Low, are an important issue for its scientific objectives to be attainable. A large array of 256 log-periodic dipole antennas, installed on top of a 42~m circular ground plane, will work as an SKA-Low station in the frequency range 50-350 MHz. In this article, the ground plane induced effects are examined in terms of antenna beam spectral characteristics, while different antenna placements are considered. Results are produced both at isolated antenna and at array level in the band 50-100 MHz, by employing an approximate method for the speeding-up of array simulations. We attempt to distinguish the ground plane effect from that of mutual coupling among antennas, which appears to be more severe at specific frequencies, using 2 figures of merit. The Discrete Fourier Transform (DFT) components of gain pattern ratios identify the fundamental spatial components of the ripple, while the Envelope Correlation Coefficient quantifies the penalty to considering an infinite ground plane.

Parameter-Efficient Fine-Tuning (PEFT) is a technique that allows us to adapt powerful Foundation Models (FMs) to diverse downstream tasks while preserving and unleashing their inherent capabilities. However, we have observed that existing PEFT methods, which are often designed with natural imagery in mind, struggle when applied to Remote Sensing (RS) scenarios. This is primarily due to their inability to handle artifact influences, a problem particularly severe in RS image features. To tackle this challenge, we introduce Earth-Adapter, the first PEFT method specifically designed for RS artifacts conquering. Earth-Adapter introduces a novel Mixture of Frequency Adaptation process that combines a Mixture of Adapter (MoA) with Discrete Fourier Transformation (DFT). By utilizing DFT, Earth-Adapter can decompose features into different frequency components, precisely separating artifacts from original features. The MoA then dynamically assigns weights to each adapter expert, allowing for the combination of features across various frequency domains. These simple-yet-effective approaches enable Earth-Adapter to more efficiently overcome the disturbances caused by artifacts than previous PEFT methods, significantly enhancing the FMs' performance on RS scenarios. Experiments on Domain Adaptation (DA), and Domain Generalization (DG) semantic segmentation benchmarks showcase the Earth-Adapter's effectiveness. Compared with baseline Rein, Earth-Adapter significantly improves 9.0% mIoU in DA and 3.1% mIoU in DG benchmarks. Our code will be released at https://github.com/VisionXLab/Earth-Adapter.

As the Chinese stock market continues to evolve and its market structure grows increasingly complex, traditional quantitative trading methods are facing escalating challenges. Particularly, due to policy uncertainty and the frequent market fluctuations triggered by sudden economic events, existing models often struggle to accurately predict market dynamics. To address these challenges, this paper introduces Stockformer, a price-volume factor stock selection model that integrates wavelet transformation and a multitask self-attention network, aimed at enhancing responsiveness and predictive accuracy regarding market instabilities. Through discrete wavelet transform, Stockformer decomposes stock returns into high and low frequencies, meticulously capturing long-term market trends and short-term fluctuations, including abrupt events. Moreover, the model incorporates a Dual-Frequency Spatiotemporal Encoder and graph embedding techniques to effectively capture complex temporal and spatial relationships among stocks. Employing a multitask learning strategy, it simultaneously predicts stock returns and directional trends. Experimental results show that Stockformer outperforms existing advanced methods on multiple real stock market datasets. In strategy backtesting, Stockformer consistently demonstrates exceptional stability and reliability across market conditions-whether rising, falling, or fluctuating-particularly maintaining high performance during downturns or volatile periods, indicating a high adaptability to market fluctuations. To foster innovation and collaboration in the financial analysis sector, the Stockformer model's code has been open-sourced and is available on the GitHub repository: https://github.com/Eric991005/Multitask-Stockformer.

We study the estimation of a planted signal hidden in a recently introduced nested matrix-tensor model, which is an extension of the classical spiked rank-one tensor model, motivated by multi-view clustering. Prior work has theoretically examined the performance of a tensor-based approach, which relies on finding a best rank-one approximation, a problem known to be computationally hard. A tractable alternative approach consists in computing instead the best rank-one (matrix) approximation of an unfolding of the observed tensor data, but its performance was hitherto unknown. We quantify here the performance gap between these two approaches, in particular by deriving the precise algorithmic threshold of the unfolding approach and demonstrating that it exhibits a BBP-type transition behavior. This work is therefore in line with recent contributions which deepen our understanding of why tensor-based methods surpass matrix-based methods in handling structured tensor data.

Memory complexity and data scarcity have so far prohibited learning solution operators of partial differential equations (PDEs) at high resolutions. We address these limitations by introducing a new data efficient and highly parallelizable operator learning approach with reduced memory requirement and better generalization, called multi-grid tensorized neural operator (MG-TFNO). MG-TFNO scales to large resolutions by leveraging local and global structures of full-scale, real-world phenomena, through a decomposition of both the input domain and the operator's parameter space. Our contributions are threefold: i) we enable parallelization over input samples with a novel multi-grid-based domain decomposition, ii) we represent the parameters of the model in a high-order latent subspace of the Fourier domain, through a global tensor factorization, resulting in an extreme reduction in the number of parameters and improved generalization, and iii) we propose architectural improvements to the backbone FNO. Our approach can be used in any operator learning setting. We demonstrate superior performance on the turbulent Navier-Stokes equations where we achieve less than half the error with over 150x compression. The tensorization combined with the domain decomposition, yields over 150x reduction in the number of parameters and 7x reduction in the domain size without losses in accuracy, while slightly enabling parallelism.

Due to the three-dimensional nature of CT- or MR-scans, generative modeling of medical images is a particularly challenging task. Existing approaches mostly apply patch-wise, slice-wise, or cascaded generation techniques to fit the high-dimensional data into the limited GPU memory. However, these approaches may introduce artifacts and potentially restrict the model's applicability for certain downstream tasks. This work presents WDM, a wavelet-based medical image synthesis framework that applies a diffusion model on wavelet decomposed images. The presented approach is a simple yet effective way of scaling diffusion models to high resolutions and can be trained on a single 40 GB GPU. Experimental results on BraTS and LIDC-IDRI unconditional image generation at a resolution of 128 times 128 times 128 show state-of-the-art image fidelity (FID) and sample diversity (MS-SSIM) scores compared to GANs, Diffusion Models, and Latent Diffusion Models. Our proposed method is the only one capable of generating high-quality images at a resolution of 256 times 256 times 256.

We propose a novel approach for analysis of the composition of an equity mutual fund based on the time series decomposition of the price movements of the individual stocks of the fund. The proposed scheme can be applied to check whether the style proclaimed for a mutual fund actually matches with the fund composition. We have applied our proposed framework on eight well known mutual funds of varying styles in the Indian financial market to check the consistency between their fund style and actual fund composition, and have obtained extensive results from our experiments. A detailed analysis of the results has shown that while in majority of the cases the actual allocations of funds are consistent with the corresponding fund styles, there have been some notable deviations too.

In the image acquisition process, various forms of degradation, including noise, haze, and rain, are frequently introduced. These degradations typically arise from the inherent limitations of cameras or unfavorable ambient conditions. To recover clean images from degraded versions, numerous specialized restoration methods have been developed, each targeting a specific type of degradation. Recently, all-in-one algorithms have garnered significant attention by addressing different types of degradations within a single model without requiring prior information of the input degradation type. However, these methods purely operate in the spatial domain and do not delve into the distinct frequency variations inherent to different degradation types. To address this gap, we propose an adaptive all-in-one image restoration network based on frequency mining and modulation. Our approach is motivated by the observation that different degradation types impact the image content on different frequency subbands, thereby requiring different treatments for each restoration task. Specifically, we first mine low- and high-frequency information from the input features, guided by the adaptively decoupled spectra of the degraded image. The extracted features are then modulated by a bidirectional operator to facilitate interactions between different frequency components. Finally, the modulated features are merged into the original input for a progressively guided restoration. With this approach, the model achieves adaptive reconstruction by accentuating the informative frequency subbands according to different input degradations. Extensive experiments demonstrate that the proposed method achieves state-of-the-art performance on different image restoration tasks, including denoising, dehazing, deraining, motion deblurring, and low-light image enhancement. Our code is available at https://github.com/c-yn/AdaIR.

An isotropic antenna radiates and receives electromagnetic wave uniformly in magnitude in 3D space. A multi-frequency quasi-isotropic antenna can serve as a practically feasible solution to emulate an ideal multi-frequency isotropic radiator. It is also an essential technology for mobile smart devices for massive IoT in the upcoming 6G. However, ever since the quasi-isotropic antenna was proposed and achieved more than half a century ago, at most two discrete narrow frequency bands can be achieved, because of the significantly increased structural complexity from multi-frequency isotropic radiation. This limitation impedes numerous related electromagnetic experiments and the advances in wireless communication. Here, for the first time, a design method for multi-band (>2) quasi-isotropic antennas is proposed. An exemplified quasi-isotropic antenna with the desired four frequency bands is also presented for demonstration. The measured results validate excellent performance on both electromagnetics and wireless communications for this antenna.

We derive a Fast Multipole Method (FMM) where a low-rank approximation of the kernel is obtained using the Empirical Interpolation Method (EIM). Contrary to classical interpolation-based FMM, where the interpolation points and basis are fixed beforehand, the EIM is a nonlinear approximation method which constructs interpolation points and basis which are adapted to the kernel under consideration. The basis functions are obtained using evaluations of the kernel itself. We restrict ourselves to translation-invariant kernels, for which a modified version of the EIM approximation can be used in a multilevel FMM context; we call the obtained algorithm Empirical Interpolation Fast Multipole Method (EIFMM). An important feature of the EIFMM is a built-in error estimation of the interpolation error made by the low-rank approximation of the far-field behavior of the kernel: the algorithm selects the optimal number of interpolation points required to ensure a given accuracy for the result, leading to important gains for inhomogeneous kernels.

CNN-based generative modelling has evolved to produce synthetic images indistinguishable from real images in the RGB pixel space. Recent works have observed that CNN-generated images share a systematic shortcoming in replicating high frequency Fourier spectrum decay attributes. Furthermore, these works have successfully exploited this systematic shortcoming to detect CNN-generated images reporting up to 99% accuracy across multiple state-of-the-art GAN models. In this work, we investigate the validity of assertions claiming that CNN-generated images are unable to achieve high frequency spectral decay consistency. We meticulously construct a counterexample space of high frequency spectral decay consistent CNN-generated images emerging from our handcrafted experiments using DCGAN, LSGAN, WGAN-GP and StarGAN, where we empirically show that this frequency discrepancy can be avoided by a minor architecture change in the last upsampling operation. We subsequently use images from this counterexample space to successfully bypass the recently proposed forensics detector which leverages on high frequency Fourier spectrum decay attributes for CNN-generated image detection. Through this study, we show that high frequency Fourier spectrum decay discrepancies are not inherent characteristics for existing CNN-based generative models--contrary to the belief of some existing work--, and such features are not robust to perform synthetic image detection. Our results prompt re-thinking of using high frequency Fourier spectrum decay attributes for CNN-generated image detection. Code and models are available at https://keshik6.github.io/Fourier-Discrepancies-CNN-Detection/

Music source separation (MSS) faces challenges due to the limited availability of correctly-labeled individual instrument tracks. With the push to acquire larger datasets to improve MSS performance, the inevitability of encountering mislabeled individual instrument tracks becomes a significant challenge to address. This paper introduces an automated technique for refining the labels in a partially mislabeled dataset. Our proposed self-refining technique, employed with a noisy-labeled dataset, results in only a 1% accuracy degradation in multi-label instrument recognition compared to a classifier trained on a clean-labeled dataset. The study demonstrates the importance of refining noisy-labeled data in MSS model training and shows that utilizing the refined dataset leads to comparable results derived from a clean-labeled dataset. Notably, upon only access to a noisy dataset, MSS models trained on a self-refined dataset even outperform those trained on a dataset refined with a classifier trained on clean labels.

We investigate the expressive power of depth-2 bandlimited random neural networks. A random net is a neural network where the hidden layer parameters are frozen with random assignment, and only the output layer parameters are trained by loss minimization. Using random weights for a hidden layer is an effective method to avoid non-convex optimization in standard gradient descent learning. It has also been adopted in recent deep learning theories. Despite the well-known fact that a neural network is a universal approximator, in this study, we mathematically show that when hidden parameters are distributed in a bounded domain, the network may not achieve zero approximation error. In particular, we derive a new nontrivial approximation error lower bound. The proof utilizes the technique of ridgelet analysis, a harmonic analysis method designed for neural networks. This method is inspired by fundamental principles in classical signal processing, specifically the idea that signals with limited bandwidth may not always be able to perfectly recreate the original signal. We corroborate our theoretical results with various simulation studies, and generally, two main take-home messages are offered: (i) Not any distribution for selecting random weights is feasible to build a universal approximator; (ii) A suitable assignment of random weights exists but to some degree is associated with the complexity of the target function.

We give an overview of recent developments in the modeling of radiowave propagation, based on machine learning algorithms. We identify the input and output specification and the architecture of the model as the main challenges associated with machine learning-driven propagation models. Relevant papers are discussed and categorized based on their approach to each of these challenges. Emphasis is given on presenting the prospects and open problems in this promising and rapidly evolving area.

The use of mmWave frequencies is one of the key strategies to achieve the fascinating 1000x increase in the capacity of future 5G wireless systems. While for traditional sub-6 GHz cellular frequencies several well-developed statistical channel models are available for system simulation, similar tools are not available for mmWave frequencies, thus preventing a fair comparison of independently developed transmission and reception schemes. In this paper we provide a simple albeit accurate statistical procedure for the generation of a clustered MIMO channel model operating at mmWaves, for both the cases of slowly and rapidly time-varying channels. Matlab scripts for channel generation are also provided, along with an example of their use.

In this study, we introduce Unified Microphone Conversion, a unified generative framework to enhance the resilience of sound event classification systems against device variability. Building on the limitations of previous works, we condition the generator network with frequency response information to achieve many-to-many device mapping. This approach overcomes the inherent limitation of CycleGAN, requiring separate models for each device pair. Our framework leverages the strengths of CycleGAN for unpaired training to simulate device characteristics in audio recordings and significantly extends its scalability by integrating frequency response related information via Feature-wise Linear Modulation. The experiment results show that our method outperforms the state-of-the-art method by 2.6% and reducing variability by 0.8% in macro-average F1 score.