As audio-first agents become increasingly common in physical AI, conversational robots, and screenless wearables, audio large language models (audio-LLMs) must integrate speaker-specific understanding to support user authorization, personalization, and context-aware interaction. This requires modeling who is speaking, how the voice sounds, and how recording conditions affect speaker cues. Conventional speaker verification systems provide strong scalar scores but little linguistic evidence, while current audio-LLMs and speaker-aware language models have limited ability to organize speaker information beyond binary labels or descriptive profiles. We present SpeakerLLM, a speaker-specialized audio-LLM framework that unifies single-utterance speaker profiling, recording-condition understanding, utterance-pair speaker comparison, and evidence-organized verification reasoning within a natural-language interface. We construct verification-reasoning targets and a decision-composition policy that separate profile-level evidence from the final same-or-different decision and organize recording condition, profile evidence, and the decision into a structured trace. At its core, SpeakerLLM uses a hierarchical speaker tokenizer designed to capture multiple granularities of speaker evidence. Utterance-level speaker embeddings summarize identity and profile-level cues, whereas frame-level speaker features preserve fine-grained acoustic descriptors. Experiments show that SpeakerLLM-Base improves speaker-profile and recording-condition understanding over general audio-LLMs, while SpeakerLLM-VR preserves strong generated-verdict accuracy and produces decision traces grounded in the supervised verification reasoning schema. We will release the metadata-enriched supervision dataset and target-construction code for reproducibility.

Bioacoustics, the study of sounds produced by living organisms, plays a vital role in conservation, biodiversity monitoring, and behavioral studies. Many tasks in this field, such as species, individual, and behavior classification and detection, are well-suited to machine learning. However, they often suffer from limited annotated data, highlighting the need for a general-purpose bioacoustic encoder capable of extracting useful representations for diverse downstream tasks. Such encoders have been proposed before, but are often limited in scope due to a focus on a narrow range of species (typically birds), and a reliance on a single model architecture or training paradigm. Moreover, they are usually evaluated on a small set of tasks and datasets. In this work, we present a large-scale empirical study that covers aspects of bioacoustics that are relevant to research but have previously been scarcely considered: training data diversity and scale, model architectures and training recipes, and the breadth of evaluation tasks and datasets. We obtain encoders that are state-of-the-art on the existing and proposed benchmarks. We also identify what matters for training these encoders, such that this work can be extended when more data are available or better architectures are proposed. Specifically, across 26 datasets with tasks including species classification, detection, individual ID, and vocal repertoire discovery, we find self-supervised pre-training followed by supervised post-training on a mixed bioacoustics + general-audio corpus yields the strongest in- and out-of-distribution performance. We show the importance of data diversity in both stages. To support ongoing research and application, we will release the model checkpoints.

This paper presents a system for the 2024 Text-Dependent Speaker Verification (TdSV) Challenge. The system achieved a Minimum Detection Cost Function (MinDCF) of 0.0461 and an Equal Error Rate (EER) of 1.3\%. Our approach focused on adapting existing state-of-the-art neural networks, ResNet-TDNN and NeXt-TDNN, originally trained on the VoxCeleb dataset. This strategy was chosen because of the limited challenge duration and the available resources at the time. In addition, we designed a lightweight and resource-efficient model, EfficientNet-A0, trained specifically on the challenge dataset to improve adaptation and strengthen the ensemble approach. Our system combines advanced neural architectures, extensive data augmentation, and optimised hyperparameters. These components helped achieve strong performance in text-dependent speaker verification. The results also demonstrate the effectiveness of multi-model ensemble learning for both speaker and phrase verification.

Speech-based analysis offers a scalable and non-invasive approach for detecting cognitive decline, yet progress has been constrained by the limited availability of clinically validated datasets collected under realistic conditions. We introduce PROCESS-2, a large-scale speech dataset designed to support research on automatic assessment of cognitive impairment from spontaneous and task-oriented speech. The dataset comprises recordings from 200 healthy controls, 150 mild cognitive impairment, and 50 dementia diagnoses collected using the CognoMemory digital assessment platform. Each participant completed a single assessment session, including picture description and verbal fluency tasks, accompanied by manually verified transcripts and participant-level metadata. PROCESS-2 contains approximately 21 hours of speech audio with predefined train/test partitions. Comprehensive technical validation evaluated demographic balance, clinical consistency, recording stability, embedding-space structure, and reproducible baseline modelling performance, demonstrating clinically meaningful group separation and stable performance across modelling approaches while preserving real-world conversational variability. PROCESS-2 is released under controlled access via Hugging Face to enable responsible reuse while protecting participant privacy, providing a reproducible benchmark resource for speech-based cognitive assessment research.

Persian music, with its unique tonalities, modal systems (Dastgah), and rhythmic structures, presents significant challenges for music generation models trained primarily on Western music. We address this gap by curating the first large-scale dataset of Persian songs, comprising over 900 hours high-quality audio samples across diverse sub-genres, including pop, traditional, and contemporary styles. This dataset captures the rich melodic and cultural diversity of Persian music and serves as the foundation for fine-tuning MusicGen, a state-of-the-art generative music model. We adapt MusicGen to this domain and evaluate its performance by utilizing subjective and objective metrics. To assess the semantic alignment between generated music and intended style tags, we report the proportion of relevant tags accurately reflected in the generated outputs. Our results demonstrate that the fine-tuned model produces compositions that more align with Persian stylistic conventions. This work introduces a new resource for generative music research and illustrates the adaptability of music generation models to underrepresented cultural and linguistic contexts.

Speech-driven gestures and facial animations are fundamental to expressive digital avatars in games, virtual production, and interactive media. However, existing methods are either limited to a single modality for audio motion alignment, failing to fully utilize the potential of massive human motion data, or are constrained by the representation ability and throughput of multimodal models, which makes it difficult to achieve high-quality motion generation or real-time performance. We present UMo, a unified sparse motion modeling architecture for real-time co-speech avatars, which processes text, audio, and motion tokens within a unified formulation. Leveraging a spatially sparse Mixture-of-Experts framework and a temporally sparse, keyframe-centric design, UMo efficiently performs real-time dense reconstruction, enabling temporally coherent and high-fidelity animation generation for both facial expressions and gestures. Furthermore, we implement a multi-stage training strategy with targeted audio augmentation to enhance acoustic diversity and semantic consistency. Consequently, UMo preserves fine-grained speech-motion alignment even under strict latency constraints. Extensive quantitative and qualitative evaluations show that UMo achieves better output quality under low latency and real-time performance constraints, offering a practical solution for high-fidelity real-time co-speech avatars.

Current methods for creating drum loop audio in digital music production, such as using one-shot samples or resampling, often demand non-trivial efforts of creators. While recent generative models achieve high fidelity and adhere to text, they lack the specific control needed for such a task. Existing symbolic-to-audio research often focuses on single, tonal instruments, leaving the challenge of polyphonic, percussive drum synthesis unaddressed. We address this gap by introducing ``Break-the-Beat!,'' a model capable of rendering a drum MIDI with the timbre of a reference audio. It is built by fine-tuning a pre-trained text-to-audio model with our proposed content encoder and a effective hybrid conditioning mechanism. To enable this, we construct a new dataset of paired target-reference drum audio from existing drum audio datasets. Experiments demonstrate that our model generates high-quality drum audio that follows high-resolution drum MIDI, achieving strong performance across metrics of audio quality, rhythmic alignment, and beat continuity. This offer producers a new, controllable tool for creative production. Demo page: https://ik4sumii.github.io/break-the-beat/

Subretinal injection is a delicate vitreoretinal procedure requiring precise needle placement within the subretinal space while avoiding perforation of the retinal pigment epithelium (RPE), a layer directly beneath the target with extremely limited regenerative capacity. To enhance depth perception during cannula advancement, intraoperative optical coherence tomography (iOCT) offers high-resolution cross-sectional visualization of needle-tissue interaction; however, interpreting these images requires sustained visual attention alongside the en face microscope view, thereby increasing cognitive load during critical phases and placing additional demands on the surgeon's proprioceptive control. In this paper, we propose a structured, real-time sonification framework designed for extensible mapping of iOCT-derived anatomical features into perceptual auditory feedback. The method employs a physics-inspired acoustic model driven by segmented retinal layers from a stream of iOCT B-scans, with needle motion and injection-induced retinal layer displacements serving as excitation inputs to the sound model, enabling perception of tool position and retinal deformation. In a controlled user study (n=34), the proposed sonification achieved high retinal layer identification accuracy and robust detection of retinal deformation-related events, significantly outperforming a state-of-the-art baseline in overall event identification (83.4% vs. 60.6%, p < 0.001), with gains driven primarily by enhanced detection of injection-induced retinal deformation. Evaluation by experts (n=4) confirmed the clinical relevance and potential intraoperative applicability of the method. These results establish structured iOCT sonification as a viable complementary modality for real-time surgical guidance in subretinal injection.

In hybrid automatic speech recognition (ASR) systems, the vocabulary size is unambiguous, typically determined by the number of phones, bi-phones, or tri-phones present in the language. In contrast, end-to-end ASR systems derive their vocabulary, often referred to as tokens from the text corpus used for training. The choice and, more importantly, the size of this vocabulary is a critical hyper-parameter in training end-to-end ASR systems. Tokenization algorithms such as Byte Pair Encoding (BPE), WordPiece, and Unigram Language Model (ULM) use the vocabulary size as an input hyper-parameter to generate the sub-words employed during ASR training. Popular toolkits like ESPNet provide a fixed vocabulary size in their training recipes, but there is little documentation or discussion in the literature regarding how these values are determined. Recent work [1] has formalized an approach to identify the vocabulary size best suited for end-to-end ASR, introducing a cost function framework that treats the tokenization process as a black box. In this paper, we build upon that foundation by curve fitting the training data and using the principle of first and second derivative tests in calculus to formally estimate the vocabulary size hyper-parameter. We demonstrate the utility and usefulness of our approach by applying it on a standard Librispeech corpus and show that the optimal choice of vocabulary size hyper-parameter improves the performance of the ASR. The main contribution of this paper in formalizing an approach to identify the vocabulary size best suited for training an end-to-end ASR system.

LLM-based automatic speech recognition models demonstrate strong performance by connecting audio encoders and LLMs. However, data scarcity of paired speech and transcription often hinders their adaptation to new domains, making text-only domain adaptation crucial. Existing methods typically rely on either fine-tuning the LLM alone or employing pseudo-audio prompts. The former neglects essential acoustic context, while the latter either suffers from limited scalability in data-scarce conditions, or yields inexpressive prompts by leveraging only textual features, ignoring audio modality. To address this, we propose an enhanced framework that explicitly models speech-text alignment. Our method efficiently generates highly expressive pseudo-audio prompts that bridges the modality gap, enabling effective target-domain adaptation. Experiments demonstrate that our approach outperforms existing text-only methods, improving both overall error rates and out-of-vocabulary coverage.

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

Most work in audio enhancement targets human speech, while bioacoustics is less studied due to noisy recordings and the distinct traits of animal sounds. To fill this gap, we adapt speech enhancement methods and build BioSEN, a model made for bioacoustic signals. BioSEN has three modules: a multi-scale dual-axis attention unit for time-frequency feature extraction, a bio-harmonic multi-scale enhancement unit for capturing harmonic structures, and an energy-adaptive gating connection unit that uses frequency weights to keep vocalizations from being removed as noise. Tests on three bioacoustic datasets show that BioSEN matches or exceeds state-of-the-art speech enhancement models while using far less computation. These results show BioSEN's strength for bioacoustic audio enhancement and its promise for biodiversity monitoring and conservation.

Speech separation in realistic acoustic environments remains challenging because overlapping speakers, background noise, and reverberation must be resolved simultaneously. Although recent time-frequency (TF) domain models have shown strong performance, most still rely on late-split architectures, where speaker disentanglement is deferred to the final stage, creating an information bottleneck and weakening discriminability under adverse conditions. To address this issue, we propose SR-CorrNet, an asymmetric encoder-decoder framework that introduces the separation-reconstruction (SepRe) strategy into a TF dual-path backbone. The encoder performs coarse separation from mixture observations, while the weight-shared decoder progressively reconstructs speaker-discriminative features with cross-speaker interaction, enabling stage-wise refinement. To complement this architecture, we formulate speech separation as a structured correlation-to-filter problem: spatio-spectro-temporal correlations computed from the observations are used as input features, and the corresponding deep filters are estimated to recover target signals. We further incorporate an attractor-based dynamic split module to adapt the number of output streams to the actual speaker configuration. Experimental results on WSJ0-{2,3,4,5}Mix, WHAMR!, and LibriCSS demonstrate consistent improvements across anechoic, noisy-reverberant, and real-recorded conditions in both single- and multi-channel settings, highlighting the effectiveness of TF-domain SepRe with correlation-based filter estimation for speech separation.

Generating music that temporally aligns with video events is challenging for existing text-to-music models, which lack fine-grained temporal control. We introduce V2M-ZERO, a video-to-music generation approach that generates time-aligned music with disentangled time synchronization and semantic control (e.g., genre, mood) from video while requiring zero video-music pairs at training time. Our method is motivated by a key observation: temporal synchronization requires matching when and how much change occurs, not what changes. While musical and visual events differ semantically, they exhibit shared temporal structure that can be captured independently within each modality. We capture this structure through event curves computed from intra-modal similarity using pretrained music and video encoders. By measuring temporal change within each modality independently, these curves provide comparable representations across modalities. This enables a simple training strategy: fine-tune a text-to-music model on music-event curves, then substitute video-event curves at inference without cross-modal training or paired data. Across OES-Pub, MovieGenBench-Music, and AIST++, V2M-ZERO achieves state-of-the-art performance without any paired music-video data, surpassing the strongest prior baselines per metric with 5-9% higher audio quality, 13-15% better semantic alignment, 21-52% improved temporal synchronization, and 28% higher beat alignment on dance videos. We find similar results via a large crowd-source subjective listening test. Our results validate that temporal alignment through within-modality features is not only effective for video-to-music generation but also leads to better performance than paired cross-modal supervision. Furthermore, our approach enables independent controls for timing and music style (e.g., genre, mood) for more controllable generation.

The origin of the "theoretical limit of time-frequency resolution of Fourier analysis" is from its numerical implementation, especially from an assumption of "Periodic Boundary Condition (PBC)," which was introduced a century ago. We previously proposed to replace this condition with "Linear eXtrapolation Condition (LXC)," which does not require periodicity. This feature makes instantaneous spectra analysis of pulse series available, which replaces the short time Fourier transform (STFT). We applied the instantaneous spectra analysis to two lung sounds with abnormalities (crackles and wheezing) and to a normal lung sound, as a demonstration. Among them, crackles contains a random pulse series. The spectrum of each pulse is available, and the spectrogram of pulse series is available with assembling each spectrum. As a result, the time-frequency structure of given pulse series is visualized.

Transformer-based audio self-supervised learning (SSL) models commonly use spectrograms, vision-style Transformers, and masked modeling objectives. However, convolutional patchification with temporal downsampling lowers the effective Nyquist frequency and introduces aliasing, while naïve low-pass filtering may remove task-relevant high-frequency cues. We present AaSP, an aliasing-aware self-supervised pre-training framework for audio spectrogram transformers. AaSP combines an aliasing-aware patch representation, teacher-student masked modeling, a cross-attention predictor, and multi-mask contrastive regularization to learn representations that integrate features from alias-prone modulation bands while remaining stable across masked views. Its patch-embedding module, Aliasing-aware Patch Embedding (AaPE), augments standard patch tokens with features from alias-prone modulation bands using a band-limited complex sinusoidal kernel with a two-sided exponential window. The kernel's frequency and decay parameters are estimated from the input, enabling adaptive subband analysis whose outputs are fused with standard patch tokens. We pre-train on AudioSet and evaluate the learned representations by fine-tuning and linear evaluation on acoustic/environmental, speech, and music recognition benchmarks. Under fine-tuning, the full AaSP framework achieves state-of-the-art results on AS-20K, ESC-50, and NSynth among compared self-supervised baselines, while remaining competitive elsewhere. Linear evaluation shows a similar trend, including gains on US8K and NSynth. Overall, AaSP learns representations that are more stable under aliasing-sensitive temporal perturbations and competitive for downstream transfer.

This paper introduces The Spheres dataset, multitrack orchestral recordings designed to advance machine learning research in music source separation and related MIR tasks within the classical music domain. The dataset is composed of over one hour recordings of musical pieces performed by the Colibrì Ensemble at The Spheres recording studio, capturing two canonical works - Tchaikovsky's Romeo and Juliet and Mozart's Symphony No. 40 - along with chromatic scales and solo excerpts for each instrument. The recording setup employed 23 microphones, including close spot, main, and ambient microphones, enabling the creation of realistic stereo mixes with controlled bleeding and providing isolated stems for supervised training of source separation models. In addition, room impulse responses were estimated for each instrument position, offering valuable acoustic characterization of the recording space. We present the dataset structure, acoustic analysis, and baseline evaluations using X-UMX based models for orchestral family separation and microphone debleeding. Results highlight both the potential and the challenges of source separation in complex orchestral scenarios, underscoring the dataset's value for benchmarking and for exploring new approaches to separation, localization, dereverberation, and immersive rendering of classical music.

Early-stage Parkinson's disease (EarlyPD) detection from speech is clinically meaningful yet underexplored, and published results are hard to compare because studies differ in datasets, languages, tasks, evaluation protocols, and EarlyPD definitions. To address this issue, we propose the first benchmark for speech-based EarlyPD detection, with a speaker-independent split designed for fair and replicable cross-method evaluation on researcher-accessible datasets. The benchmark covers three common speech tasks and evaluates methods under different training-resource settings. We also present multi-dimensional evaluation breakdowns by dataset, aggregation level, gender, and disease stage to support fine-grained comparisons and clinical adoption. Our results provide a replicable reference and actionable insights, encouraging the adoption of this publicly available benchmark to advance robust and clinically meaningful EarlyPD detection from speech.

Bioacoustic recognition requires fine-grained acoustic understanding to distinguish similar-sounding species. However, many large-scale data repositories such as iNaturalist are weakly annotated, often with only a single positive species label per recording, making supervised learning particularly challenging. Inspired by advances in computer vision, recent approaches have shifted toward self-supervised learning to capture the underlying structure of audio without relying on exhaustive annotations. In particular, masked autoencoders (MAE) have shown strong transferability on massive audio corpora, yet their effectiveness in more modest bioacoustic settings remains underexplored. In this work, we conduct a systematic study of MAE pretraining for species classification on iNatSounds, analyzing the impacts of pretraining data scale, domain specificity, data curation, and transfer strategies. Consistent with prior work, we find that models pretrained on diverse general audio data achieve the best transfer performance on iNatSounds. Contrary to observations from large-scale audio benchmarks, we find that (1) additional masked reconstruction pretraining on domain-specific data provides limited benefits and may even degrade performance relative to off-the-shelf models, and (2) selective data filtering offers a negligible advantage when the overall data scale is limited. Our results indicate that, in moderate-sized fine-grained bioacoustic settings, pretraining scale dominates objective design. These findings further clarify when MAE-based pretraining is effective and provide practical guidance for model selection under limited supervision.

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