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Despite advances in diffusion-based text-to-music (TTM) methods, efficient, high-quality generation remains a challenge. We introduce Presto!, an approach to inference acceleration for score-based diffusion transformers via reducing both sampling steps and cost per step. To reduce steps, we develop a new score-based distribution matching distillation (DMD) method for the EDM-family of diffusion models, the first GAN-based distillation method for TTM. To reduce the cost per step, we develop a simple, but powerful improvement to a recent layer distillation method that improves learning via better preserving hidden state variance. Finally, we combine our step and layer distillation methods together for a dual-faceted approach. We evaluate our step and layer distillation methods independently and show each yield best-in-class performance. Our combined distillation method can generate high-quality outputs with improved diversity, accelerating our base model by 10-18x (230/435ms latency for 32 second mono/stereo 44.1kHz, 15x faster than comparable SOTA) -- the fastest high-quality TTM to our knowledge. Sound examples can be found at https://presto-music.github.io/web/.

Diffusion-based audio and music generation models commonly perform generation by constructing an image representation of audio (e.g., a mel-spectrogram) and then convert 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 usefulness. 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 extension, and upmixes to stereophonic audio. Compared to past 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 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 \url{https://MusicHiFi.github.io/web/}., Comment: Accepted to IEEE Signal Processing Letters

We introduce a new online adaptive filtering method called supervised multi-step adaptive filters (SMS-AF). Our method uses neural networks to control or optimize linear multi-delay or multi-channel frequency-domain filters and can flexibly scale-up performance at the cost of increased compute -- a property rarely addressed in the AF literature, but critical for many applications. To do so, we extend recent work with a set of improvements including feature pruning, a supervised loss, and multiple optimization steps per time-frame. These improvements work in a cohesive manner to unlock scaling. Furthermore, we show how our method relates to Kalman filtering and meta-adaptive filtering, making it seamlessly applicable to a diverse set of AF tasks. We evaluate our method on acoustic echo cancellation (AEC) and multi-channel speech enhancement tasks and compare against several baselines on standard synthetic and real-world datasets. Results show our method performance scales with inference cost and model capacity, yields multi-dB performance gains for both tasks, and is real-time capable on a single CPU core.

We propose Diffusion Inference-Time T-Optimization (DITTO), a general-purpose frame-work for controlling pre-trained text-to-music diffusion models at inference-time via optimizing initial noise latents. Our method can be used to optimize through any differentiable feature matching loss to achieve a target (stylized) output and leverages gradient checkpointing for memory efficiency. We demonstrate a surprisingly wide-range of applications for music generation including inpainting, outpainting, and looping as well as intensity, melody, and musical structure control - all without ever fine-tuning the underlying model. When we compare our approach against related training, guidance, and optimization-based methods, we find DITTO achieves state-of-the-art performance on nearly all tasks, including outperforming comparable approaches on controllability, audio quality, and computational efficiency, thus opening the door for high-quality, flexible, training-free control of diffusion models. Sound examples can be found at https://DITTO-Music.github.io/web/., Comment: Oral at ICML 2024

Text-to-music generation models are now capable of generating high-quality music audio in broad styles. However, text control is primarily suitable for the manipulation of global musical attributes like genre, mood, and tempo, and is less suitable for precise control over time-varying attributes such as the positions of beats in time or the changing dynamics of the music. We propose Music ControlNet, a diffusion-based music generation model that offers multiple precise, time-varying controls over generated audio. To imbue text-to-music models with time-varying control, we propose an approach analogous to pixel-wise control of the image-domain ControlNet method. Specifically, we extract controls from training audio yielding paired data, and fine-tune a diffusion-based conditional generative model over audio spectrograms given melody, dynamics, and rhythm controls. While the image-domain Uni-ControlNet method already allows generation with any subset of controls, we devise a new strategy to allow creators to input controls that are only partially specified in time. We evaluate both on controls extracted from audio and controls we expect creators to provide, demonstrating that we can generate realistic music that corresponds to control inputs in both settings. While few comparable music generation models exist, we benchmark against MusicGen, a recent model that accepts text and melody input, and show that our model generates music that is 49% more faithful to input melodies despite having 35x fewer parameters, training on 11x less data, and enabling two additional forms of time-varying control. Sound examples can be found at https://MusicControlNet.github.io/web/., Comment: 11 pages, 4 figure, 5 tables, Submitted to IEEE/ACM Transactions on Audio, Speech, and Language Processing (TASLP)

Adaptive filters are applicable to many signal processing tasks including acoustic echo cancellation, beamforming, and more. Adaptive filters are typically controlled using algorithms such as least-mean squares(LMS), recursive least squares(RLS), or Kalman filter updates. Such models are often applied in the frequency domain, assume frequency independent processing, and do not exploit higher-order frequency dependencies, for simplicity. Recent work on meta-adaptive filters, however, has shown that we can control filter adaptation using neural networks without manual derivation, motivating new work to exploit such information. In this work, we present higher-order meta-adaptive filters, a key improvement to meta-adaptive filters that incorporates higher-order frequency dependencies. We demonstrate our approach on acoustic echo cancellation and develop a family of filters that yield multi-dB improvements over competitive baselines, and are at least an order-of-magnitude less complex. Moreover, we show our improvements hold with or without a downstream speech enhancer., Comment: Source code and audio examples: https://jmcasebeer.github.io/metaaf/higher-order

We present a framework that can impose the audio effects and production style from one recording to another by example with the goal of simplifying the audio production process. We train a deep neural network to analyze an input recording and a style reference recording, and predict the control parameters of audio effects used to render the output. In contrast to past work, we integrate audio effects as differentiable operators in our framework, perform backpropagation through audio effects, and optimize end-to-end using an audio-domain loss. We use a self-supervised training strategy enabling automatic control of audio effects without the use of any labeled or paired training data. We survey a range of existing and new approaches for differentiable signal processing, showing how each can be integrated into our framework while discussing their trade-offs. We evaluate our approach on both speech and music tasks, demonstrating that our approach generalizes both to unseen recordings and even to sample rates different than those seen during training. Our approach produces convincing production style transfer results with the ability to transform input recordings to produced recordings, yielding audio effect control parameters that enable interpretability and user interaction., Comment: Preprint. To appear in the Journal of the Audio Engineering Society

Adaptive filtering algorithms are pervasive throughout signal processing and have had a material impact on a wide variety of domains including audio processing, telecommunications, biomedical sensing, astrophysics and cosmology, seismology, and many more. Adaptive filters typically operate via specialized online, iterative optimization methods such as least-mean squares or recursive least squares and aim to process signals in unknown or nonstationary environments. Such algorithms, however, can be slow and laborious to develop, require domain expertise to create, and necessitate mathematical insight for improvement. In this work, we seek to improve upon hand-derived adaptive filter algorithms and present a comprehensive framework for learning online, adaptive signal processing algorithms or update rules directly from data. To do so, we frame the development of adaptive filters as a meta-learning problem in the context of deep learning and use a form of self-supervision to learn online iterative update rules for adaptive filters. To demonstrate our approach, we focus on audio applications and systematically develop meta-learned adaptive filters for five canonical audio problems including system identification, acoustic echo cancellation, blind equalization, multi-channel dereverberation, and beamforming. We compare our approach against common baselines and/or recent state-of-the-art methods. We show we can learn high-performing adaptive filters that operate in real-time and, in most cases, significantly outperform each method we compare against -- all using a single general-purpose configuration of our approach., Comment: Accepted to ACM/IEEE TASLP. Source code and audio examples: https://jmcasebeer.github.io/projects/metaaf

Content creators often use music to enhance their stories, as it can be a powerful tool to convey emotion. In this paper, our goal is to help creators find music to match the emotion of their story. We focus on text-based stories that can be auralized (e.g., books), use multiple sentences as input queries, and automatically retrieve matching music. We formalize this task as a cross-modal text-to-music retrieval problem. Both the music and text domains have existing datasets with emotion labels, but mismatched emotion vocabularies prevent us from using mood or emotion annotations directly for matching. To address this challenge, we propose and investigate several emotion embedding spaces, both manually defined (e.g., valence/arousal) and data-driven (e.g., Word2Vec and metric learning) to bridge this gap. Our experiments show that by leveraging these embedding spaces, we are able to successfully bridge the gap between modalities to facilitate cross modal retrieval. We show that our method can leverage the well established valence-arousal space, but that it can also achieve our goal via data-driven embedding spaces. By leveraging data-driven embeddings, our approach has the potential of being generalized to other retrieval tasks that require broader or completely different vocabularies., Comment: International Society for Music Information Retrieval (ISMIR) 2021, Best Student Paper

Few-shot learning aims to train models that can recognize novel classes given just a handful of labeled examples, known as the support set. While the field has seen notable advances in recent years, they have often focused on multi-class image classification. Audio, in contrast, is often multi-label due to overlapping sounds, resulting in unique properties such as polyphony and signal-to-noise ratios (SNR). This leads to unanswered questions concerning the impact such audio properties may have on few-shot learning system design, performance, and human-computer interaction, as it is typically up to the user to collect and provide inference-time support set examples. We address these questions through a series of experiments designed to elucidate the answers to these questions. We introduce two novel datasets, FSD-MIX-CLIPS and FSD-MIX-SED, whose programmatic generation allows us to explore these questions systematically. Our experiments lead to audio-specific insights on few-shot learning, some of which are at odds with recent findings in the image domain: there is no best one-size-fits-all model, method, and support set selection criterion. Rather, it depends on the expected application scenario. Our code and data are available at https://github.com/wangyu/rethink-audio-fsl., Comment: WASPAA 2021

Adaptive filtering algorithms are commonplace in signal processing and have wide-ranging applications from single-channel denoising to multi-channel acoustic echo cancellation and adaptive beamforming. Such algorithms typically operate via specialized online, iterative optimization methods and have achieved tremendous success, but require expert knowledge, are slow to develop, and are difficult to customize. In our work, we present a new method to automatically learn adaptive filtering update rules directly from data. To do so, we frame adaptive filtering as a differentiable operator and train a learned optimizer to output a gradient descent-based update rule from data via backpropagation through time. We demonstrate our general approach on an acoustic echo cancellation task (single-talk with noise) and show that we can learn high-performing adaptive filters for a variety of common linear and non-linear multidelayed block frequency domain filter architectures. We also find that our learned update rules exhibit fast convergence, can optimize in the presence of nonlinearities, and are robust to acoustic scene changes despite never encountering any during training., Comment: Accepted to the 2021 IEEE Workshop on Applications of Signal Processing to Audio and Acoustics (WASPAA). Source code and audio examples: https://jmcasebeer.github.io/projects/auto-dsp/

Modifying the pitch and timing of an audio signal are fundamental audio editing operations with applications in speech manipulation, audio-visual synchronization, and singing voice editing and synthesis. Thus far, methods for pitch-shifting and time-stretching that use digital signal processing (DSP) have been favored over deep learning approaches due to their speed and relatively higher quality. However, even existing DSP-based methods for pitch-shifting and time-stretching induce artifacts that degrade audio quality. In this paper, we propose Controllable LPCNet (CLPCNet), an improved LPCNet vocoder capable of pitch-shifting and time-stretching of speech. For objective evaluation, we show that CLPCNet performs pitch-shifting of speech on unseen datasets with high accuracy relative to prior neural methods. For subjective evaluation, we demonstrate that the quality and naturalness of pitch-shifting and time-stretching with CLPCNet on unseen datasets meets or exceeds competitive neural- or DSP-based approaches., Comment: Submitted to ICASSP 2022

The task of manipulating the level and/or effects of individual instruments to recompose a mixture of recordings, or remixing, is common across a variety of applications such as music production, audio-visual post-production, podcasts, and more. This process, however, traditionally requires access to individual source recordings, restricting the creative process. To work around this, source separation algorithms can separate a mixture into its respective components. Then, a user can adjust their levels and mix them back together. This two-step approach, however, still suffers from audible artifacts and motivates further work. In this work, we learn to remix music directly by re-purposing Conv-TasNet, a well-known source separation model, into two neural remixing architectures. To do this, we use an explicit loss term that directly measures remix quality and jointly optimize it with a separation loss. We evaluate our methods using the Slakh and MUSDB18 datasets and report remixing performance as well as the impact on source separation as a byproduct. Our results suggest that learning-to-remix significantly outperforms a strong separation baseline and is particularly useful for small volume changes.

We present a data-driven approach to automate audio signal processing by incorporating stateful third-party, audio effects as layers within a deep neural network. We then train a deep encoder to analyze input audio and control effect parameters to perform the desired signal manipulation, requiring only input-target paired audio data as supervision. To train our network with non-differentiable black-box effects layers, we use a fast, parallel stochastic gradient approximation scheme within a standard auto differentiation graph, yielding efficient end-to-end backpropagation. We demonstrate the power of our approach with three separate automatic audio production applications: tube amplifier emulation, automatic removal of breaths and pops from voice recordings, and automatic music mastering. We validate our results with a subjective listening test, showing our approach not only can enable new automatic audio effects tasks, but can yield results comparable to a specialized, state-of-the-art commercial solution for music mastering., Comment: Presented at the IEEE International Conference on Acoustics, Speech, and Signal Processing (ICASSP), June 2021. Source code, demo and audio examples: https://mchijmma.github.io/DeepAFx/

Text-based speech editors expedite the process of editing speech recordings by permitting editing via intuitive cut, copy, and paste operations on a speech transcript. A major drawback of current systems, however, is that edited recordings often sound unnatural because of prosody mismatches around edited regions. In our work, we propose a new context-aware method for more natural sounding text-based editing of speech. To do so, we 1) use a series of neural networks to generate salient prosody features that are dependent on the prosody of speech surrounding the edit and amenable to fine-grained user control 2) use the generated features to control a standard pitch-shift and time-stretch method and 3) apply a denoising neural network to remove artifacts induced by the signal manipulation to yield a high-fidelity result. We evaluate our approach using a subjective listening test, provide a detailed comparative analysis, and conclude several interesting insights., Comment: To appear in proceedings of ICASSP 2021

Music similarity search is useful for a variety of creative tasks such as replacing one music recording with another recording with a similar "feel", a common task in video editing. For this task, it is typically necessary to define a similarity metric to compare one recording to another. Music similarity, however, is hard to define and depends on multiple simultaneous notions of similarity (i.e. genre, mood, instrument, tempo). While prior work ignore this issue, we embrace this idea and introduce the concept of multidimensional similarity and unify both global and specialized similarity metrics into a single, semantically disentangled multidimensional similarity metric. To do so, we adapt a variant of deep metric learning called conditional similarity networks to the audio domain and extend it using track-based information to control the specificity of our model. We evaluate our method and show that our single, multidimensional model outperforms both specialized similarity spaces and alternative baselines. We also run a user-study and show that our approach is favored by human annotators as well., Comment: Accepted for publication at the 45th International Conference on Acoustics, Speech, and Signal Processing (ICASSP 2020)

Deep representation learning offers a powerful paradigm for mapping input data onto an organized embedding space and is useful for many music information retrieval tasks. Two central methods for representation learning include deep metric learning and classification, both having the same goal of learning a representation that can generalize well across tasks. Along with generalization, the emerging concept of disentangled representations is also of great interest, where multiple semantic concepts (e.g., genre, mood, instrumentation) are learned jointly but remain separable in the learned representation space. In this paper we present a single representation learning framework that elucidates the relationship between metric learning, classification, and disentanglement in a holistic manner. For this, we (1) outline past work on the relationship between metric learning and classification, (2) extend this relationship to multi-label data by exploring three different learning approaches and their disentangled versions, and (3) evaluate all models on four tasks (training time, similarity retrieval, auto-tagging, and triplet prediction). We find that classification-based models are generally advantageous for training time, similarity retrieval, and auto-tagging, while deep metric learning exhibits better performance for triplet-prediction. Finally, we show that our proposed approach yields state-of-the-art results for music auto-tagging., Comment: Accepted for publication at the 21st International Society for Music Information Retrieval Conference (ISMIR 2020)

Speech synthesis has recently seen significant improvements in fidelity, driven by the advent of neural vocoders and neural prosody generators. However, these systems lack intuitive user controls over prosody, making them unable to rectify prosody errors (e.g., misplaced emphases and contextually inappropriate emotions) or generate prosodies with diverse speaker excitement levels and emotions. We address these limitations with a user-controllable, context-aware neural prosody generator. Given a real or synthesized speech recording, our model allows a user to input prosody constraints for certain time frames and generates the remaining time frames from input text and contextual prosody. We also propose a pitch-shifting neural vocoder to modify input speech to match the synthesized prosody. Through objective and subjective evaluations we show that we can successfully incorporate user control into our prosody generation model without sacrificing the overall naturalness of the synthesized speech., Comment: To appear in proceedings of INTERSPEECH 2020

Data-driven approaches to automatic drum transcription (ADT) are often limited to a predefined, small vocabulary of percussion instrument classes. Such models cannot recognize out-of-vocabulary classes nor are they able to adapt to finer-grained vocabularies. In this work, we address open vocabulary ADT by introducing few-shot learning to the task. We train a Prototypical Network on a synthetic dataset and evaluate the model on multiple real-world ADT datasets with polyphonic accompaniment. We show that, given just a handful of selected examples at inference time, we can match and in some cases outperform a state-of-the-art supervised ADT approach under a fixed vocabulary setting. At the same time, we show that our model can successfully generalize to finer-grained or extended vocabularies unseen during training, a scenario where supervised approaches cannot operate at all. We provide a detailed analysis of our experimental results, including a breakdown of performance by sound class and by polyphony., Comment: ISMIR 2020 camera-ready

Many audio processing tasks require perceptual assessment. The ``gold standard`` of obtaining human judgments is time-consuming, expensive, and cannot be used as an optimization criterion. On the other hand, automated metrics are efficient to compute but often correlate poorly with human judgment, particularly for audio differences at the threshold of human detection. In this work, we construct a metric by fitting a deep neural network to a new large dataset of crowdsourced human judgments. Subjects are prompted to answer a straightforward, objective question: are two recordings identical or not? These pairs are algorithmically generated under a variety of perturbations, including noise, reverb, and compression artifacts; the perturbation space is probed with the goal of efficiently identifying the just-noticeable difference (JND) level of the subject. We show that the resulting learned metric is well-calibrated with human judgments, outperforming baseline methods. Since it is a deep network, the metric is differentiable, making it suitable as a loss function for other tasks. Thus, simply replacing an existing loss (e.g., deep feature loss) with our metric yields significant improvement in a denoising network, as measured by subjective pairwise comparison., Comment: Dataset, code and sound examples can be found at https://pixl.cs.princeton.edu/pubs/Manocha_2020_ADP/

We present a new method to capture the acoustic characteristics of real-world rooms using commodity devices, and use the captured characteristics to generate similar sounding sources with virtual models. Given the captured audio and an approximate geometric model of a real-world room, we present a novel learning-based method to estimate its acoustic material properties. Our approach is based on deep neural networks that estimate the reverberation time and equalization of the room from recorded audio. These estimates are used to compute material properties related to room reverberation using a novel material optimization objective. We use the estimated acoustic material characteristics for audio rendering using interactive geometric sound propagation and highlight the performance on many real-world scenarios. We also perform a user study to evaluate the perceptual similarity between the recorded sounds and our rendered audio., Comment: Accepted to IEEE VR 2020 Journal Track (TVCG)

The reverberation time (T60) and the direct-to-reverberant ratio (DRR) are commonly used to characterize room acoustic environments. Both parameters can be measured from an acoustic impulse response (AIR) or using blind estimation methods that perform estimation directly from speech. When neural networks are used for blind estimation, however, a large realistic dataset is needed, which is expensive and time consuming to collect. To address this, we propose an AIR augmentation method that can parametrically control the T60 and DRR, allowing us to expand a small dataset of real AIRs into a balanced dataset orders of magnitude larger. Using this method, we train a previously proposed convolutional neural network (CNN) and show we can outperform past single-channel state-of-the-art methods. We then propose a more efficient, straightforward baseline CNN that is 4-5x faster, which provides an additional improvement and is better or comparable to all previously reported single- and multi-channel state-of-the-art methods., Comment: Under Review