Xiaoyu Bie

Xiaoyu Bie, Xubo Liu, Gaël Richard

Neural audio codecs have significantly advanced audio compression by efficiently converting continuous audio signals into discrete tokens. These codecs preserve high-quality sound and enable sophisticated sound generation through generative models trained on these tokens. However, existing neural codec models are typically trained on large, undifferentiated audio datasets, neglecting the essential discrepancies between sound domains like speech, music, and environmental sound effects. This oversight complicates data modeling and poses additional challenges to the controllability of sound generation. To tackle these issues, we introduce the Source-Disentangled Neural Audio Codec (SD-Codec), a novel approach that combines audio coding and source separation. By jointly learning audio resynthesis and separation, SD-Codec explicitly assigns audio signals from different domains to distinct codebooks, sets of discrete representations. Experimental results indicate that SD-Codec not only maintains competitive resynthesis quality but also, supported by the separation results, demonstrates successful disentanglement of different sources in the latent space, thereby enhancing interpretability in audio codec and providing potential finer control over the audio generation process.

Teysir Baoueb, Xiaoyu Bie, Mathieu Fontaine et al.

Recent advances in diffusion models have positioned them as powerful generative frameworks for speech synthesis, demonstrating substantial improvements in audio quality and stability. Nevertheless, their effectiveness in vocoders conditioned on mel spectrograms remains constrained, particularly when the conditioning diverges from the training distribution. The recently proposed GLA-Grad model introduced a phase-aware extension to the WaveGrad vocoder that integrated the Griffin-Lim algorithm (GLA) into the reverse process to reduce inconsistencies between generated signals and conditioning mel spectrogram. In this paper, we further improve GLA-Grad through an innovative choice in how to apply the correction. Particularly, we compute the correction term only once, with a single application of GLA, to accelerate the generation process. Experimental results demonstrate that our method consistently outperforms the baseline models, particularly in out-of-domain scenarios.

Teysir Baoueb, Xiaoyu Bie, Xi Wang et al.

Breakthroughs in text-to-music generation models are transforming the creative landscape, equipping musicians with innovative tools for composition and experimentation like never before. However, controlling the generation process to achieve a specific desired outcome remains a significant challenge. Even a minor change in the text prompt, combined with the same random seed, can drastically alter the generated piece. In this paper, we explore the application of existing text-to-music diffusion models for instrument editing. Specifically, for an existing audio track, we aim to leverage a pretrained text-to-music diffusion model to edit the instrument while preserving the underlying content. Based on the insight that the model first focuses on the overall structure or content of the audio, then adds instrument information, and finally refines the quality, we show that selecting a well-chosen intermediate timestep, identified through an instrument classifier, yields a balance between preserving the original piece's content and achieving the desired timbre. Our method does not require additional training of the text-to-music diffusion model, nor does it compromise the generation process's speed.