Neural speech codecs have been widely used in audio compression and various downstream tasks. Current mainstream codecs are fixed-frame-rate (FFR), which allocate the same number of tokens to every equal-duration slice. However, speech is inherently non-uniform in temporal information density. As a result, many tokens are wasted on steady-state segments like long vowels and silences. To address this mismatch, we present CodecSlime, a plugin-style method for compressing temporal redundancy through supporting dynamic frame rate (DFR) on neural speech codecs for the first time. Our method is unsupervised and architecture-agnostic, combining two key innovations, ScheDFR and Melt-and-Cool, for adapting inference and training, respectively. When integrated into a typical VQ-GAN codec backbone and operating at 40 Hz DFR ($\approx$ 600 bps), the reconstruction WER of CodecSlime is reduced by up to 46% relative to conventional FFR baselines with the same model architecture and similar bitrates, while other metrics are also competitive. CodecSlime also enables flexible trade-offs between reconstruction quality and bitrate: a single model supports inference at multiple frame rates and consistently outperforms FFR models at the corresponding frame rates. Audio samples are available at https://acadarmeria.github.io/codecslime/.
Neural audio autoencoders create compact latent representations that preserve perceptually important information, serving as the foundation for both modern audio compression systems and generation approaches like next-token prediction and latent diffusion. Despite their prevalence, most audio processing operations, such as spatial and spectral up-sampling, still inefficiently operate on raw waveforms or spectral representations rather than directly on these compressed representations. We propose a framework that performs audio processing operations entirely within an autoencoder's latent space, eliminating the need to decode to raw audio formats. Our approach dramatically simplifies training by operating solely in the latent domain, with a latent L1 reconstruction term, augmented by a single latent adversarial discriminator. This contrasts sharply with raw-audio methods that typically require complex combinations of multi-scale losses and discriminators. Through experiments in bandwidth extension and mono-to-stereo up-mixing, we demonstrate computational efficiency gains of up to 100x while maintaining quality comparable to post-processing on raw audio. This work establishes a more efficient paradigm for audio processing pipelines that already incorporate autoencoders, enabling significantly faster and more resource-efficient workflows across various audio tasks.
This paper introduces LAV (Latent Audio-Visual), a system that integrates EnCodec's neural audio compression with StyleGAN2's generative capabilities to produce visually dynamic outputs driven by pre-recorded audio. Unlike previous works that rely on explicit feature mappings, LAV uses EnCodec embeddings as latent representations, directly transformed into StyleGAN2's style latent space via randomly initialized linear mapping. This approach preserves semantic richness in the transformation, enabling nuanced and semantically coherent audio-visual translations. The framework demonstrates the potential of using pretrained audio compression models for artistic and computational applications.
An efficient new approach to signal compression is presented based of a novel variation on the Gabor basis set. Following earlier work by Shimshovitz and Tannor, we convolve the conventional Gabor functions with Dirichlet functions to obtain a Periodic Gabor basis set (PG). The PG basis is exact for continuous functions that are periodic band-limited. Using the orthonormality of the Dirichlet functions, the calculation of the PG coefficients becomes trivial and numerically stable, but its representation does not allow compression. Large compression factors are achieved by exchanging the PG basis with its biorthogonal basis, thereby using the localized PG basis to calculate the coefficients (PGB). Here we implement the PGB formalism using the Fast Zak Transform and obtain very high efficiency with respect to both CPU and memory. We compare the method with the state of the art Short-Time Fourier Transform (STFT) and Discrete Wavelet Transform (DWT) methods on a variety of audio files, including music and speech samples. In all cases tested our scheme surpasses the STFT by far and in most cases outperforms DWT.
Efficiently compressing high-dimensional audio signals into a compact and informative latent space is crucial for various tasks, including generative modeling and music information retrieval (MIR). Existing audio autoencoders, however, often struggle to achieve high compression ratios while preserving audio fidelity and facilitating efficient downstream applications. We introduce Music2Latent2, a novel audio autoencoder that addresses these limitations by leveraging consistency models and a novel approach to representation learning based on unordered latent embeddings, which we call summary embeddings. Unlike conventional methods that encode local audio features into ordered sequences, Music2Latent2 compresses audio signals into sets of summary embeddings, where each embedding can capture distinct global features of the input sample. This enables to achieve higher reconstruction quality at the same compression ratio. To handle arbitrary audio lengths, Music2Latent2 employs an autoregressive consistency model trained on two consecutive audio chunks with causal masking, ensuring coherent reconstruction across segment boundaries. Additionally, we propose a novel two-step decoding procedure that leverages the denoising capabilities of consistency models to further refine the generated audio at no additional cost. Our experiments demonstrate that Music2Latent2 outperforms existing continuous audio autoencoders regarding audio quality and performance on downstream tasks. Music2Latent2 paves the way for new possibilities in audio compression.
In this paper, we propose "SoundSpring", a cutting-edge error-resilient audio transceiver that marries the robustness benefits of joint source-channel coding (JSCC) while also being compatible with current digital communication systems. Unlike recent deep JSCC transceivers, which learn to directly map audio signals to analog channel-input symbols via neural networks, our SoundSpring adopts the layered architecture that delineates audio compression from digital coded transmission, but it sufficiently exploits the impressive in-context predictive capabilities of large language (foundation) models. Integrated with the casual-order mask learning strategy, our single model operates on the latent feature domain and serve dual-functionalities: as efficient audio compressors at the transmitter and as effective mechanisms for packet loss concealment at the receiver. By jointly optimizing towards both audio compression efficiency and transmission error resiliency, we show that mask-learned language models are indeed powerful contextual predictors, and our dual-functional compression and concealment framework offers fresh perspectives on the application of foundation language models in audio communication. Through extensive experimental evaluations, we establish that SoundSpring apparently outperforms contemporary audio transmission systems in terms of signal fidelity metrics and perceptual quality scores. These new findings not only advocate for the practical deployment of SoundSpring in learning-based audio communication systems but also inspire the development of future audio semantic transceivers.
This paper explores entropy-controlled dithering techniques in audio compression, examining the application of standard and modified TPDFs, combined with noise shaping and entropy-controlled parameters, across various audio contexts, including pitch, loudness, rhythm, and instrumentation variations. Perceptual quality metrics such as VISQOL and STOI were used to evaluate performance. The results demonstrate that TPDF-based dithering consistently outperforms RPDF, particularly under optimal alpha conditions, while highlighting performance variability based on signal characteristics. These findings suggest the situational appropriateness of using various TPDF distributions. This work emphasizes the trade-off between entropy and perceptual fidelity, offering insights into the potential of entropy-controlled dithering as a foundation for enhanced audio compression algorithms. A practical implementation as a Digital Audio Workstation plugin introduces customizable dithering controls, laying the groundwork for future advancements in audio compression algorithms.
Neural audio codecs (NACs) have garnered significant attention as key technologies for audio compression as well as audio representation for speech language models. While mainstream NAC models are predominantly convolution-based, the performance of NACs with a purely transformer-based, and convolution-free architecture remains unexplored. This paper introduces TS3-Codec, a Transformer-Based Simple Streaming Single Codec. TS3-Codec consists of only a stack of transformer layers with a few linear layers, offering greater simplicity and expressiveness by fully eliminating convolution layers that require careful hyperparameter tuning and large computations. Under the streaming setup, the proposed TS3-Codec achieves comparable or superior performance compared to the codec with state-of-the-art convolution-based architecture while requiring only 12% of the computation and 77% of bitrate. Furthermore, it significantly outperforms the convolution-based codec when using similar computational resources.
KV cache compression methods have mainly relied on scalar quantization techniques to reduce the memory requirements during decoding. In this work, we apply residual vector quantization, which has been widely used for high fidelity audio compression, to compress KV cache in large language models (LLM). We adapt the standard recipe with minimal changes to compress the output of any key or value projection matrix in a pretrained LLM: we scale the vector by its standard deviation, divide channels into groups and then quantize each group with the same residual vector quantizer. We learn the codebook using exponential moving average and there are no other learnable parameters including the input and output projections normally used in a vector quantization set up. We find that a residual depth of 8 recovers most of the performance of the unquantized model. We also find that grouping non-contiguous channels together works better than grouping contiguous channels for compressing key matrix and the method further benefits from a light weight finetuning of LLM together with the quantization. Overall, the proposed technique is competitive with existing quantization methods while being much simpler and results in 5.5x compression compared to half precision.
Neural audio codecs have recently gained popularity because they can represent audio signals with high fidelity at very low bitrates, making it feasible to use language modeling approaches for audio generation and understanding. Residual Vector Quantization (RVQ) has become the standard technique for neural audio compression using a cascade of VQ codebooks. This paper proposes the Multi-Scale Neural Audio Codec, a simple extension of RVQ where the quantizers can operate at different temporal resolutions. By applying a hierarchy of quantizers at variable frame rates, the codec adapts to the audio structure across multiple timescales. This leads to more efficient compression, as demonstrated by extensive objective and subjective evaluations. The code and model weights are open-sourced at https://github.com/hubertsiuzdak/snac.
Latent representation learning has been an active field of study for decades in numerous applications. Inspired among others by the tokenization from Natural Language Processing and motivated by the research of a simple data representation, recent works have introduced a quantization step into the feature extraction. In this work, we propose a novel strategy to build the neural discrete representation by means of random codebooks. These codebooks are obtained by randomly sampling a large, predefined fixed codebook. We experimentally show the merits and potential of our approach in a task of audio compression and reconstruction.
Recent state-of-the-art neural audio compression models have progressively adopted residual vector quantization (RVQ). Despite this success, these models employ a fixed number of codebooks per frame, which can be suboptimal in terms of rate-distortion tradeoff, particularly in scenarios with simple input audio, such as silence. To address this limitation, we propose variable bitrate RVQ (VRVQ) for audio codecs, which allows for more efficient coding by adapting the number of codebooks used per frame. Furthermore, we propose a gradient estimation method for the non-differentiable masking operation that transforms from the importance map to the binary importance mask, improving model training via a straight-through estimator. We demonstrate that the proposed training framework achieves superior results compared to the baseline method and shows further improvement when applied to the current state-of-the-art codec.
Built upon vector quantization (VQ), discrete audio codec models have achieved great success in audio compression and auto-regressive audio generation. However, existing models face substantial challenges in perceptual quality and signal distortion, especially when operating in extremely low bandwidth, rooted in the sensitivity of the VQ codebook to noise. This degradation poses significant challenges for several downstream tasks, such as codec-based speech synthesis. To address this issue, we propose a novel VQ method, Normal Distribution-based Vector Quantization (NDVQ), by introducing an explicit margin between the VQ codes via learning a variance. Specifically, our approach involves mapping the waveform to a latent space and quantizing it by selecting the most likely normal distribution, with each codebook entry representing a unique normal distribution defined by its mean and variance. Using these distribution-based VQ codec codes, a decoder reconstructs the input waveform. NDVQ is trained with additional distribution-related losses, alongside reconstruction and discrimination losses. Experiments demonstrate that NDVQ outperforms existing audio compression baselines, such as EnCodec, in terms of audio quality and zero-shot TTS, particularly in very low bandwidth scenarios.
This paper introduces FlowMAC, a novel neural audio codec for high-quality general audio compression at low bit rates based on conditional flow matching (CFM). FlowMAC jointly learns a mel spectrogram encoder, quantizer and decoder. At inference time the decoder integrates a continuous normalizing flow via an ODE solver to generate a high-quality mel spectrogram. This is the first time that a CFM-based approach is applied to general audio coding, enabling a scalable, simple and memory efficient training. Our subjective evaluations show that FlowMAC at 3 kbps achieves similar quality as state-of-the-art GAN-based and DDPM-based neural audio codecs at double the bit rate. Moreover, FlowMAC offers a tunable inference pipeline, which permits to trade off complexity and quality. This enables real-time coding on CPU, while maintaining high perceptual quality.
Large language models (LLMs) have significantly advanced audio processing through audio codecs that convert audio into discrete tokens, enabling the application of language modeling techniques to audio data. However, audio codecs often operate at high frame rates, resulting in slow training and inference, especially for autoregressive models. To address this challenge, we present the Low Frame-rate Speech Codec (LFSC): a neural audio codec that leverages finite scalar quantization and adversarial training with large speech language models to achieve high-quality audio compression with a 1.89 kbps bitrate and 21.5 frames per second. We demonstrate that our novel codec can make the inference of LLM-based text-to-speech models around three times faster while improving intelligibility and producing quality comparable to previous models.
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.
Recent advancements in audio generation have been significantly propelled by the capabilities of Large Language Models (LLMs). The existing research on audio LLM has primarily focused on enhancing the architecture and scale of audio language models, as well as leveraging larger datasets, and generally, acoustic codecs, such as EnCodec, are used for audio tokenization. However, these codecs were originally designed for audio compression, which may lead to suboptimal performance in the context of audio LLM. Our research aims to address the shortcomings of current audio LLM codecs, particularly their challenges in maintaining semantic integrity in generated audio. For instance, existing methods like VALL-E, which condition acoustic token generation on text transcriptions, often suffer from content inaccuracies and elevated word error rates (WER) due to semantic misinterpretations of acoustic tokens, resulting in word skipping and errors. To overcome these issues, we propose a straightforward yet effective approach called X-Codec. X-Codec incorporates semantic features from a pre-trained semantic encoder before the Residual Vector Quantization (RVQ) stage and introduces a semantic reconstruction loss after RVQ. By enhancing the semantic ability of the codec, X-Codec significantly reduces WER in speech synthesis tasks and extends these benefits to non-speech applications, including music and sound generation. Our experiments in text-to-speech, music continuation, and text-to-sound tasks demonstrate that integrating semantic information substantially improves the overall performance of language models in audio generation. Our code and demo are available (Demo: https://x-codec-audio.github.io Code: https://github.com/zhenye234/xcodec)
Efficient audio representations in a compressed continuous latent space are critical for generative audio modeling and Music Information Retrieval (MIR) tasks. However, some existing audio autoencoders have limitations, such as multi-stage training procedures, slow iterative sampling, or low reconstruction quality. We introduce Music2Latent, an audio autoencoder that overcomes these limitations by leveraging consistency models. Music2Latent encodes samples into a compressed continuous latent space in a single end-to-end training process while enabling high-fidelity single-step reconstruction. Key innovations include conditioning the consistency model on upsampled encoder outputs at all levels through cross connections, using frequency-wise self-attention to capture long-range frequency dependencies, and employing frequency-wise learned scaling to handle varying value distributions across frequencies at different noise levels. We demonstrate that Music2Latent outperforms existing continuous audio autoencoders in sound quality and reconstruction accuracy while achieving competitive performance on downstream MIR tasks using its latent representations. To our knowledge, this represents the first successful attempt at training an end-to-end consistency autoencoder model.
We present MELLE, a novel continuous-valued token based language modeling approach for text-to-speech synthesis (TTS). MELLE autoregressively generates continuous mel-spectrogram frames directly from text condition, bypassing the need for vector quantization, which is typically designed for audio compression and sacrifices fidelity compared to continuous representations. Specifically, (i) instead of cross-entropy loss, we apply regression loss with a proposed spectrogram flux loss function to model the probability distribution of the continuous-valued tokens; (ii) we have incorporated variational inference into MELLE to facilitate sampling mechanisms, thereby enhancing the output diversity and model robustness. Experiments demonstrate that, compared to the two-stage codec language model VALL-E and its variants, the single-stage MELLE mitigates robustness issues by avoiding the inherent flaws of sampling vector-quantized codes, achieves superior performance across multiple metrics, and, most importantly, offers a more streamlined paradigm. The demos of our work are provided at https://aka.ms/melle.
We introduce Gull, a generative multifunctional audio codec. Gull is a general purpose neural audio compression and decompression model which can be applied to a wide range of tasks and applications such as real-time communication, audio super-resolution, and codec language models. The key components of Gull include (1) universal-sample-rate modeling via subband modeling schemes motivated by recent progress in audio source separation, (2) gain-shape representations motivated by traditional audio codecs, (3) improved residual vector quantization modules, (4) elastic decoder network that enables user-defined model size and complexity during inference time, (5) built-in ability for audio super-resolution without the increase of bitrate. We compare Gull with existing traditional and neural audio codecs and show that Gull is able to achieve on par or better performance across various sample rates, bitrates and model complexities in both subjective and objective evaluation metrics.