Daily Papers

We propose a transformer-based rhythm quantization model that incorporates beat and downbeat information to quantize MIDI performances into metrically-aligned, human-readable scores. We propose a beat-based preprocessing method that transfers score and performance data into a unified token representation. We optimize our model architecture and data representation and train on piano and guitar performances. Our model exceeds state-of-the-art performance based on the MUSTER metric.

We explore models for translating abstract musical ideas (scores, rhythms) into expressive performances using Seq2Seq and recurrent Variational Information Bottleneck (VIB) models. Though Seq2Seq models usually require painstakingly aligned corpora, we show that it is possible to adapt an approach from the Generative Adversarial Network (GAN) literature (e.g. Pix2Pix (Isola et al., 2017) and Vid2Vid (Wang et al. 2018a)) to sequences, creating large volumes of paired data by performing simple transformations and training generative models to plausibly invert these transformations. Music, and drumming in particular, provides a strong test case for this approach because many common transformations (quantization, removing voices) have clear semantics, and models for learning to invert them have real-world applications. Focusing on the case of drum set players, we create and release a new dataset for this purpose, containing over 13 hours of recordings by professional drummers aligned with fine-grained timing and dynamics information. We also explore some of the creative potential of these models, including demonstrating improvements on state-of-the-art methods for Humanization (instantiating a performance from a musical score).

We consider the problem of generating musical soundtracks in sync with rhythmic visual cues. Most existing works rely on pre-defined music representations, leading to the incompetence of generative flexibility and complexity. Other methods directly generating video-conditioned waveforms suffer from limited scenarios, short lengths, and unstable generation quality. To this end, we present Long-Term Rhythmic Video Soundtracker (LORIS), a novel framework to synthesize long-term conditional waveforms. Specifically, our framework consists of a latent conditional diffusion probabilistic model to perform waveform synthesis. Furthermore, a series of context-aware conditioning encoders are proposed to take temporal information into consideration for a long-term generation. Notably, we extend our model's applicability from dances to multiple sports scenarios such as floor exercise and figure skating. To perform comprehensive evaluations, we establish a benchmark for rhythmic video soundtracks including the pre-processed dataset, improved evaluation metrics, and robust generative baselines. Extensive experiments show that our model generates long-term soundtracks with state-of-the-art musical quality and rhythmic correspondence. Codes are available at https://github.com/OpenGVLab/LORIS.

Video-to-music (V2M) generation aims to create music that aligns with visual content. However, two main challenges persist in existing methods: (1) the lack of explicit rhythm modeling hinders audiovisual temporal alignments; (2) effectively integrating various visual features to condition music generation remains non-trivial. To address these issues, we propose Diff-V2M, a general V2M framework based on a hierarchical conditional diffusion model, comprising two core components: visual feature extraction and conditional music generation. For rhythm modeling, we begin by evaluating several rhythmic representations, including low-resolution mel-spectrograms, tempograms, and onset detection functions (ODF), and devise a rhythmic predictor to infer them directly from videos. To ensure contextual and affective coherence, we also extract semantic and emotional features. All features are incorporated into the generator via a hierarchical cross-attention mechanism, where emotional features shape the affective tone via the first layer, while semantic and rhythmic features are fused in the second cross-attention layer. To enhance feature integration, we introduce timestep-aware fusion strategies, including feature-wise linear modulation (FiLM) and weighted fusion, allowing the model to adaptively balance semantic and rhythmic cues throughout the diffusion process. Extensive experiments identify low-resolution ODF as a more effective signal for modeling musical rhythm and demonstrate that Diff-V2M outperforms existing models on both in-domain and out-of-domain datasets, achieving state-of-the-art performance in terms of objective metrics and subjective comparisons. Demo and code are available at https://Tayjsl97.github.io/Diff-V2M-Demo/.

The online estimation of rhythmic information, such as beat positions, downbeat positions, and meter, is critical for many real-time music applications. Musical rhythm comprises complex hierarchical relationships across time, rendering its analysis intrinsically challenging and at times subjective. Furthermore, systems which attempt to estimate rhythmic information in real-time must be causal and must produce estimates quickly and efficiently. In this work, we introduce an online system for joint beat, downbeat, and meter tracking, which utilizes causal convolutional and recurrent layers, followed by a pair of sequential Monte Carlo particle filters applied during inference. The proposed system does not need to be primed with a time signature in order to perform downbeat tracking, and is instead able to estimate meter and adjust the predictions over time. Additionally, we propose an information gate strategy to significantly decrease the computational cost of particle filtering during the inference step, making the system much faster than previous sampling-based methods. Experiments on the GTZAN dataset, which is unseen during training, show that the system outperforms various online beat and downbeat tracking systems and achieves comparable performance to a baseline offline joint method.

The field of automatic music composition has seen great progress in recent years, specifically with the invention of transformer-based architectures. When using any deep learning model which considers music as a sequence of events with multiple complex dependencies, the selection of a proper data representation is crucial. In this paper, we tackle the task of conditional drums generation using a novel data encoding scheme inspired by the Compound Word representation, a tokenization process of sequential data. Therefore, we present a sequence-to-sequence architecture where a Bidirectional Long short-term memory (BiLSTM) Encoder receives information about the conditioning parameters (i.e., accompanying tracks and musical attributes), while a Transformer-based Decoder with relative global attention produces the generated drum sequences. We conducted experiments to thoroughly compare the effectiveness of our method to several baselines. Quantitative evaluation shows that our model is able to generate drums sequences that have similar statistical distributions and characteristics to the training corpus. These features include syncopation, compression ratio, and symmetry among others. We also verified, through a listening test, that generated drum sequences sound pleasant, natural and coherent while they "groove" with the given accompaniment.

The rise of deep learning technologies has quickly advanced many fields, including that of generative music systems. There exist a number of systems that allow for the generation of good sounding short snippets, yet, these generated snippets often lack an overarching, longer-term structure. In this work, we propose CM-HRNN: a conditional melody generation model based on a hierarchical recurrent neural network. This model allows us to generate melodies with long-term structures based on given chord accompaniments. We also propose a novel, concise event-based representation to encode musical lead sheets while retaining the notes' relative position within the bar with respect to the musical meter. With this new data representation, the proposed architecture can simultaneously model the rhythmic, as well as the pitch structures in an effective way. Melodies generated by the proposed model were extensively evaluated in quantitative experiments as well as a user study to ensure the musical quality of the output as well as to evaluate if they contain repeating patterns. We also compared the system with the state-of-the-art AttentionRNN. This comparison shows that melodies generated by CM-HRNN contain more repeated patterns (i.e., higher compression ratio) and a lower tonal tension (i.e., more tonally concise). Results from our listening test indicate that CM-HRNN outperforms AttentionRNN in terms of long-term structure and overall rating.

In the heart of "rhythm games" - games where players must perform actions in sync with a piece of music - are "charts", the directives to be given to players. We newly formulate chart generation as a sequence generation task and train a Transformer using a large dataset. We also introduce tempo-informed preprocessing and training procedures, some of which are suggested to be integral for a successful training. Our model is found to outperform the baselines on a large dataset, and is also found to benefit from pretraining and finetuning.

We present Dance2Music-GAN (D2M-GAN), a novel adversarial multi-modal framework that generates complex musical samples conditioned on dance videos. Our proposed framework takes dance video frames and human body motions as input, and learns to generate music samples that plausibly accompany the corresponding input. Unlike most existing conditional music generation works that generate specific types of mono-instrumental sounds using symbolic audio representations (e.g., MIDI), and that usually rely on pre-defined musical synthesizers, in this work we generate dance music in complex styles (e.g., pop, breaking, etc.) by employing a Vector Quantized (VQ) audio representation, and leverage both its generality and high abstraction capacity of its symbolic and continuous counterparts. By performing an extensive set of experiments on multiple datasets, and following a comprehensive evaluation protocol, we assess the generative qualities of our proposal against alternatives. The attained quantitative results, which measure the music consistency, beats correspondence, and music diversity, demonstrate the effectiveness of our proposed method. Last but not least, we curate a challenging dance-music dataset of in-the-wild TikTok videos, which we use to further demonstrate the efficacy of our approach in real-world applications -- and which we hope to serve as a starting point for relevant future research.

Beat tracking in musical performance MIDI is a challenging and important task for notation-level music transcription and rhythmical analysis, yet existing methods primarily focus on audio-based approaches. This paper proposes an end-to-end transformer-based model for beat and downbeat tracking in performance MIDI, leveraging an encoder-decoder architecture for sequence-to-sequence translation of MIDI input to beat annotations. Our approach introduces novel data preprocessing techniques, including dynamic augmentation and optimized tokenization strategies, to improve accuracy and generalizability across different datasets. We conduct extensive experiments using the A-MAPS, ASAP, GuitarSet, and Leduc datasets, comparing our model against state-of-the-art hidden Markov models (HMMs) and deep learning-based beat tracking methods. The results demonstrate that our model outperforms existing symbolic music beat tracking approaches, achieving competitive F1-scores across various musical styles and instruments. Our findings highlight the potential of transformer architectures for symbolic beat tracking and suggest future integration with automatic music transcription systems for enhanced music analysis and score generation.

We present a unified system to realize one-shot voice conversion (VC) on the pitch, rhythm, and speaker attributes. Existing works generally ignore the correlation between prosody and language content, leading to the degradation of naturalness in converted speech. Additionally, the lack of proper language features prevents these systems from accurately preserving language content after conversion. To address these issues, we devise a cascaded modular system leveraging self-supervised discrete speech units as language representation. These discrete units provide duration information essential for rhythm modeling. Our system first extracts utterance-level prosody and speaker representations from the raw waveform. Given the prosody representation, a prosody predictor estimates pitch, energy, and duration for each discrete unit in the utterance. A synthesizer further reconstructs speech based on the predicted prosody, speaker representation, and discrete units. Experiments show that our system outperforms previous approaches in naturalness, intelligibility, speaker transferability, and prosody transferability. Code and samples are publicly available.

Post-training quantization (PTQ) is widely regarded as one of the most efficient compression methods practically, benefitting from its data privacy and low computation costs. We argue that an overlooked problem of oscillation is in the PTQ methods. In this paper, we take the initiative to explore and present a theoretical proof to explain why such a problem is essential in PTQ. And then, we try to solve this problem by introducing a principled and generalized framework theoretically. In particular, we first formulate the oscillation in PTQ and prove the problem is caused by the difference in module capacity. To this end, we define the module capacity (ModCap) under data-dependent and data-free scenarios, where the differentials between adjacent modules are used to measure the degree of oscillation. The problem is then solved by selecting top-k differentials, in which the corresponding modules are jointly optimized and quantized. Extensive experiments demonstrate that our method successfully reduces the performance drop and is generalized to different neural networks and PTQ methods. For example, with 2/4 bit ResNet-50 quantization, our method surpasses the previous state-of-the-art method by 1.9%. It becomes more significant on small model quantization, e.g. surpasses BRECQ method by 6.61% on MobileNetV2*0.5.

Neural vocoders have recently advanced waveform generation, yielding natural and expressive audio. Among these approaches, iSTFT-based vocoders have recently gained attention. They predict a complex-valued spectrogram and then synthesize the waveform via iSTFT, thereby avoiding learned upsampling stages that can increase computational cost. However, current approaches use real-valued networks that process the real and imaginary parts independently. This separation limits their ability to capture the inherent structure of complex spectrograms. We present ComVo, a Complex-valued neural Vocoder whose generator and discriminator use native complex arithmetic. This enables an adversarial training framework that provides structured feedback in complex-valued representations. To guide phase transformations in a structured manner, we introduce phase quantization, which discretizes phase values and regularizes the training process. Finally, we propose a block-matrix computation scheme to improve training efficiency by reducing redundant operations. Experiments demonstrate that ComVo achieves higher synthesis quality than comparable real-valued baselines, and that its block-matrix scheme reduces training time by 25%. Audio samples and code are available at https://hs-oh-prml.github.io/ComVo/.

The diffusion model has gained popularity in vision applications due to its remarkable generative performance and versatility. However, high storage and computation demands, resulting from the model size and iterative generation, hinder its use on mobile devices. Existing quantization techniques struggle to maintain performance even in 8-bit precision due to the diffusion model's unique property of temporal variation in activation. We introduce a novel quantization method that dynamically adjusts the quantization interval based on time step information, significantly improving output quality. Unlike conventional dynamic quantization techniques, our approach has no computational overhead during inference and is compatible with both post-training quantization (PTQ) and quantization-aware training (QAT). Our extensive experiments demonstrate substantial improvements in output quality with the quantized diffusion model across various datasets.

Mamba is an efficient sequence model that rivals Transformers and demonstrates significant potential as a foundational architecture for various tasks. Quantization is commonly used in neural networks to reduce model size and computational latency. However, applying quantization to Mamba remains underexplored, and existing quantization methods, which have been effective for CNN and Transformer models, appear inadequate for Mamba models (e.g., Quarot suffers a 21% accuracy drop on Vim-T^dagger even under W8A8). We have pioneered the exploration of this issue and identified several key challenges. First, significant outliers are present in gate projections, output projections, and matrix multiplications. Second, Mamba's unique parallel scan further amplifies these outliers, leading to uneven and heavy-tailed data distributions. Third, even with the application of the Hadamard transform, the variance across channels in weights and activations still remains inconsistent. To these ends, we propose MambaQuant, a post-training quantization (PTQ) framework consisting of: 1) Karhunen-Loeve Transformation (KLT) enhanced rotation, rendering the rotation matrix adaptable to diverse channel distributions. 2) Smooth-Fused rotation, which equalizes channel variances and can merge additional parameters into model weights. Experiments show that MambaQuant can quantize both weights and activations into 8-bit with less than 1% accuracy loss for Mamba-based vision and language tasks. To the best of our knowledge, MambaQuant is the first comprehensive PTQ design for the Mamba family, paving the way for further advancements in its application.

The residual vector quantization (RVQ) technique plays a central role in recent advances in neural audio codecs. These models effectively synthesize high-fidelity audio from a limited number of codes due to the hierarchical structure among quantization levels. In this paper, we propose an encoding algorithm to further enhance the synthesis quality of RVQ-based neural codecs at test-time. Firstly, we point out the suboptimal nature of quantized vectors generated by conventional methods. We demonstrate that quantization error can be mitigated by selecting a different set of codes. Subsequently, we present our encoding algorithm, designed to identify a set of discrete codes that achieve a lower quantization error. We then apply the proposed method to pre-trained models and evaluate its efficacy using diverse metrics. Our experimental findings validate that our method not only reduces quantization errors, but also improves synthesis quality.

This work investigates a case study of using physical-based sonification of Quadratic Unconstrained Binary Optimization (QUBO) problems, optimized by the Variational Quantum Eigensolver (VQE) algorithm. The VQE approximates the solution of the problem by using an iterative loop between the quantum computer and a classical optimization routine. This work explores the intermediary statevectors found in each VQE iteration as the means of sonifying the optimization process itself. The implementation was realised in the form of a musical interface prototype named Variational Quantum Harmonizer (VQH), providing potential design strategies for musical applications, focusing on chords, chord progressions, and arpeggios. The VQH can be used both to enhance data visualization or to create artistic pieces. The methodology is also relevant in terms of how an artist would gain intuition towards achieving a desired musical sound by carefully designing QUBO cost functions. Flexible mapping strategies could supply a broad portfolio of sounds for QUBO and quantum-inspired musical compositions, as demonstrated in a case study composition, "Dependent Origination" by Peter Thomas and Paulo Itaborai.

Music-driven 3D dance generation has attracted increasing attention in recent years, with promising applications in choreography, virtual reality, and creative content creation. Previous research has generated promising realistic dance movement from audio signals. However, traditional methods underutilize genre conditioning, often treating it as auxiliary modifiers rather than core semantic drivers. This oversight compromises music-motion synchronization and disrupts dance genre continuity, particularly during complex rhythmic transitions, thereby leading to visually unsatisfactory effects. To address the challenge, we propose MEGADance, a novel architecture for music-driven 3D dance generation. By decoupling choreographic consistency into dance generality and genre specificity, MEGADance demonstrates significant dance quality and strong genre controllability. It consists of two stages: (1) High-Fidelity Dance Quantization Stage (HFDQ), which encodes dance motions into a latent representation by Finite Scalar Quantization (FSQ) and reconstructs them with kinematic-dynamic constraints, and (2) Genre-Aware Dance Generation Stage (GADG), which maps music into the latent representation by synergistic utilization of Mixture-of-Experts (MoE) mechanism with Mamba-Transformer hybrid backbone. Extensive experiments on the FineDance and AIST++ dataset demonstrate the state-of-the-art performance of MEGADance both qualitatively and quantitatively. Code will be released upon acceptance.

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.

Predicting human mobility is inherently challenging due to complex long-range dependencies and multi-scale periodic behaviors. To address this, we introduce RHYTHM (Reasoning with Hierarchical Temporal Tokenization for Human Mobility), a unified framework that leverages large language models (LLMs) as general-purpose spatio-temporal predictors and trajectory reasoners. Methodologically, RHYTHM employs temporal tokenization to partition each trajectory into daily segments and encode them as discrete tokens with hierarchical attention that captures both daily and weekly dependencies, thereby significantly reducing the sequence length while preserving cyclical information. Additionally, we enrich token representations by adding pre-computed prompt embeddings for trajectory segments and prediction targets via a frozen LLM, and feeding these combined embeddings back into the LLM backbone to capture complex interdependencies. Computationally, RHYTHM freezes the pretrained LLM's backbone to reduce attention complexity and memory cost. We evaluate our model against state-of-the-art methods using three real-world datasets. Notably, RHYTHM achieves a 2.4% improvement in overall accuracy, a 5.0% increase on weekends, and a 24.6% reduction in training time. Code is publicly available at https://github.com/he-h/rhythm.

Weight oscillation is an undesirable side effect of quantization-aware training, in which quantized weights frequently jump between two quantized levels, resulting in training instability and a sub-optimal final model. We discover that the learnable scaling factor, a widely-used de facto setting in quantization aggravates weight oscillation. In this study, we investigate the connection between the learnable scaling factor and quantized weight oscillation and use ViT as a case driver to illustrate the findings and remedies. In addition, we also found that the interdependence between quantized weights in query and key of a self-attention layer makes ViT vulnerable to oscillation. We, therefore, propose three techniques accordingly: statistical weight quantization (rm StatsQ) to improve quantization robustness compared to the prevalent learnable-scale-based method; confidence-guided annealing (rm CGA) that freezes the weights with high confidence and calms the oscillating weights; and query-key reparameterization (rm QKR) to resolve the query-key intertwined oscillation and mitigate the resulting gradient misestimation. Extensive experiments demonstrate that these proposed techniques successfully abate weight oscillation and consistently achieve substantial accuracy improvement on ImageNet. Specifically, our 2-bit DeiT-T/DeiT-S algorithms outperform the previous state-of-the-art by 9.8% and 7.7%, respectively. Code and models are available at: https://github.com/nbasyl/OFQ.

In this work, we address the task of video background music generation. Some previous works achieve effective music generation but are unable to generate melodious music tailored to a particular video, and none of them considers the video-music rhythmic consistency. To generate the background music that matches the given video, we first establish the rhythmic relations between video and background music. In particular, we connect timing, motion speed, and motion saliency from video with beat, simu-note density, and simu-note strength from music, respectively. We then propose CMT, a Controllable Music Transformer that enables local control of the aforementioned rhythmic features and global control of the music genre and instruments. Objective and subjective evaluations show that the generated background music has achieved satisfactory compatibility with the input videos, and at the same time, impressive music quality. Code and models are available at https://github.com/wzk1015/video-bgm-generation.

Recent advancements in music generation have garnered significant attention, yet existing approaches face critical limitations. Some current generative models can only synthesize either the vocal track or the accompaniment track. While some models can generate combined vocal and accompaniment, they typically rely on meticulously designed multi-stage cascading architectures and intricate data pipelines, hindering scalability. Additionally, most systems are restricted to generating short musical segments rather than full-length songs. Furthermore, widely used language model-based methods suffer from slow inference speeds. To address these challenges, we propose DiffRhythm, the first latent diffusion-based song generation model capable of synthesizing complete songs with both vocal and accompaniment for durations of up to 4m45s in only ten seconds, maintaining high musicality and intelligibility. Despite its remarkable capabilities, DiffRhythm is designed to be simple and elegant: it eliminates the need for complex data preparation, employs a straightforward model structure, and requires only lyrics and a style prompt during inference. Additionally, its non-autoregressive structure ensures fast inference speeds. This simplicity guarantees the scalability of DiffRhythm. Moreover, we release the complete training code along with the pre-trained model on large-scale data to promote reproducibility and further research.

We introduce the Expanded Groove MIDI dataset (E-GMD), an automatic drum transcription (ADT) dataset that contains 444 hours of audio from 43 drum kits, making it an order of magnitude larger than similar datasets, and the first with human-performed velocity annotations. We use E-GMD to optimize classifiers for use in downstream generation by predicting expressive dynamics (velocity) and show with listening tests that they produce outputs with improved perceptual quality, despite similar results on classification metrics. Via the listening tests, we argue that standard classifier metrics, such as accuracy and F-measure score, are insufficient proxies of performance in downstream tasks because they do not fully align with the perceptual quality of generated outputs.

While neural networks have advanced the frontiers in many applications, they often come at a high computational cost. Reducing the power and latency of neural network inference is key if we want to integrate modern networks into edge devices with strict power and compute requirements. Neural network quantization is one of the most effective ways of achieving these savings but the additional noise it induces can lead to accuracy degradation. In this white paper, we introduce state-of-the-art algorithms for mitigating the impact of quantization noise on the network's performance while maintaining low-bit weights and activations. We start with a hardware motivated introduction to quantization and then consider two main classes of algorithms: Post-Training Quantization (PTQ) and Quantization-Aware-Training (QAT). PTQ requires no re-training or labelled data and is thus a lightweight push-button approach to quantization. In most cases, PTQ is sufficient for achieving 8-bit quantization with close to floating-point accuracy. QAT requires fine-tuning and access to labeled training data but enables lower bit quantization with competitive results. For both solutions, we provide tested pipelines based on existing literature and extensive experimentation that lead to state-of-the-art performance for common deep learning models and tasks.

Emerging Denoising Diffusion Probabilistic Models (DDPM) have become increasingly utilised because of promising results they have achieved in diverse generative tasks with continuous data, such as image and sound synthesis. Nonetheless, the success of diffusion models has not been fully extended to discrete symbolic music. We propose to combine a vector quantized variational autoencoder (VQ-VAE) and discrete diffusion models for the generation of symbolic music with desired composer styles. The trained VQ-VAE can represent symbolic music as a sequence of indexes that correspond to specific entries in a learned codebook. Subsequently, a discrete diffusion model is used to model the VQ-VAE's discrete latent space. The diffusion model is trained to generate intermediate music sequences consisting of codebook indexes, which are then decoded to symbolic music using the VQ-VAE's decoder. The results demonstrate our model can generate symbolic music with target composer styles that meet the given conditions with a high accuracy of 72.36%.

Dance requires skillful composition of complex movements that follow rhythmic, tonal and timbral features of music. Formally, generating dance conditioned on a piece of music can be expressed as a problem of modelling a high-dimensional continuous motion signal, conditioned on an audio signal. In this work we make two contributions to tackle this problem. First, we present a novel probabilistic autoregressive architecture that models the distribution over future poses with a normalizing flow conditioned on previous poses as well as music context, using a multimodal transformer encoder. Second, we introduce the currently largest 3D dance-motion dataset, obtained with a variety of motion-capture technologies, and including both professional and casual dancers. Using this dataset, we compare our new model against two baselines, via objective metrics and a user study, and show that both the ability to model a probability distribution, as well as being able to attend over a large motion and music context are necessary to produce interesting, diverse, and realistic dance that matches the music.

While most music generation models use textual or parametric conditioning (e.g. tempo, harmony, musical genre), we propose to condition a language model based music generation system with audio input. Our exploration involves two distinct strategies. The first strategy, termed textual inversion, leverages a pre-trained text-to-music model to map audio input to corresponding "pseudowords" in the textual embedding space. For the second model we train a music language model from scratch jointly with a text conditioner and a quantized audio feature extractor. At inference time, we can mix textual and audio conditioning and balance them thanks to a novel double classifier free guidance method. We conduct automatic and human studies that validates our approach. We will release the code and we provide music samples on https://musicgenstyle.github.io in order to show the quality of our model.

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.

Diffusion models have been widely adopted in image and video generation. However, their complex network architecture leads to high inference overhead for its generation process. Existing diffusion quantization methods primarily focus on the quantization of the model structure while ignoring the impact of time-steps variation during sampling. At the same time, most current approaches fail to account for significant activations that cannot be eliminated, resulting in substantial performance degradation after quantization. To address these issues, we propose Time-Rotation Diffusion Quantization (TR-DQ), a novel quantization method incorporating time-step and rotation-based optimization. TR-DQ first divides the sampling process based on time-steps and applies a rotation matrix to smooth activations and weights dynamically. For different time-steps, a dedicated hyperparameter is introduced for adaptive timing modeling, which enables dynamic quantization across different time steps. Additionally, we also explore the compression potential of Classifier-Free Guidance (CFG-wise) to establish a foundation for subsequent work. TR-DQ achieves state-of-the-art (SOTA) performance on image generation and video generation tasks and a 1.38-1.89x speedup and 1.97-2.58x memory reduction in inference compared to existing quantization methods.

Despite significant advancements in human motion generation, current motion representations, typically formulated as discrete frame sequences, still face two critical limitations: (i) they fail to capture motion from a multi-scale perspective, limiting the capability in complex patterns modeling; (ii) they lack compositional flexibility, which is crucial for model's generalization in diverse generation tasks. To address these challenges, we introduce MSQ, a novel quantization method that compresses the motion sequence into multi-scale discrete tokens across spatial and temporal dimensions. MSQ employs distinct encoders to capture body parts at varying spatial granularities and temporally interpolates the encoded features into multiple scales before quantizing them into discrete tokens. Building on this representation, we establish a generative mask modeling model to effectively support motion editing, motion control, and conditional motion generation. Through quantitative and qualitative analysis, we show that our quantization method enables the seamless composition of motion tokens without requiring specialized design or re-training. Furthermore, extensive evaluations demonstrate that our approach outperforms existing baseline methods on various benchmarks.

Although audio-visual representation has been proved to be applicable in many downstream tasks, the representation of dancing videos, which is more specific and always accompanied by music with complex auditory contents, remains challenging and uninvestigated. Considering the intrinsic alignment between the cadent movement of dancer and music rhythm, we introduce MuDaR, a novel Music-Dance Representation learning framework to perform the synchronization of music and dance rhythms both in explicit and implicit ways. Specifically, we derive the dance rhythms based on visual appearance and motion cues inspired by the music rhythm analysis. Then the visual rhythms are temporally aligned with the music counterparts, which are extracted by the amplitude of sound intensity. Meanwhile, we exploit the implicit coherence of rhythms implied in audio and visual streams by contrastive learning. The model learns the joint embedding by predicting the temporal consistency between audio-visual pairs. The music-dance representation, together with the capability of detecting audio and visual rhythms, can further be applied to three downstream tasks: (a) dance classification, (b) music-dance retrieval, and (c) music-dance retargeting. Extensive experiments demonstrate that our proposed framework outperforms other self-supervised methods by a large margin.

Quantization emerges as one of the most promising compression technologies for deploying efficient large models for various real time application in recent years. Considering that the storage and IO of weights take up the vast majority of the overhead inside a large model, weight only quantization can lead to large gains. However, existing quantization schemes suffer from significant accuracy degradation at very low bits, or require some additional computational overhead when deployed, making it difficult to be applied to large-scale applications in industry. In this paper, we propose decoupleQ, achieving a substantial increase in model accuracy, especially at very low bits. decoupleQ abandons the traditional heuristic quantization paradigm and decouples the model parameters into integer and floating-point parts, thus transforming the quantization problem into a traditional mathematical optimization problem with constraints, which is then solved alternatively by off-the-shelf optimization methods. Quantization via decoupleQ is linear and uniform, making it hardware-friendlier than non-uniform counterpart, and enabling the idea to be migrated to high-bit quantization to enhance its robustness. Our method has achieved well on-line accuracy near fp16/bf16 on the 2-bit quantization of large speech models in ByteDance. The code is available at https://github.com/bytedance/decoupleQ

Denoising diffusion (score-based) generative models have recently achieved significant accomplishments in generating realistic and diverse data. These approaches define a forward diffusion process for transforming data into noise and a backward denoising process for sampling data from noise. Unfortunately, the generation process of current denoising diffusion models is notoriously slow due to the lengthy iterative noise estimations, which rely on cumbersome neural networks. It prevents the diffusion models from being widely deployed, especially on edge devices. Previous works accelerate the generation process of diffusion model (DM) via finding shorter yet effective sampling trajectories. However, they overlook the cost of noise estimation with a heavy network in every iteration. In this work, we accelerate generation from the perspective of compressing the noise estimation network. Due to the difficulty of retraining DMs, we exclude mainstream training-aware compression paradigms and introduce post-training quantization (PTQ) into DM acceleration. However, the output distributions of noise estimation networks change with time-step, making previous PTQ methods fail in DMs since they are designed for single-time step scenarios. To devise a DM-specific PTQ method, we explore PTQ on DM in three aspects: quantized operations, calibration dataset, and calibration metric. We summarize and use several observations derived from all-inclusive investigations to formulate our method, which especially targets the unique multi-time-step structure of DMs. Experimentally, our method can directly quantize full-precision DMs into 8-bit models while maintaining or even improving their performance in a training-free manner. Importantly, our method can serve as a plug-and-play module on other fast-sampling methods, e.g., DDIM. The code is available at https://github.com/42Shawn/PTQ4DM .

In this paper we propose a novel generative approach, DiffRoll, to tackle automatic music transcription (AMT). Instead of treating AMT as a discriminative task in which the model is trained to convert spectrograms into piano rolls, we think of it as a conditional generative task where we train our model to generate realistic looking piano rolls from pure Gaussian noise conditioned on spectrograms. This new AMT formulation enables DiffRoll to transcribe, generate and even inpaint music. Due to the classifier-free nature, DiffRoll is also able to be trained on unpaired datasets where only piano rolls are available. Our experiments show that DiffRoll outperforms its discriminative counterpart by 19 percentage points (ppt.) and our ablation studies also indicate that it outperforms similar existing methods by 4.8 ppt. Source code and demonstration are available https://sony.github.io/DiffRoll/.

Music is characterized by complex hierarchical structures. Developing a comprehensive model to capture these structures has been a significant challenge in the field of Music Information Retrieval (MIR). Prior research has mainly focused on addressing individual tasks for specific hierarchical levels, rather than providing a unified approach. In this paper, we introduce a versatile, all-in-one model that jointly performs beat and downbeat tracking as well as functional structure segmentation and labeling. The model leverages source-separated spectrograms as inputs and employs dilated neighborhood attentions to capture temporal long-term dependencies, along with non-dilated attentions for local instrumental dependencies. Consequently, the proposed model achieves state-of-the-art performance in all four tasks on the Harmonix Set while maintaining a relatively lower number of parameters compared to recent state-of-the-art models. Furthermore, our ablation study demonstrates that the concurrent learning of beats, downbeats, and segments can lead to enhanced performance, with each task mutually benefiting from the others.

To adopt convolutional neural networks (CNN) for a range of resource-constrained targets, it is necessary to compress the CNN models by performing quantization, whereby precision representation is converted to a lower bit representation. To overcome problems such as sensitivity of the training dataset, high computational requirements, and large time consumption, post-training quantization methods that do not require retraining have been proposed. In addition, to compensate for the accuracy drop without retraining, previous studies on post-training quantization have proposed several complementary methods: calibration, schemes, clipping, granularity, and mixed-precision. To generate a quantized model with minimal error, it is necessary to study all possible combinations of the methods because each of them is complementary and the CNN models have different characteristics. However, an exhaustive or a heuristic search is either too time-consuming or suboptimal. To overcome this challenge, we propose an auto-tuner known as Quantune, which builds a gradient tree boosting model to accelerate the search for the configurations of quantization and reduce the quantization error. We evaluate and compare Quantune with the random, grid, and genetic algorithms. The experimental results show that Quantune reduces the search time for quantization by approximately 36.5x with an accuracy loss of 0.07 ~ 0.65% across six CNN models, including the fragile ones (MobileNet, SqueezeNet, and ShuffleNet). To support multiple targets and adopt continuously evolving quantization works, Quantune is implemented on a full-fledged compiler for deep learning as an open-sourced project.

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.

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.

Dance is an important human art form, but creating new dances can be difficult and time-consuming. In this work, we introduce Editable Dance GEneration (EDGE), a state-of-the-art method for editable dance generation that is capable of creating realistic, physically-plausible dances while remaining faithful to the input music. EDGE uses a transformer-based diffusion model paired with Jukebox, a strong music feature extractor, and confers powerful editing capabilities well-suited to dance, including joint-wise conditioning, and in-betweening. We introduce a new metric for physical plausibility, and evaluate dance quality generated by our method extensively through (1) multiple quantitative metrics on physical plausibility, beat alignment, and diversity benchmarks, and more importantly, (2) a large-scale user study, demonstrating a significant improvement over previous state-of-the-art methods. Qualitative samples from our model can be found at our website.

Generating high-quality full-body dance sequences from music is a challenging task as it requires strict adherence to genre-specific choreography. Moreover, the generated sequences must be both physically realistic and precisely synchronized with the beats and rhythm of the music. To overcome these challenges, we propose GCDance, a classifier-free diffusion framework for generating genre-specific dance motions conditioned on both music and textual prompts. Specifically, our approach extracts music features by combining high-level pre-trained music foundation model features with hand-crafted features for multi-granularity feature fusion. To achieve genre controllability, we leverage CLIP to efficiently embed genre-based textual prompt representations at each time step within our dance generation pipeline. Our GCDance framework can generate diverse dance styles from the same piece of music while ensuring coherence with the rhythm and melody of the music. Extensive experimental results obtained on the FineDance dataset demonstrate that GCDance significantly outperforms the existing state-of-the-art approaches, which also achieve competitive results on the AIST++ dataset. Our ablation and inference time analysis demonstrate that GCDance provides an effective solution for high-quality music-driven dance generation.

The field of automatic music composition has seen great progress in the last few years, much of which can be attributed to advances in deep neural networks. There are numerous studies that present different strategies for generating sheet music from scratch. The inclusion of high-level musical characteristics (e.g., perceived emotional qualities), however, as conditions for controlling the generation output remains a challenge. In this paper, we present a novel approach for calculating the valence (the positivity or negativity of the perceived emotion) of a chord progression within a lead sheet, using pre-defined mood tags proposed by music experts. Based on this approach, we propose a novel strategy for conditional lead sheet generation that allows us to steer the music generation in terms of valence, phrasing, and time signature. Our approach is similar to a Neural Machine Translation (NMT) problem, as we include high-level conditions in the encoder part of the sequence-to-sequence architectures used (i.e., long-short term memory networks, and a Transformer network). We conducted experiments to thoroughly analyze these two architectures. The results show that the proposed strategy is able to generate lead sheets in a controllable manner, resulting in distributions of musical attributes similar to those of the training dataset. We also verified through a subjective listening test that our approach is effective in controlling the valence of a generated chord progression.

Quantization has been widely used to compress and accelerate inference of large language models (LLMs). Existing methods focus on exploring the per-token dynamic calibration to ensure both inference acceleration and model accuracy under 4-bit quantization. However, in autoregressive generation inference of long sequences, the overhead of repeated dynamic quantization and dequantization steps becomes considerably expensive. In this work, we propose MergeQuant, an accurate and efficient per-channel static quantization framework. MergeQuant integrates the per-channel quantization steps with the corresponding scalings and linear mappings through a Quantization Step Migration (QSM) method, thereby eliminating the quantization overheads before and after matrix multiplication. Furthermore, in view of the significant differences between the different channel ranges, we propose dimensional reconstruction and adaptive clipping to address the non-uniformity of quantization scale factors and redistribute the channel variations to the subsequent modules to balance the parameter distribution under QSM. Within the static quantization setting of W4A4, MergeQuant reduces the accuracy gap on zero-shot tasks compared to FP16 baseline to 1.3 points on Llama-2-70B model. On Llama-2-7B model, MergeQuant achieves up to 1.77x speedup in decoding, and up to 2.06x speedup in end-to-end compared to FP16 baseline.

Diffusion and flow-matching models have revolutionized automatic text-to-audio generation in recent times. These models are increasingly capable of generating high quality and faithful audio outputs capturing to speech and acoustic events. However, there is still much room for improvement in creative audio generation that primarily involves music and songs. Recent open lyrics-to-song models, such as, DiffRhythm, ACE-Step, and LeVo, have set an acceptable standard in automatic song generation for recreational use. However, these models lack fine-grained word-level controllability often desired by musicians in their workflows. To the best of our knowledge, our flow-matching-based JAM is the first effort toward endowing word-level timing and duration control in song generation, allowing fine-grained vocal control. To enhance the quality of generated songs to better align with human preferences, we implement aesthetic alignment through Direct Preference Optimization, which iteratively refines the model using a synthetic dataset, eliminating the need or manual data annotations. Furthermore, we aim to standardize the evaluation of such lyrics-to-song models through our public evaluation dataset JAME. We show that JAM outperforms the existing models in terms of the music-specific attributes.

Large Language Models (LLMs) face significant deployment challenges due to their substantial memory requirements and the computational demands of auto-regressive text generation process. This paper addresses these challenges by focusing on the quantization of LLMs, a technique that reduces memory consumption by converting model parameters and activations into low-bit integers. We critically analyze the existing quantization approaches, identifying their limitations in balancing the accuracy and efficiency of the quantized LLMs. To advance beyond these limitations, we propose WKVQuant, a PTQ framework especially designed for quantizing weights and the key/value (KV) cache of LLMs. Specifically, we incorporates past-only quantization to improve the computation of attention. Additionally, we introduce two-dimensional quantization strategy to handle the distribution of KV cache, along with a cross-block reconstruction regularization for parameter optimization. Experiments show that WKVQuant achieves almost comparable memory savings to weight-activation quantization, while also approaching the performance of weight-only quantization.

High-level musical qualities (such as emotion) are often abstract, subjective, and hard to quantify. Given these difficulties, it is not easy to learn good feature representations with supervised learning techniques, either because of the insufficiency of labels, or the subjectiveness (and hence large variance) in human-annotated labels. In this paper, we present a framework that can learn high-level feature representations with a limited amount of data, by first modelling their corresponding quantifiable low-level attributes. We refer to our proposed framework as Music FaderNets, which is inspired by the fact that low-level attributes can be continuously manipulated by separate "sliding faders" through feature disentanglement and latent regularization techniques. High-level features are then inferred from the low-level representations through semi-supervised clustering using Gaussian Mixture Variational Autoencoders (GM-VAEs). Using arousal as an example of a high-level feature, we show that the "faders" of our model are disentangled and change linearly w.r.t. the modelled low-level attributes of the generated output music. Furthermore, we demonstrate that the model successfully learns the intrinsic relationship between arousal and its corresponding low-level attributes (rhythm and note density), with only 1% of the training set being labelled. Finally, using the learnt high-level feature representations, we explore the application of our framework in style transfer tasks across different arousal states. The effectiveness of this approach is verified through a subjective listening test.

Synthesizing human's movements such as dancing is a flourishing research field which has several applications in computer graphics. Recent studies have demonstrated the advantages of deep neural networks (DNNs) for achieving remarkable performance in motion and music tasks with little effort for feature pre-processing. However, applying DNNs for generating dance to a piece of music is nevertheless challenging, because of 1) DNNs need to generate large sequences while mapping the music input, 2) the DNN needs to constraint the motion beat to the music, and 3) DNNs require a considerable amount of hand-crafted data. In this study, we propose a weakly supervised deep recurrent method for real-time basic dance generation with audio power spectrum as input. The proposed model employs convolutional layers and a multilayered Long Short-Term memory (LSTM) to process the audio input. Then, another deep LSTM layer decodes the target dance sequence. Notably, this end-to-end approach has 1) an auto-conditioned decode configuration that reduces accumulation of feedback error of large dance sequence, 2) uses a contrastive cost function to regulate the mapping between the music and motion beat, and 3) trains with weak labels generated from the motion beat, reducing the amount of hand-crafted data. We evaluate the proposed network based on i) the similarities between generated and the baseline dancer motion with a cross entropy measure for large dance sequences, and ii) accurate timing between the music and motion beat with an F-measure. Experimental results revealed that, after training using a small dataset, the model generates basic dance steps with low cross entropy and maintains an F-measure score similar to that of a baseline dancer.

Several recent end-to-end text-to-speech (TTS) models enabling single-stage training and parallel sampling have been proposed, but their sample quality does not match that of two-stage TTS systems. In this work, we present a parallel end-to-end TTS method that generates more natural sounding audio than current two-stage models. Our method adopts variational inference augmented with normalizing flows and an adversarial training process, which improves the expressive power of generative modeling. We also propose a stochastic duration predictor to synthesize speech with diverse rhythms from input text. With the uncertainty modeling over latent variables and the stochastic duration predictor, our method expresses the natural one-to-many relationship in which a text input can be spoken in multiple ways with different pitches and rhythms. A subjective human evaluation (mean opinion score, or MOS) on the LJ Speech, a single speaker dataset, shows that our method outperforms the best publicly available TTS systems and achieves a MOS comparable to ground truth.

Large language models (LLMs) deliver strong performance, but their high compute and memory costs make deployment difficult in resource-constrained scenarios. Weight-only post-training quantization (PTQ) is appealing, as it reduces memory usage and enables practical speedup without low-bit operators or specialized hardware. However, accuracy often degrades significantly in weight-only PTQ at sub-4-bit precision, and our analysis identifies two main causes: (1) down-projection matrices are a well-known quantization bottleneck, but maintaining their fidelity often requires extra bit-width; (2) weight quantization induces activation deviations, but effective correction strategies remain underexplored. To address these issues, we propose D^2Quant, a novel weight-only PTQ framework that improves quantization from both the weight and activation perspectives. On the weight side, we design a Dual-Scale Quantizer (DSQ) tailored to down-projection matrices, with an absorbable scaling factor that significantly improves accuracy without increasing the bit budget. On the activation side, we propose Deviation-Aware Correction (DAC), which incorporates a mean-shift correction within LayerNorm to mitigate quantization-induced activation distribution shifts. Extensive experiments across multiple LLM families and evaluation metrics show that D^2Quant delivers superior performance for weight-only PTQ at sub-4-bit precision. The code and models will be available at https://github.com/XIANGLONGYAN/D2Quant.

Music foundation models possess impressive music generation capabilities. When people compose music, they may infuse their understanding of music into their work, by using notes and intervals to craft melodies, chords to build progressions, and tempo to create a rhythmic feel. To what extent is this true of music generation models? More specifically, are fundamental Western music theory concepts observable within the "inner workings" of these models? Recent work proposed leveraging latent audio representations from music generation models towards music information retrieval tasks (e.g. genre classification, emotion recognition), which suggests that high-level musical characteristics are encoded within these models. However, probing individual music theory concepts (e.g. tempo, pitch class, chord quality) remains under-explored. Thus, we introduce SynTheory, a synthetic MIDI and audio music theory dataset, consisting of tempos, time signatures, notes, intervals, scales, chords, and chord progressions concepts. We then propose a framework to probe for these music theory concepts in music foundation models (Jukebox and MusicGen) and assess how strongly they encode these concepts within their internal representations. Our findings suggest that music theory concepts are discernible within foundation models and that the degree to which they are detectable varies by model size and layer.

Large Language Models (LLMs) suffer severe performance degradation when facing extremely low-bit (sub 2-bit) quantization. Several existing sub 2-bit post-training quantization (PTQ) methods utilize a mix-precision scheme by leveraging an unstructured fine-grained mask to explicitly distinguish salient weights, while which introduces an extra 1-bit or more per weight. To explore the real limit of PTQ, we propose an extremely low-bit PTQ method called PTQ1.61, which enables weight quantization to 1.61-bit for the first time. Specifically, we first introduce a one-dimensional structured mask with negligibly additional 0.0002-bit per weight based on input activations from the perspective of reducing the upper bound of quantization error to allocate corresponding salient weight channels to 4-bit. For non-salient channels binarization, an efficient block-wise scaling factors optimization framework is then presented to take implicit row-wise correlations and angular biases into account. Different from prior works that concentrate on adjusting quantization methodologies, we further propose a novel paradigm called quantization preprocessing, where we argue that transforming the weight distribution of the pretrained model before quantization can alleviate the difficulty in per-channel extremely low-bit PTQ. Extensive experiments indicate our PTQ1.61 achieves state-of-the-art performance in extremely low-bit quantization. Codes are available at https://github.com/zjq0455/PTQ1.61.

Language models have been effectively applied to modeling natural signals, such as images, video, speech, and audio. A crucial component of these models is the codec tokenizer, which compresses high-dimensional natural signals into lower-dimensional discrete tokens. In this paper, we introduce WavTokenizer, which offers several advantages over previous SOTA acoustic codec models in the audio domain: 1)extreme compression. By compressing the layers of quantizers and the temporal dimension of the discrete codec, one-second audio of 24kHz sampling rate requires only a single quantizer with 40 or 75 tokens. 2)improved subjective quality. Despite the reduced number of tokens, WavTokenizer achieves state-of-the-art reconstruction quality with outstanding UTMOS scores and inherently contains richer semantic information. Specifically, we achieve these results by designing a broader VQ space, extended contextual windows, and improved attention networks, as well as introducing a powerful multi-scale discriminator and an inverse Fourier transform structure. We conducted extensive reconstruction experiments in the domains of speech, audio, and music. WavTokenizer exhibited strong performance across various objective and subjective metrics compared to state-of-the-art models. We also tested semantic information, VQ utilization, and adaptability to generative models. Comprehensive ablation studies confirm the necessity of each module in WavTokenizer. The related code, demos, and pre-trained models are available at https://github.com/jishengpeng/WavTokenizer.

Automatic drum transcription (ADT) is traditionally formulated as a discriminative task to predict drum events from audio spectrograms. In this work, we redefine ADT as a conditional generative task and introduce Noise-to-Notes (N2N), a framework leveraging diffusion modeling to transform audio-conditioned Gaussian noise into drum events with associated velocities. This generative diffusion approach offers distinct advantages, including a flexible speed-accuracy trade-off and strong inpainting capabilities. However, the generation of binary onset and continuous velocity values presents a challenge for diffusion models, and to overcome this, we introduce an Annealed Pseudo-Huber loss to facilitate effective joint optimization. Finally, to augment low-level spectrogram features, we propose incorporating features extracted from music foundation models (MFMs), which capture high-level semantic information and enhance robustness to out-of-domain drum audio. Experimental results demonstrate that including MFM features significantly improves robustness and N2N establishes a new state-of-the-art performance across multiple ADT benchmarks.

Diffusion models have demonstrated remarkable capabilities in image synthesis and related generative tasks. Nevertheless, their practicality for low-latency real-world applications is constrained by substantial computational costs and latency issues. Quantization is a dominant way to compress and accelerate diffusion models, where post-training quantization (PTQ) and quantization-aware training (QAT) are two main approaches, each bearing its own properties. While PTQ exhibits efficiency in terms of both time and data usage, it may lead to diminished performance in low bit-width. On the other hand, QAT can alleviate performance degradation but comes with substantial demands on computational and data resources. To capitalize on the advantages while avoiding their respective drawbacks, we introduce a data-free and parameter-efficient fine-tuning framework for low-bit diffusion models, dubbed EfficientDM, to achieve QAT-level performance with PTQ-like efficiency. Specifically, we propose a quantization-aware variant of the low-rank adapter (QALoRA) that can be merged with model weights and jointly quantized to low bit-width. The fine-tuning process distills the denoising capabilities of the full-precision model into its quantized counterpart, eliminating the requirement for training data. We also introduce scale-aware optimization and employ temporal learned step-size quantization to further enhance performance. Extensive experimental results demonstrate that our method significantly outperforms previous PTQ-based diffusion models while maintaining similar time and data efficiency. Specifically, there is only a marginal 0.05 sFID increase when quantizing both weights and activations of LDM-4 to 4-bit on ImageNet 256x256. Compared to QAT-based methods, our EfficientDM also boasts a 16.2x faster quantization speed with comparable generation quality.

In this paper, we explore the application of Large Language Models (LLMs) to the pre-training of music. While the prevalent use of MIDI in music modeling is well-established, our findings suggest that LLMs are inherently more compatible with ABC Notation, which aligns more closely with their design and strengths, thereby enhancing the model's performance in musical composition. To address the challenges associated with misaligned measures from different tracks during generation, we propose the development of a Synchronized Multi-Track ABC Notation (SMT-ABC Notation), which aims to preserve coherence across multiple musical tracks. Our contributions include a series of models capable of handling up to 8192 tokens, covering 90\% of the symbolic music data in our training set. Furthermore, we explore the implications of the Symbolic Music Scaling Law (SMS Law) on model performance. The results indicate a promising direction for future research in music generation, offering extensive resources for community-led research through our open-source contributions.

We investigate the problem of modeling symbolic sequences of polyphonic music in a completely general piano-roll representation. We introduce a probabilistic model based on distribution estimators conditioned on a recurrent neural network that is able to discover temporal dependencies in high-dimensional sequences. Our approach outperforms many traditional models of polyphonic music on a variety of realistic datasets. We show how our musical language model can serve as a symbolic prior to improve the accuracy of polyphonic transcription.

This paper presents the Jazz Transformer, a generative model that utilizes a neural sequence model called the Transformer-XL for modeling lead sheets of Jazz music. Moreover, the model endeavors to incorporate structural events present in the Weimar Jazz Database (WJazzD) for inducing structures in the generated music. While we are able to reduce the training loss to a low value, our listening test suggests however a clear gap between the average ratings of the generated and real compositions. We therefore go one step further and conduct a series of computational analysis of the generated compositions from different perspectives. This includes analyzing the statistics of the pitch class, grooving, and chord progression, assessing the structureness of the music with the help of the fitness scape plot, and evaluating the model's understanding of Jazz music through a MIREX-like continuation prediction task. Our work presents in an analytical manner why machine-generated music to date still falls short of the artwork of humanity, and sets some goals for future work on automatic composition to further pursue.

Spiking Neural Networks (SNNs) as one of the biology-inspired models have received much attention recently. It can significantly reduce energy consumption since they quantize the real-valued membrane potentials to 0/1 spikes to transmit information thus the multiplications of activations and weights can be replaced by additions when implemented on hardware. However, this quantization mechanism will inevitably introduce quantization error, thus causing catastrophic information loss. To address the quantization error problem, we propose a regularizing membrane potential loss (RMP-Loss) to adjust the distribution which is directly related to quantization error to a range close to the spikes. Our method is extremely simple to implement and straightforward to train an SNN. Furthermore, it is shown to consistently outperform previous state-of-the-art methods over different network architectures and datasets.

Recent advances in Automatic Speech Recognition (ASR) have demonstrated remarkable accuracy and robustness in diverse audio applications, such as live transcription and voice command processing. However, deploying these models on resource constrained edge devices (e.g., IoT device, wearables) still presents substantial challenges due to strict limits on memory, compute and power. Quantization, particularly Post-Training Quantization (PTQ), offers an effective way to reduce model size and inference cost without retraining. Despite its importance, the performance implications of various advanced quantization methods and bit-width configurations on ASR models remain unclear. In this work, we present a comprehensive benchmark of eight state-of-the-art (SOTA) PTQ methods applied to two leading edge-ASR model families, Whisper and Moonshine. We systematically evaluate model performances (i.e., accuracy, memory I/O and bit operations) across seven diverse datasets from the open ASR leaderboard, analyzing the impact of quantization and various configurations on both weights and activations. Built on an extension of the LLM compression toolkit, our framework integrates edge-ASR models, diverse advanced quantization algorithms, a unified calibration and evaluation data pipeline, and detailed analysis tools. Our results characterize the trade-offs between efficiency and accuracy, demonstrating that even 3-bit quantization can succeed on high capacity models when using advanced PTQ techniques. These findings provide valuable insights for optimizing ASR models on low-power, always-on edge devices.

Dance, as an art form, fundamentally hinges on the precise synchronization with musical beats. However, achieving aesthetically pleasing dance sequences from music is challenging, with existing methods often falling short in controllability and beat alignment. To address these shortcomings, this paper introduces Beat-It, a novel framework for beat-specific, key pose-guided dance generation. Unlike prior approaches, Beat-It uniquely integrates explicit beat awareness and key pose guidance, effectively resolving two main issues: the misalignment of generated dance motions with musical beats, and the inability to map key poses to specific beats, critical for practical choreography. Our approach disentangles beat conditions from music using a nearest beat distance representation and employs a hierarchical multi-condition fusion mechanism. This mechanism seamlessly integrates key poses, beats, and music features, mitigating condition conflicts and offering rich, multi-conditioned guidance for dance generation. Additionally, a specially designed beat alignment loss ensures the generated dance movements remain in sync with the designated beats. Extensive experiments confirm Beat-It's superiority over existing state-of-the-art methods in terms of beat alignment and motion controllability.

A great number of deep learning based models have been recently proposed for automatic music composition. Among these models, the Transformer stands out as a prominent approach for generating expressive classical piano performance with a coherent structure of up to one minute. The model is powerful in that it learns abstractions of data on its own, without much human-imposed domain knowledge or constraints. In contrast with this general approach, this paper shows that Transformers can do even better for music modeling, when we improve the way a musical score is converted into the data fed to a Transformer model. In particular, we seek to impose a metrical structure in the input data, so that Transformers can be more easily aware of the beat-bar-phrase hierarchical structure in music. The new data representation maintains the flexibility of local tempo changes, and provides hurdles to control the rhythmic and harmonic structure of music. With this approach, we build a Pop Music Transformer that composes Pop piano music with better rhythmic structure than existing Transformer models.

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 present a framework for learning to generate background music from video inputs. Unlike existing works that rely on symbolic musical annotations, which are limited in quantity and diversity, our method leverages large-scale web videos accompanied by background music. This enables our model to learn to generate realistic and diverse music. To accomplish this goal, we develop a generative video-music Transformer with a novel semantic video-music alignment scheme. Our model uses a joint autoregressive and contrastive learning objective, which encourages the generation of music aligned with high-level video content. We also introduce a novel video-beat alignment scheme to match the generated music beats with the low-level motions in the video. Lastly, to capture fine-grained visual cues in a video needed for realistic background music generation, we introduce a new temporal video encoder architecture, allowing us to efficiently process videos consisting of many densely sampled frames. We train our framework on our newly curated DISCO-MV dataset, consisting of 2.2M video-music samples, which is orders of magnitude larger than any prior datasets used for video music generation. Our method outperforms existing approaches on the DISCO-MV and MusicCaps datasets according to various music generation evaluation metrics, including human evaluation. Results are available at https://genjib.github.io/project_page/VMAs/index.html

This paper presents a comprehensive analysis of quantization techniques for optimizing Large Language Models (LLMs), specifically focusing on Post-Training Quantization (PTQ) and Quantization-Aware Training (QAT). Through empirical evaluation across models ranging from 10M to 1B parameters, we demonstrate that quantization can achieve up to 68% reduction in model size while maintaining performance within 6% of full-precision baselines when utilizing our proposed scaling factor {\gamma}. Our experiments show that INT8 quantization delivers a 40% reduction in computational cost and power consumption, while INT4 quantization further improves these metrics by 60%. We introduce a novel theoretical framework for mixed-precision quantization, deriving optimal bit allocation strategies based on layer sensitivity and weight variance. Hardware efficiency evaluations on edge devices reveal that our quantization approach enables up to 2.4x throughput improvement for INT8 and 3x for INT4, with 60% power reduction compared to full-precision models.

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.

Quantization is a promising solution for deploying large-scale language models (LLMs) on resource-constrained devices. Existing quantization approaches, however, rely on gradient-based optimization, regardless of it being post-training quantization (PTQ) or quantization-aware training (QAT), which becomes problematic for hyper-scale LLMs with billions of parameters. This overhead can be alleviated via recently proposed backpropagation-free PTQ methods; however, their performance is somewhat limited by their lack of consideration of inter-layer dependencies. In this paper, we thus propose a novel PTQ algorithm that considers inter-layer dependencies without relying on backpropagation. The fundamental concept involved is the development of attention-aware Hessian matrices, which facilitates the consideration of inter-layer dependencies within the attention module. Extensive experiments demonstrate that the proposed algorithm significantly outperforms conventional PTQ methods, particularly for low bit-widths.

While recent generative models can produce engaging music, their utility is limited. The variation in the music is often left to chance, resulting in compositions that lack structure. Pieces extending beyond a minute can become incoherent or repetitive. This paper introduces an approach for generating structured, arbitrarily long musical pieces. Central to this approach is the creation of musical segments using a conditional generative model, with transitions between these segments. The generation of prompts that determine the high-level composition is distinct from the creation of finer, lower-level details. A large language model is then used to suggest the musical form.

We present SongComposer, an innovative LLM designed for song composition. It could understand and generate melodies and lyrics in symbolic song representations, by leveraging the capability of LLM. Existing music-related LLM treated the music as quantized audio signals, while such implicit encoding leads to inefficient encoding and poor flexibility. In contrast, we resort to symbolic song representation, the mature and efficient way humans designed for music, and enable LLM to explicitly compose songs like humans. In practice, we design a novel tuple design to format lyric and three note attributes (pitch, duration, and rest duration) in the melody, which guarantees the correct LLM understanding of musical symbols and realizes precise alignment between lyrics and melody. To impart basic music understanding to LLM, we carefully collected SongCompose-PT, a large-scale song pretraining dataset that includes lyrics, melodies, and paired lyrics-melodies in either Chinese or English. After adequate pre-training, 10K carefully crafted QA pairs are used to empower the LLM with the instruction-following capability and solve diverse tasks. With extensive experiments, SongComposer demonstrates superior performance in lyric-to-melody generation, melody-to-lyric generation, song continuation, and text-to-song creation, outperforming advanced LLMs like GPT-4.

Deep neural network (DNN) deployment has been confined to larger hardware devices due to their expensive computational requirements. This challenge has recently reached another scale with the emergence of large language models (LLMs). In order to reduce both their memory footprint and latency, a promising technique is quantization. It consists in converting floating point representations to low bit-width fixed point representations, usually by assuming a uniform mapping onto a regular grid. This process, referred to in the literature as uniform quantization, may however be ill-suited as most DNN weights and activations follow a bell-shaped distribution. This is even worse on LLMs whose weight distributions are known to exhibit large, high impact, outlier values. In this work, we propose an improvement over the most commonly adopted way to tackle this limitation in deep learning models quantization, namely, non-uniform quantization. NUPES leverages automorphisms to preserve the scalar multiplications. Such transformations are derived from power functions. However, the optimization of the exponent parameter and weight values remains a challenging and novel problem which could not be solved with previous post training optimization techniques which only learn to round up or down weight values in order to preserve the predictive function. We circumvent this limitation with a new paradigm: learning new quantized weights over the entire quantized space. Similarly, we enable the optimization of the power exponent, i.e. the optimization of the quantization operator itself during training by alleviating all the numerical instabilities. The resulting predictive function is compatible with integer-only low-bit inference. We show the ability of the method to achieve state-of-the-art compression rates in both, data-free and data-driven configurations.

Model quantization reduces neural network parameter precision to achieve compression, but often compromises accuracy. Existing post-training quantization (PTQ) methods employ iterative parameter updates to preserve accuracy under high compression ratios, incurring significant computational complexity and resource overhead, which limits applicability in resource-constrained edge computing and real-time inference scenarios. This paper proposes an efficient PTQ method guided by parameter sensitivity analysis. The approach prioritizes quantization of high-sensitivity parameters, leveraging unquantized low-sensitivity parameters to compensate for quantization errors, thereby mitigating accuracy degradation. Furthermore, by exploiting column-wise clustering of parameter sensitivity, the method introduces a row-parallel quantization framework with a globally shared inverse Hessian matrix update mechanism, reducing computational complexity by an order of magnitude. Experimental results on ResNet-50 and YOLOv5s demonstrate a 20-200-fold quantization speedup over the Optimal Brain Quantization baseline, with mean accuracy loss below 0.3%, confirming the method's efficacy in balancing efficiency and accuracy.

Recent advancements in machine learning achieved by Deep Neural Networks (DNNs) have been significant. While demonstrating high accuracy, DNNs are associated with a huge number of parameters and computations, which leads to high memory usage and energy consumption. As a result, deploying DNNs on devices with constrained hardware resources poses significant challenges. To overcome this, various compression techniques have been widely employed to optimize DNN accelerators. A promising approach is quantization, in which the full-precision values are stored in low bit-width precision. Quantization not only reduces memory requirements but also replaces high-cost operations with low-cost ones. DNN quantization offers flexibility and efficiency in hardware design, making it a widely adopted technique in various methods. Since quantization has been extensively utilized in previous works, there is a need for an integrated report that provides an understanding, analysis, and comparison of different quantization approaches. Consequently, we present a comprehensive survey of quantization concepts and methods, with a focus on image classification. We describe clustering-based quantization methods and explore the use of a scale factor parameter for approximating full-precision values. Moreover, we thoroughly review the training of a quantized DNN, including the use of a straight-through estimator and quantization regularization. We explain the replacement of floating-point operations with low-cost bitwise operations in a quantized DNN and the sensitivity of different layers in quantization. Furthermore, we highlight the evaluation metrics for quantization methods and important benchmarks in the image classification task. We also present the accuracy of the state-of-the-art methods on CIFAR-10 and ImageNet.

Autoregressive (AR) models have demonstrated impressive capabilities in generating high-fidelity music. However, the conventional next-token prediction paradigm in AR models does not align with the human creative process in music composition, potentially compromising the musicality of generated samples. To overcome this limitation, we introduce MusiCoT, a novel chain-of-thought (CoT) prompting technique tailored for music generation. MusiCoT empowers the AR model to first outline an overall music structure before generating audio tokens, thereby enhancing the coherence and creativity of the resulting compositions. By leveraging the contrastive language-audio pretraining (CLAP) model, we establish a chain of "musical thoughts", making MusiCoT scalable and independent of human-labeled data, in contrast to conventional CoT methods. Moreover, MusiCoT allows for in-depth analysis of music structure, such as instrumental arrangements, and supports music referencing -- accepting variable-length audio inputs as optional style references. This innovative approach effectively addresses copying issues, positioning MusiCoT as a vital practical method for music prompting. Our experimental results indicate that MusiCoT consistently achieves superior performance across both objective and subjective metrics, producing music quality that rivals state-of-the-art generation models. Our samples are available at https://MusiCoT.github.io/.

Singing Accompaniment Generation (SAG) is the process of generating instrumental music for a given clean vocal input. However, existing SAG techniques use source-separated vocals as input and overfit to separation artifacts. This creates a critical train-test mismatch, leading to failure on clean, real-world vocal inputs. We introduce AnyAccomp, a framework that resolves this by decoupling accompaniment generation from source-dependent artifacts. AnyAccomp first employs a quantized melodic bottleneck, using a chromagram and a VQ-VAE to extract a discrete and timbre-invariant representation of the core melody. A subsequent flow-matching model then generates the accompaniment conditioned on these robust codes. Experiments show AnyAccomp achieves competitive performance on separated-vocal benchmarks while significantly outperforming baselines on generalization test sets of clean studio vocals and, notably, solo instrumental tracks. This demonstrates a qualitative leap in generalization, enabling robust accompaniment for instruments - a task where existing models completely fail - and paving the way for more versatile music co-creation tools. Demo audio and code: https://anyaccomp.github.io

The Diffusion model, a prevalent framework for image generation, encounters significant challenges in terms of broad applicability due to its extended inference times and substantial memory requirements. Efficient Post-training Quantization (PTQ) is pivotal for addressing these issues in traditional models. Different from traditional models, diffusion models heavily depend on the time-step t to achieve satisfactory multi-round denoising. Usually, t from the finite set {1, ldots, T} is encoded to a temporal feature by a few modules totally irrespective of the sampling data. However, existing PTQ methods do not optimize these modules separately. They adopt inappropriate reconstruction targets and complex calibration methods, resulting in a severe disturbance of the temporal feature and denoising trajectory, as well as a low compression efficiency. To solve these, we propose a Temporal Feature Maintenance Quantization (TFMQ) framework building upon a Temporal Information Block which is just related to the time-step t and unrelated to the sampling data. Powered by the pioneering block design, we devise temporal information aware reconstruction (TIAR) and finite set calibration (FSC) to align the full-precision temporal features in a limited time. Equipped with the framework, we can maintain the most temporal information and ensure the end-to-end generation quality. Extensive experiments on various datasets and diffusion models prove our state-of-the-art results. Remarkably, our quantization approach, for the first time, achieves model performance nearly on par with the full-precision model under 4-bit weight quantization. Additionally, our method incurs almost no extra computational cost and accelerates quantization time by 2.0 times on LSUN-Bedrooms 256 times 256 compared to previous works.

Music generation has attracted growing interest with the advancement of deep generative models. However, generating music conditioned on textual descriptions, known as text-to-music, remains challenging due to the complexity of musical structures and high sampling rate requirements. Despite the task's significance, prevailing generative models exhibit limitations in music quality, computational efficiency, and generalization. This paper introduces JEN-1, a universal high-fidelity model for text-to-music generation. JEN-1 is a diffusion model incorporating both autoregressive and non-autoregressive training. Through in-context learning, JEN-1 performs various generation tasks including text-guided music generation, music inpainting, and continuation. Evaluations demonstrate JEN-1's superior performance over state-of-the-art methods in text-music alignment and music quality while maintaining computational efficiency. Our demos are available at http://futureverse.com/research/jen/demos/jen1

Quantized neural networks employ reduced precision representations for both weights and activations. This quantization process significantly reduces the memory requirements and computational complexity of the network. Binary Neural Networks (BNNs) are the extreme quantization case, representing values with just one bit. Since the sign function is typically used to map real values to binary values, smooth approximations are introduced to mimic the gradients during error backpropagation. Thus, the mismatch between the forward and backward models corrupts the direction of the gradient, causing training inconsistency problems and performance degradation. In contrast to current BNN approaches, we propose to employ a binary periodic (BiPer) function during binarization. Specifically, we use a square wave for the forward pass to obtain the binary values and employ the trigonometric sine function with the same period of the square wave as a differentiable surrogate during the backward pass. We demonstrate that this approach can control the quantization error by using the frequency of the periodic function and improves network performance. Extensive experiments validate the effectiveness of BiPer in benchmark datasets and network architectures, with improvements of up to 1% and 0.69% with respect to state-of-the-art methods in the classification task over CIFAR-10 and ImageNet, respectively. Our code is publicly available at https://github.com/edmav4/BiPer.

We introduce anticipation: a method for constructing a controllable generative model of a temporal point process (the event process) conditioned asynchronously on realizations of a second, correlated process (the control process). We achieve this by interleaving sequences of events and controls, such that controls appear following stopping times in the event sequence. This work is motivated by problems arising in the control of symbolic music generation. We focus on infilling control tasks, whereby the controls are a subset of the events themselves, and conditional generation completes a sequence of events given the fixed control events. We train anticipatory infilling models using the large and diverse Lakh MIDI music dataset. These models match the performance of autoregressive models for prompted music generation, with the additional capability to perform infilling control tasks, including accompaniment. Human evaluators report that an anticipatory model produces accompaniments with similar musicality to even music composed by humans over a 20-second clip.

Hindustani music is a performance-driven oral tradition that exhibits the rendition of rich melodic patterns. In this paper, we focus on generative modeling of singers' vocal melodies extracted from audio recordings, as the voice is musically prominent within the tradition. Prior generative work in Hindustani music models melodies as coarse discrete symbols which fails to capture the rich expressive melodic intricacies of singing. Thus, we propose to use a finely quantized pitch contour, as an intermediate representation for hierarchical audio modeling. We propose GaMaDHaNi, a modular two-level hierarchy, consisting of a generative model on pitch contours, and a pitch contour to audio synthesis model. We compare our approach to non-hierarchical audio models and hierarchical models that use a self-supervised intermediate representation, through a listening test and qualitative analysis. We also evaluate audio model's ability to faithfully represent the pitch contour input using Pearson correlation coefficient. By using pitch contours as an intermediate representation, we show that our model may be better equipped to listen and respond to musicians in a human-AI collaborative setting by highlighting two potential interaction use cases (1) primed generation, and (2) coarse pitch conditioning.

Diffusion transformers have demonstrated remarkable capabilities in generating videos. However, their practical deployment is severely constrained by high memory usage and computational cost. Post-Training Quantization provides a practical way to reduce memory usage and boost computation speed. Existing quantization methods typically apply a static bit-width allocation, overlooking the quantization difficulty of activations across diffusion timesteps, leading to a suboptimal trade-off between efficiency and quality. In this paper, we propose a inference time NVFP4/INT8 Mixed-Precision Quantization framework. We find a strong linear correlation between a block's input-output difference and the quantization sensitivity of its internal linear layers. Based on this insight, we design a lightweight predictor that dynamically allocates NVFP4 to temporally stable layers to maximize memory compression, while selectively preserving INT8 for volatile layers to ensure robustness. This adaptive precision strategy enables aggressive quantization without compromising generation quality. Beside this, we observe that the residual between the input and output of a Transformer block exhibits high temporal consistency across timesteps. Leveraging this temporal redundancy, we introduce Temporal Delta Cache (TDC) to skip computations for these invariant blocks, further reducing the computational cost. Extensive experiments demonstrate that our method achieves 1.92times end-to-end acceleration and 3.32times memory reduction, setting a new baseline for efficient inference in Video DiTs.

As the size of large language models (LLMs) continues to grow, model compression without sacrificing accuracy has become a crucial challenge for deployment. While some quantization methods, such as GPTQ, have made progress in achieving acceptable 4-bit weight-only quantization, attempts at lower bit quantization often result in severe performance degradation. In this paper, we introduce a technique called norm tweaking, which can be used as a plugin in current PTQ methods to achieve high precision while being cost-efficient. Our approach is inspired by the observation that rectifying the quantized activation distribution to match its float counterpart can readily restore accuracy for LLMs. To achieve this, we carefully design a tweaking strategy that includes calibration data generation and channel-wise distance constraint to update the weights of normalization layers for better generalization. We conduct extensive experiments on various datasets using several open-sourced LLMs. Our method demonstrates significant improvements in both weight-only quantization and joint quantization of weights and activations, surpassing existing PTQ methods. On GLM-130B and OPT-66B, our method even achieves the same level of accuracy at 2-bit quantization as their float ones. Our simple and effective approach makes it more practical for real-world applications.

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.

Post-training quantization (PTQ) has emerged as a widely adopted technique for compressing and accelerating Large Language Models (LLMs). The major challenge in LLM quantization is that uneven and heavy-tailed data distributions can expand the quantization range, thereby reducing bit precision for most values. Recent methods attempt to eliminate outliers and balance inter-channel differences by employing linear transformations; however, they remain heuristic and are often overlook optimizing the data distribution across the entire quantization space.In this paper, we introduce Quantization Space Utilization Rate (QSUR), a novel metric that effectively assesses the quantizability of transformed data by measuring the space utilization of the data in the quantization space. We complement QSUR with mathematical derivations that examine the effects and limitations of various transformations, guiding our development of Orthogonal and Scaling Transformation-based Quantization (OSTQuant). OSQuant employs a learnable equivalent transformation, consisting of an orthogonal transformation and a scaling transformation, to optimize the distributions of weights and activations across the entire quantization space. Futhermore, we propose the KL-Top loss function, designed to mitigate noise during optimization while retaining richer semantic information within the limited calibration data imposed by PTQ. OSTQuant outperforms existing work on various LLMs and benchmarks. In the W4-only setting, it retains 99.5\% of the floating-point accuracy. In the more challenging W4A4KV4 configuration, OSTQuant reduces the performance gap by 32\% on the LLaMA-3-8B model compared to state-of-the-art methods. https://github.com/BrotherHappy/OSTQuant{https://github.com/BrotherHappy/OSTQuant}.

Post-training quantization (PTQ) is a neural network compression technique that converts a full-precision model into a quantized model using lower-precision data types. Although it can help reduce the size and computational cost of deep neural networks, it can also introduce quantization noise and reduce prediction accuracy, especially in extremely low-bit settings. How to determine the appropriate quantization parameters (e.g., scaling factors and rounding of weights) is the main problem facing now. Existing methods attempt to determine these parameters by minimize the distance between features before and after quantization, but such an approach only considers local information and may not result in the most optimal quantization parameters. We analyze this issue and ropose PD-Quant, a method that addresses this limitation by considering global information. It determines the quantization parameters by using the information of differences between network prediction before and after quantization. In addition, PD-Quant can alleviate the overfitting problem in PTQ caused by the small number of calibration sets by adjusting the distribution of activations. Experiments show that PD-Quant leads to better quantization parameters and improves the prediction accuracy of quantized models, especially in low-bit settings. For example, PD-Quant pushes the accuracy of ResNet-18 up to 53.14% and RegNetX-600MF up to 40.67% in weight 2-bit activation 2-bit. The code is released at https://github.com/hustvl/PD-Quant.

Quantization is a practical technique for making large language models easier to deploy by reducing the precision used to store and operate on model weights. This can lower memory use and improve runtime feasibility on constrained hardware, which is especially relevant for users running models locally. Quantization in llama.cpp enables large language models to run on commodity hardware, but available formats are often evaluated inconsistently, making it hard to choose among schemes. We present a unified empirical study of the llama.cpp quantization on a single modern model, Llama-3.1-8B-Instruct (FP16, GGUF), covering 3-8 bit K-quant and legacy formats. We evaluate downstream task performance across standard reasoning, knowledge, instruction-following, and truthfulness benchmarks, and also measure perplexity and CPU throughput (prefill/decoding) alongside model size, compression, and quantization time. Ultimately, this work is a practical guide for choosing a llama.cpp quantization scheme, helping readers make informed, context-aware decisions for their intended use and resource budget.

Post-training quantization (PTQ) techniques applied to weights, activations, and the KV cache greatly reduce memory usage, latency, and power consumption of Large Language Models (LLMs), but may lead to large quantization errors when outliers are present. Recent findings suggest that rotating activation or weight matrices helps remove outliers and benefits quantization. In this work, we identify a collection of applicable rotation parameterizations that lead to identical outputs in full-precision Transformer architectures, and find that some random rotations lead to much better quantization than others, with an up to 13 points difference in downstream zero-shot reasoning performance. As a result, we propose SpinQuant that optimizes (or learns) the rotation matrices with Cayley optimization on a small validation set. With 4-bit quantization of weight, activation, and KV-cache, SpinQuant narrows the accuracy gap on zero-shot reasoning tasks with full precision to merely 2.9 points on the LLaMA-2 7B model, surpassing LLM-QAT by 19.1 points and SmoothQuant by 25.0 points. SpinQuant also outperforms concurrent work QuaRot, which applies random rotations to remove outliers. In particular, for LLaMA-2 7B/LLaMA-3 8B models that are hard to quantize, SpinQuant reduces the gap to full precision by 30.2%/34.1% relative to QuaRot.

We introduce Noise2Music, where a series of diffusion models is trained to generate high-quality 30-second music clips from text prompts. Two types of diffusion models, a generator model, which generates an intermediate representation conditioned on text, and a cascader model, which generates high-fidelity audio conditioned on the intermediate representation and possibly the text, are trained and utilized in succession to generate high-fidelity music. We explore two options for the intermediate representation, one using a spectrogram and the other using audio with lower fidelity. We find that the generated audio is not only able to faithfully reflect key elements of the text prompt such as genre, tempo, instruments, mood, and era, but goes beyond to ground fine-grained semantics of the prompt. Pretrained large language models play a key role in this story -- they are used to generate paired text for the audio of the training set and to extract embeddings of the text prompts ingested by the diffusion models. Generated examples: https://google-research.github.io/noise2music

We propose a novel task for generating 3D dance movements that simultaneously incorporate both text and music modalities. Unlike existing works that generate dance movements using a single modality such as music, our goal is to produce richer dance movements guided by the instructive information provided by the text. However, the lack of paired motion data with both music and text modalities limits the ability to generate dance movements that integrate both. To alleviate this challenge, we propose to utilize a 3D human motion VQ-VAE to project the motions of the two datasets into a latent space consisting of quantized vectors, which effectively mix the motion tokens from the two datasets with different distributions for training. Additionally, we propose a cross-modal transformer to integrate text instructions into motion generation architecture for generating 3D dance movements without degrading the performance of music-conditioned dance generation. To better evaluate the quality of the generated motion, we introduce two novel metrics, namely Motion Prediction Distance (MPD) and Freezing Score, to measure the coherence and freezing percentage of the generated motion. Extensive experiments show that our approach can generate realistic and coherent dance movements conditioned on both text and music while maintaining comparable performance with the two single modalities. Code will be available at: https://garfield-kh.github.io/TM2D/.

Large language models (LLMs) have numerous applications across various domains, but their high computational and memory demands pose significant deployment challenges. Weight quantization is an effective technique for reducing the decoding latency and memory requirements of LLMs. Existing approaches primarily aim to maintain the quality of quantized models by preserving outliers in input features, but they still suffer significant quality loss at lower bit widths. Our approach builds on Optimal Brain Quantization (OBQ), an iterative weight-update-based quantization framework. We identify a key limitation of OBQ, specifically that its uniform quantization grid is suboptimal for maintaining model quality, as it introduces large errors to the task loss. To address this, we propose LeanQuant, which learns a loss-error-aware quantization grid by leveraging the inverse diagonal Hessian. Extensive empirical evaluations demonstrate that LeanQuant is both efficient and accurate; it can quantize a 70-billion-parameter model in 6 hours using a single 32GB GPU and performs favorably compared to competitive baselines in the 4-bit, 3-bit, and 2-bit regions.

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.

Post-training quantization (PTQ) has driven attention to producing efficient large language models (LLMs) with ultra-low costs. Since hand-craft quantization parameters lead to low performance in low-bit quantization, recent methods optimize the quantization parameters through block-wise reconstruction between the floating-point and quantized models. However, these methods suffer from two challenges: accumulated errors from independent one-by-one block quantization and reconstruction difficulties from extreme weight and activation outliers. To address these two challenges, we propose CBQ, a cross-block reconstruction-based PTQ method for LLMs. To reduce error accumulation, we introduce a cross-block dependency with the aid of a homologous reconstruction scheme to build the long-range dependency between adjacent multi-blocks with overlapping. To reduce reconstruction difficulty, we design a coarse-to-fine pre-processing (CFP) to truncate weight outliers and dynamically scale activation outliers before optimization, and an adaptive rounding scheme, called LoRA-Rounding, with two low-rank learnable matrixes to further rectify weight quantization errors. Extensive experiments demonstrate that: (1) CBQ pushes both activation and weight quantization to low-bit settings W4A4, W4A8, and W2A16. (2) CBQ achieves better performance than the existing state-of-the-art methods on various LLMs and benchmark datasets.

Most existing neural-based text-to-speech methods rely on extensive datasets and face challenges under low-resource condition. In this paper, we introduce a novel semi-supervised text-to-speech synthesis model that learns from both paired and unpaired data to address this challenge. The key component of the proposed model is a dynamic quantized representation module, which is integrated into a sequential autoencoder. When given paired data, the module incorporates a trainable codebook that learns quantized representations under the supervision of the paired data. However, due to the limited paired data in low-resource scenario, these paired data are difficult to cover all phonemes. Then unpaired data is fed to expand the dynamic codebook by adding quantized representation vectors that are sufficiently distant from the existing ones during training. Experiments show that with less than 120 minutes of paired data, the proposed method outperforms existing methods in both subjective and objective metrics.

We propose LLM-FP4 for quantizing both weights and activations in large language models (LLMs) down to 4-bit floating-point values, in a post-training manner. Existing post-training quantization (PTQ) solutions are primarily integer-based and struggle with bit widths below 8 bits. Compared to integer quantization, floating-point (FP) quantization is more flexible and can better handle long-tail or bell-shaped distributions, and it has emerged as a default choice in many hardware platforms. One characteristic of FP quantization is that its performance largely depends on the choice of exponent bits and clipping range. In this regard, we construct a strong FP-PTQ baseline by searching for the optimal quantization parameters. Furthermore, we observe a high inter-channel variance and low intra-channel variance pattern in activation distributions, which adds activation quantization difficulty. We recognize this pattern to be consistent across a spectrum of transformer models designed for diverse tasks, such as LLMs, BERT, and Vision Transformer models. To tackle this, we propose per-channel activation quantization and show that these additional scaling factors can be reparameterized as exponential biases of weights, incurring a negligible cost. Our method, for the first time, can quantize both weights and activations in the LLaMA-13B to only 4-bit and achieves an average score of 63.1 on the common sense zero-shot reasoning tasks, which is only 5.8 lower than the full-precision model, significantly outperforming the previous state-of-the-art by 12.7 points. Code is available at: https://github.com/nbasyl/LLM-FP4.

Recent works on compression of large language models (LLM) using quantization considered reparameterizing the architecture such that weights are distributed on the sphere. This demonstratively improves the ability to quantize by increasing the mathematical notion of coherence, resulting in fewer weight outliers without affecting the network output. In this work, we aim to further exploit this spherical geometry of the weights when performing quantization by considering Pyramid Vector Quantization (PVQ) for large language models. Arranging points evenly on the sphere is notoriously difficult, especially in high dimensions, and in case approximate solutions exists, representing points explicitly in a codebook is typically not feasible due to its additional memory cost. Instead, PVQ uses a fixed integer lattice on the sphere by projecting points onto the 1-sphere, which allows for efficient encoding and decoding without requiring an explicit codebook in memory. To obtain a practical algorithm, we propose to combine PVQ with scale quantization for which we derive theoretically optimal quantizations, under empirically verified assumptions. Further, we extend pyramid vector quantization to use Hessian information to minimize quantization error under expected feature activations, instead of only relying on weight magnitudes. Experimentally, we achieves state-of-the-art quantization performance with pareto-optimal trade-off between performance and bits per weight and bits per activation, compared to compared methods. On weight-only, we find that we can quantize a Llama-3 70B model to 3.25 bits per weight and retain 98\% accuracy on downstream tasks.

Post-training quantization (PTQ) has emerged as a practical approach to compress large neural networks, making them highly efficient for deployment. However, effectively reducing these models to their low-bit counterparts without compromising the original accuracy remains a key challenge. In this paper, we propose an innovative PTQ algorithm termed COMQ, which sequentially conducts coordinate-wise minimization of the layer-wise reconstruction errors. We consider the widely used integer quantization, where every quantized weight can be decomposed into a shared floating-point scalar and an integer bit-code. Within a fixed layer, COMQ treats all the scaling factor(s) and bit-codes as the variables of the reconstruction error. Every iteration improves this error along a single coordinate while keeping all other variables constant. COMQ is easy to use and requires no hyper-parameter tuning. It instead involves only dot products and rounding operations. We update these variables in a carefully designed greedy order, significantly enhancing the accuracy. COMQ achieves remarkable results in quantizing 4-bit Vision Transformers, with a negligible loss of less than 1% in Top-1 accuracy. In 4-bit INT quantization of convolutional neural networks, COMQ maintains near-lossless accuracy with a minimal drop of merely 0.3% in Top-1 accuracy.

Dance serves as a powerful medium for expressing human emotions, but the lifelike generation of dance is still a considerable challenge. Recently, diffusion models have showcased remarkable generative abilities across various domains. They hold promise for human motion generation due to their adaptable many-to-many nature. Nonetheless, current diffusion-based motion generation models often create entire motion sequences directly and unidirectionally, lacking focus on the motion with local and bidirectional enhancement. When choreographing high-quality dance movements, people need to take into account not only the musical context but also the nearby music-aligned dance motions. To authentically capture human behavior, we propose a Bidirectional Autoregressive Diffusion Model (BADM) for music-to-dance generation, where a bidirectional encoder is built to enforce that the generated dance is harmonious in both the forward and backward directions. To make the generated dance motion smoother, a local information decoder is built for local motion enhancement. The proposed framework is able to generate new motions based on the input conditions and nearby motions, which foresees individual motion slices iteratively and consolidates all predictions. To further refine the synchronicity between the generated dance and the beat, the beat information is incorporated as an input to generate better music-aligned dance movements. Experimental results demonstrate that the proposed model achieves state-of-the-art performance compared to existing unidirectional approaches on the prominent benchmark for music-to-dance generation.

Large Language Models (LLMs) have demonstrated remarkable capabilities but typically require extensive computational resources and memory for inference. Post-training quantization (PTQ) can effectively reduce these demands by storing weights in lower bit-width formats. However, standard uniform quantization often leads to notable performance degradation, particularly in low-bit scenarios. In this work, we introduce a Grouped Lattice Vector Quantization (GLVQ) framework that assigns each group of weights a customized lattice codebook, defined by a learnable generation matrix. To address the non-differentiability of the quantization process, we adopt Babai rounding to approximate nearest-lattice-point search during training, which enables stable optimization of the generation matrices. Once trained, decoding reduces to a simple matrix-vector multiplication, yielding an efficient and practical quantization pipeline. Experiments on multiple benchmarks show that our approach achieves a better trade-off between model size and accuracy compared to existing post-training quantization baselines, highlighting its effectiveness in deploying large models under stringent resource constraints. Our source code is available on GitHub repository: https://github.com/xzhang9308/GLVQ.

Generating full-length, high-quality songs is challenging, as it requires maintaining long-term coherence both across text and music modalities and within the music modality itself. Existing non-autoregressive (NAR) frameworks, while capable of producing high-quality songs, often struggle with the alignment between lyrics and vocal. Concurrently, catering to diverse musical preferences necessitates reinforcement learning from human feedback (RLHF). However, existing methods often rely on merging multiple models during multi-preference optimization, which results in significant performance degradation. To address these challenges, we introduce DiffRhythm 2, an end-to-end framework designed for high-fidelity, controllable song generation. To tackle the lyric alignment problem, DiffRhythm 2 employs a semi-autoregressive architecture based on block flow matching. This design enables faithful alignment of lyrics to singing vocals without relying on external labels and constraints, all while preserving the high generation quality and efficiency of NAR models. To make this framework computationally tractable for long sequences, we implement a music variational autoencoder (VAE) that achieves a low frame rate of 5 Hz while still enabling high-fidelity audio reconstruction. In addition, to overcome the limitations of multi-preference optimization in RLHF, we propose cross-pair preference optimization. This method effectively mitigates the performance drop typically associated with model merging, allowing for more robust optimization across diverse human preferences. We further enhance musicality and structural coherence by introducing stochastic block representation alignment loss.

In this paper we propose a Sequential Representation Quantization AutoEncoder (SeqRQ-AE) to learn from primarily unpaired audio data and produce sequences of representations very close to phoneme sequences of speech utterances. This is achieved by proper temporal segmentation to make the representations phoneme-synchronized, and proper phonetic clustering to have total number of distinct representations close to the number of phonemes. Mapping between the distinct representations and phonemes is learned from a small amount of annotated paired data. Preliminary experiments on LJSpeech demonstrated the learned representations for vowels have relative locations in latent space in good parallel to that shown in the IPA vowel chart defined by linguistics experts. With less than 20 minutes of annotated speech, our method outperformed existing methods on phoneme recognition and is able to synthesize intelligible speech that beats our baseline model.

Recent years have witnessed significant progress in generative models for music, featuring diverse architectures that balance output quality, diversity, speed, and user control. This study explores a user-friendly graphical interface enabling the drawing of masked regions for inpainting by an Hourglass Diffusion Transformer (HDiT) model trained on MIDI piano roll images. To enhance note generation in specified areas, masked regions can be "repainted" with extra noise. The non-latent HDiTs linear scaling with pixel count allows efficient generation in pixel space, providing intuitive and interpretable controls such as masking throughout the network and removing the need to operate in compressed latent spaces such as those provided by pretrained autoencoders. We demonstrate that, in addition to inpainting of melodies, accompaniment, and continuations, the use of repainting can help increase note density yielding musical structures closely matching user specifications such as rising, falling, or diverging melody and/or accompaniment, even when these lie outside the typical training data distribution. We achieve performance on par with prior results while operating at longer context windows, with no autoencoder, and can enable complex geometries for inpainting masks, increasing the options for machine-assisted composers to control the generated music.

Post-Training Quantization (PTQ) is an effective technique for compressing Large Language Models (LLMs). While many studies focus on quantizing both weights and activations, it is still a challenge to maintain the accuracy of LLM after activating quantization. To investigate the primary cause, we extend the concept of kernel from linear algebra to quantization functions to define a new term, "quantization kernel", which refers to the set of elements in activations that are quantized to zero. Through quantitative analysis of the quantization kernel, we find that these elements are crucial for maintaining the accuracy of quantized LLMs. With the decrease of quantization kernel, the precision of quantized LLMs increases. If the quantization kernel proportion is kept below 19% for OPT models and below 1% for LLaMA models, the precision loss from quantizing activations to INT8 becomes negligible. Motivated by the goal of developing a quantization method with small quantization kernel, we propose CrossQuant: a simple yet effective method for quantizing activations. CrossQuant cross-quantizes elements using row and column-wise absolute maximum vectors, achieving a quantization kernel of approximately 16% for OPT models and less than 0.1% for LLaMA models. Experimental results on LLMs (LLaMA, OPT) ranging from 6.7B to 70B parameters demonstrate that CrossQuant improves or maintains perplexity and accuracy in language modeling, zero-shot, and few-shot tasks.

Music therapy has been shown in recent years to provide multiple health benefits related to emotional wellness. In turn, maintaining a healthy emotional state has proven to be effective for patients undergoing treatment, such as Parkinson's patients or patients suffering from stress and anxiety. We propose fine-tuning MusicGen, a music-generating transformer model, to create short musical clips that assist patients in transitioning from negative to desired emotional states. Using low-rank decomposition fine-tuning on the MTG-Jamendo Dataset with emotion tags, we generate 30-second clips that adhere to the iso principle, guiding patients through intermediate states in the valence-arousal circumplex. The generated music is evaluated using a music emotion recognition model to ensure alignment with intended emotions. By concatenating these clips, we produce a 15-minute "music medicine" resembling a music therapy session. Our approach is the first model to leverage Language Models to generate music medicine. Ultimately, the output is intended to be used as a temporary relief between music therapy sessions with a board-certified therapist.

Presented is a method of generating a full drum kit part for a provided kick-drum sequence. A sequence to sequence neural network model used in natural language translation was adopted to encode multiple musical styles and an online survey was developed to test different techniques for sampling the output of the softmax function. The strongest results were found using a sampling technique that drew from the three most probable outputs at each subdivision of the drum pattern but the consistency of output was found to be heavily dependent on style.

Large language models offer remarkable capabilities, but their size and computational demands pose practical challenges. Quantization methods compress their size through replacing their high-precision parameters by quantized values of lower precision. Post-training quantization reduces model size efficiently at the cost of decreased accuracy, while quantization-aware training better preserves accuracy but is resource-intensive. Among existing post-training quantization algorithms, the ApiQ method achieves superior accuracy preservation at minimal memory and time overhead. We investigate two ideas to extend performance in ultra-low-bit quantization beyond ApiQ's level. First, we look into combining existing quantization-aware training techniques with ApiQ's partial training. We show that this does not outperform the baseline ApiQ method with limited training data and frozen weights. This leads to two key insights: (1) The substantial representational capacity that is gained through full retraining may not be feasible through partial training. (2) This gain seems to depend on using a large and diverse dataset in quantization-aware training. Second, through a novel approach informed by the two insights, we propose an ultra-low-bit quantization method that builds upon ApiQ and extends its performance without the need for full retraining. It relies on a saliency-aware regularization term that prioritizes preserving the most impactful parameters during quantization. Our experiments on benchmark language models from the LLaMA family show that our proposed approach boosts accuracy and tightens the gap between the quantized model and the full-precision model, with minimal overhead. Our method will be made publicly available to facilitate future developments in ultra-low-bit quantization of large language models.

Large language models (LLMs) show excellent performance but are compute- and memory-intensive. Quantization can reduce memory and accelerate inference. However, existing methods cannot maintain accuracy and hardware efficiency at the same time. We propose SmoothQuant, a training-free, accuracy-preserving, and general-purpose post-training quantization (PTQ) solution to enable 8-bit weight, 8-bit activation (W8A8) quantization for LLMs. Based on the fact that weights are easy to quantize while activations are not, SmoothQuant smooths the activation outliers by offline migrating the quantization difficulty from activations to weights with a mathematically equivalent transformation. SmoothQuant enables an INT8 quantization of both weights and activations for all the matrix multiplications in LLMs, including OPT, BLOOM, GLM, MT-NLG, and LLaMA family. We demonstrate up to 1.56x speedup and 2x memory reduction for LLMs with negligible loss in accuracy. SmoothQuant enables serving 530B LLM within a single node. Our work offers a turn-key solution that reduces hardware costs and democratizes LLMs. Code is available at https://github.com/mit-han-lab/smoothquant.

In recent years, diffusion-based text-to-music (TTM) generation has gained prominence, offering an innovative approach to synthesizing musical content from textual descriptions. Achieving high accuracy and diversity in this generation process requires extensive, high-quality data, including both high-fidelity audio waveforms and detailed text descriptions, which often constitute only a small portion of available datasets. In open-source datasets, issues such as low-quality music waveforms, mislabeling, weak labeling, and unlabeled data significantly hinder the development of music generation models. To address these challenges, we propose a novel paradigm for high-quality music generation that incorporates a quality-aware training strategy, enabling generative models to discern the quality of input music waveforms during training. Leveraging the unique properties of musical signals, we first adapted and implemented a masked diffusion transformer (MDT) model for the TTM task, demonstrating its distinct capacity for quality control and enhanced musicality. Additionally, we address the issue of low-quality captions in TTM with a caption refinement data processing approach. Experiments demonstrate our state-of-the-art (SOTA) performance on MusicCaps and the Song-Describer Dataset. Our demo page can be accessed at https://qa-mdt.github.io/.

We introduce QuaRot, a new Quantization scheme based on Rotations, which is able to quantize LLMs end-to-end, including all weights, activations, and KV cache in 4 bits. QuaRot rotates LLMs in a way that removes outliers from the hidden state without changing the output, making quantization easier. This computational invariance is applied to the hidden state (residual) of the LLM, as well as to the activations of the feed-forward components, aspects of the attention mechanism and to the KV cache. The result is a quantized model where all matrix multiplications are performed in 4-bits, without any channels identified for retention in higher precision. Our quantized LLaMa2-70B model has losses of at most 0.29 WikiText-2 perplexity and retains 99% of the zero-shot performance. Code is available at: https://github.com/spcl/QuaRot.

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.

Diffusion models have achieved great success in image synthesis through iterative noise estimation using deep neural networks. However, the slow inference, high memory consumption, and computation intensity of the noise estimation model hinder the efficient adoption of diffusion models. Although post-training quantization (PTQ) is considered a go-to compression method for other tasks, it does not work out-of-the-box on diffusion models. We propose a novel PTQ method specifically tailored towards the unique multi-timestep pipeline and model architecture of the diffusion models, which compresses the noise estimation network to accelerate the generation process. We identify the key difficulty of diffusion model quantization as the changing output distributions of noise estimation networks over multiple time steps and the bimodal activation distribution of the shortcut layers within the noise estimation network. We tackle these challenges with timestep-aware calibration and split shortcut quantization in this work. Experimental results show that our proposed method is able to quantize full-precision unconditional diffusion models into 4-bit while maintaining comparable performance (small FID change of at most 2.34 compared to >100 for traditional PTQ) in a training-free manner. Our approach can also be applied to text-guided image generation, where we can run stable diffusion in 4-bit weights with high generation quality for the first time.

Attention-based Transformer models have been increasingly employed for automatic music generation. To condition the generation process of such a model with a user-specified sequence, a popular approach is to take that conditioning sequence as a priming sequence and ask a Transformer decoder to generate a continuation. However, this prompt-based conditioning cannot guarantee that the conditioning sequence would develop or even simply repeat itself in the generated continuation. In this paper, we propose an alternative conditioning approach, called theme-based conditioning, that explicitly trains the Transformer to treat the conditioning sequence as a thematic material that has to manifest itself multiple times in its generation result. This is achieved with two main technical contributions. First, we propose a deep learning-based approach that uses contrastive representation learning and clustering to automatically retrieve thematic materials from music pieces in the training data. Second, we propose a novel gated parallel attention module to be used in a sequence-to-sequence (seq2seq) encoder/decoder architecture to more effectively account for a given conditioning thematic material in the generation process of the Transformer decoder. We report on objective and subjective evaluations of variants of the proposed Theme Transformer and the conventional prompt-based baseline, showing that our best model can generate, to some extent, polyphonic pop piano music with repetition and plausible variations of a given condition.

Audio-based generative models for music have seen great strides recently, but so far have not managed to produce full-length music tracks with coherent musical structure. We show that by training a generative model on long temporal contexts it is possible to produce long-form music of up to 4m45s. Our model consists of a diffusion-transformer operating on a highly downsampled continuous latent representation (latent rate of 21.5Hz). It obtains state-of-the-art generations according to metrics on audio quality and prompt alignment, and subjective tests reveal that it produces full-length music with coherent structure.

Self-supervised learning (SSL) has recently emerged as a promising paradigm for training generalisable models on large-scale data in the fields of vision, text, and speech. Although SSL has been proven effective in speech and audio, its application to music audio has yet to be thoroughly explored. This is primarily due to the distinctive challenges associated with modelling musical knowledge, particularly its tonal and pitched characteristics of music. To address this research gap, we propose an acoustic Music undERstanding model with large-scale self-supervised Training (MERT), which incorporates teacher models to provide pseudo labels in the masked language modelling (MLM) style acoustic pre-training. In our exploration, we identified a superior combination of teacher models, which outperforms conventional speech and audio approaches in terms of performance. This combination includes an acoustic teacher based on Residual Vector Quantization - Variational AutoEncoder (RVQ-VAE) and a musical teacher based on the Constant-Q Transform (CQT). These teachers effectively guide our student model, a BERT-style transformer encoder, to better model music audio. In addition, we introduce an in-batch noise mixture augmentation to enhance the representation robustness. Furthermore, we explore a wide range of settings to overcome the instability in acoustic language model pre-training, which allows our designed paradigm to scale from 95M to 330M parameters. Experimental results indicate that our model can generalise and perform well on 14 music understanding tasks and attains state-of-the-art (SOTA) overall scores. The code and models are online: https://github.com/yizhilll/MERT.

Diffusion transformers (DiTs) have exhibited remarkable performance in visual generation tasks, such as generating realistic images or videos based on textual instructions. However, larger model sizes and multi-frame processing for video generation lead to increased computational and memory costs, posing challenges for practical deployment on edge devices. Post-Training Quantization (PTQ) is an effective method for reducing memory costs and computational complexity. When quantizing diffusion transformers, we find that applying existing diffusion quantization methods designed for U-Net faces challenges in preserving quality. After analyzing the major challenges for quantizing diffusion transformers, we design an improved quantization scheme: "ViDiT-Q": Video and Image Diffusion Transformer Quantization) to address these issues. Furthermore, we identify highly sensitive layers and timesteps hinder quantization for lower bit-widths. To tackle this, we improve ViDiT-Q with a novel metric-decoupled mixed-precision quantization method (ViDiT-Q-MP). We validate the effectiveness of ViDiT-Q across a variety of text-to-image and video models. While baseline quantization methods fail at W8A8 and produce unreadable content at W4A8, ViDiT-Q achieves lossless W8A8 quantization. ViDiTQ-MP achieves W4A8 with negligible visual quality degradation, resulting in a 2.5x memory optimization and a 1.5x latency speedup.

Large language model (LLM) inference is often bounded by memory footprint and memory bandwidth in resource-constrained deployments, making quantization a fundamental technique for efficient serving. While post-training quantization (PTQ) maintains high fidelity at 4-bit, it deteriorates at 2-3 bits. Fundamentally, existing methods enforce a shape-invariant quantization grid (e.g., the fixed uniform intervals of UINT2) for each group, severely restricting the feasible set for error minimization. To address this, we propose Bit-Plane Decomposition Quantization (BPDQ), which constructs a variable quantization grid via bit-planes and scalar coefficients, and iteratively refines them using approximate second-order information while progressively compensating quantization errors to minimize output discrepancy. In the 2-bit regime, BPDQ enables serving Qwen2.5-72B on a single RTX 3090 with 83.85% GSM8K accuracy (vs. 90.83% at 16-bit). Moreover, we provide theoretical analysis showing that the variable grid expands the feasible set, and that the quantization process consistently aligns with the optimization objective in Hessian-induced geometry. Code: github.com/KingdalfGoodman/BPDQ.

Diffusion Models (DM) have democratized AI image generation through an iterative denoising process. Quantization is a major technique to alleviate the inference cost and reduce the size of DM denoiser networks. However, as denoisers evolve from variants of convolutional U-Nets toward newer Transformer architectures, it is of growing importance to understand the quantization sensitivity of different weight layers, operations and architecture types to performance. In this work, we address this challenge with Qua^2SeDiMo, a mixed-precision Post-Training Quantization framework that generates explainable insights on the cost-effectiveness of various model weight quantization methods for different denoiser operation types and block structures. We leverage these insights to make high-quality mixed-precision quantization decisions for a myriad of diffusion models ranging from foundational U-Nets to state-of-the-art Transformers. As a result, Qua^2SeDiMo can construct 3.4-bit, 3.9-bit, 3.65-bit and 3.7-bit weight quantization on PixArt-{alpha}, PixArt-{Sigma}, Hunyuan-DiT and SDXL, respectively. We further pair our weight-quantization configurations with 6-bit activation quantization and outperform existing approaches in terms of quantitative metrics and generative image quality.

This technical report presents a new paradigm for full-song symbolic music generation. Existing symbolic models operate on note-attribute tokens and suffer from extremely long sequences, limited context length, and weak support for long-range structure. We address these issues by introducing PhraseVAE and PhraseLDM, the first latent diffusion framework designed for full-song multitrack symbolic music. PhraseVAE compresses an arbitrary variable-length polyphonic note sequence into a single compact 64-dimensional phrase-level latent representation with high reconstruction fidelity, allowing a well-structured latent space and efficient generative modeling. Built on this latent space, PhraseLDM generates an entire multi-track song in a single pass without any autoregressive components. The system eliminates bar-wise sequential modeling, supports up to 128 bars of music (8 minutes at 64 bpm), and produces complete songs with coherent local texture, idiomatic instrument patterns, and clear global structure. With only 45M parameters, our framework generates a full song within seconds while maintaining competitive musical quality and generation diversity. Together, these results show that phrase-level latent diffusion provides an effective and scalable solution to long-sequence modeling in symbolic music generation. We hope this work encourages future symbolic music research to move beyond note-attribute tokens and to consider phrase-level units as a more effective and musically meaningful modeling target.

In this paper, we propose and investigate the use of neural audio codec language models for the automatic generation of sample-based musical instruments based on text or reference audio prompts. Our approach extends a generative audio framework to condition on pitch across an 88-key spectrum, velocity, and a combined text/audio embedding. We identify maintaining timbral consistency within the generated instruments as a major challenge. To tackle this issue, we introduce three distinct conditioning schemes. We analyze our methods through objective metrics and human listening tests, demonstrating that our approach can produce compelling musical instruments. Specifically, we introduce a new objective metric to evaluate the timbral consistency of the generated instruments and adapt the average Contrastive Language-Audio Pretraining (CLAP) score for the text-to-instrument case, noting that its naive application is unsuitable for assessing this task. Our findings reveal a complex interplay between timbral consistency, the quality of generated samples, and their correspondence to the input prompt.

Recent advancements in large language models (LLMs) are propelling us toward artificial general intelligence with their remarkable emergent abilities and reasoning capabilities. However, the substantial computational and memory requirements limit the widespread adoption. Quantization, a key compression technique, can effectively mitigate these demands by compressing and accelerating LLMs, albeit with potential risks to accuracy. Numerous studies have aimed to minimize the accuracy loss associated with quantization. However, their quantization configurations vary from each other and cannot be fairly compared. In this paper, we present LLMC, a plug-and-play compression toolkit, to fairly and systematically explore the impact of quantization. LLMC integrates dozens of algorithms, models, and hardwares, offering high extensibility from integer to floating-point quantization, from LLM to vision-language (VLM) model, from fixed-bit to mixed precision, and from quantization to sparsification. Powered by this versatile toolkit, our benchmark covers three key aspects: calibration data, algorithms (three strategies), and data formats, providing novel insights and detailed analyses for further research and practical guidance for users. Our toolkit is available at https://github.com/ModelTC/llmc.

Current model quantization methods have shown their promising capability in reducing storage space and computation complexity. However, due to the diversity of quantization forms supported by different hardware, one limitation of existing solutions is that usually require repeated optimization for different scenarios. How to construct a model with flexible quantization forms has been less studied. In this paper, we explore a one-shot network quantization regime, named Elastic Quantization Neural Networks (EQ-Net), which aims to train a robust weight-sharing quantization supernet. First of all, we propose an elastic quantization space (including elastic bit-width, granularity, and symmetry) to adapt to various mainstream quantitative forms. Secondly, we propose the Weight Distribution Regularization Loss (WDR-Loss) and Group Progressive Guidance Loss (GPG-Loss) to bridge the inconsistency of the distribution for weights and output logits in the elastic quantization space gap. Lastly, we incorporate genetic algorithms and the proposed Conditional Quantization-Aware Accuracy Predictor (CQAP) as an estimator to quickly search mixed-precision quantized neural networks in supernet. Extensive experiments demonstrate that our EQ-Net is close to or even better than its static counterparts as well as state-of-the-art robust bit-width methods. Code can be available at https://github.com/xuke225/EQ-Net.git{https://github.com/xuke225/EQ-Net}.

End-to-end generation of musical audio using deep learning techniques has seen an explosion of activity recently. However, most models concentrate on generating fully mixed music in response to abstract conditioning information. In this work, we present an alternative paradigm for producing music generation models that can listen and respond to musical context. We describe how such a model can be constructed using a non-autoregressive, transformer-based model architecture and present a number of novel architectural and sampling improvements. We train the described architecture on both an open-source and a proprietary dataset. We evaluate the produced models using standard quality metrics and a new approach based on music information retrieval descriptors. The resulting model reaches the audio quality of state-of-the-art text-conditioned models, as well as exhibiting strong musical coherence with its context.

Music relies heavily on repetition to build structure and meaning. Self-reference occurs on multiple timescales, from motifs to phrases to reusing of entire sections of music, such as in pieces with ABA structure. The Transformer (Vaswani et al., 2017), a sequence model based on self-attention, has achieved compelling results in many generation tasks that require maintaining long-range coherence. This suggests that self-attention might also be well-suited to modeling music. In musical composition and performance, however, relative timing is critically important. Existing approaches for representing relative positional information in the Transformer modulate attention based on pairwise distance (Shaw et al., 2018). This is impractical for long sequences such as musical compositions since their memory complexity for intermediate relative information is quadratic in the sequence length. We propose an algorithm that reduces their intermediate memory requirement to linear in the sequence length. This enables us to demonstrate that a Transformer with our modified relative attention mechanism can generate minute-long compositions (thousands of steps, four times the length modeled in Oore et al., 2018) with compelling structure, generate continuations that coherently elaborate on a given motif, and in a seq2seq setup generate accompaniments conditioned on melodies. We evaluate the Transformer with our relative attention mechanism on two datasets, JSB Chorales and Piano-e-Competition, and obtain state-of-the-art results on the latter.