Daily Papers

Long-term time-series forecasting needs models that are accurate yet efficient enough for commodity hardware. Lightweight linear forecasters are remarkably strong in this regime, yet they leave two openings: reversible instance normalization (RevIN) de-normalizes the entire horizon with a single lookback statistic, which is inaccurate under non-stationarity, and time-domain trend/seasonal decomposition relies on a fixed, non-adaptive filter. We present FreqLite, an ultra-lightweight, channel-independent frequency-decomposed linear forecaster: a learnable, lossless, partition-of-unity spectral filter splits the input into bands that are forecast by per-band linear heads and, unlike low-pass-truncation approaches, the high-frequency band is retained and modeled. FreqLite is the best lightweight model on the standard long-term forecasting benchmarks and, at long lookback (L=336), attains a lower average error than a PatchTST Transformer (0.3244 vs. 0.3587 MSE) while using 4x fewer parameters, 2.2x less memory, and 2.2x less time per epoch on a single 4 GB laptop GPU; although modest in magnitude, its improvements are statistically significant under paired Wilcoxon tests across all matched cells (p < 1e-5). We further introduce Adaptive Reversible Instance Normalization (A-RevIN), a regime-adaptive reversible normalization that strictly generalizes RevIN (recovered exactly when its gate is closed), engages under non-stationarity, and reduces to RevIN without harm on stationary data. We validate this on both a real strongly non-stationary dataset (ILI, up to ~5% MSE reduction) and a controlled synthetic drift sweep in which A-RevIN's benefit and its learned gate both rise monotonically with injected non-stationarity. Every component is independently ablatable (Linear and RLinear are special cases of FreqLite), and all results are reproducible on commodity hardware.

Low frequency oscillator (LFO) driven audio effects such as phaser, flanger, and chorus, modify an input signal using time-varying filters and delays, resulting in characteristic sweeping or widening effects. It has been shown that these effects can be modeled using neural networks when conditioned with the ground truth LFO signal. However, in most cases, the LFO signal is not accessible and measurement from the audio signal is nontrivial, hindering the modeling process. To address this, we propose a framework capable of extracting arbitrary LFO signals from processed audio across multiple digital audio effects, parameter settings, and instrument configurations. Since our system imposes no restrictions on the LFO signal shape, we demonstrate its ability to extract quasiperiodic, combined, and distorted modulation signals that are relevant to effect modeling. Furthermore, we show how coupling the extraction model with a simple processing network enables training of end-to-end black-box models of unseen analog or digital LFO-driven audio effects using only dry and wet audio pairs, overcoming the need to access the audio effect or internal LFO signal. We make our code available and provide the trained audio effect models in a real-time VST plugin.

Recently, multi-band spectrogram-based approaches such as Band-Split RNN (BSRNN) have demonstrated promising results for music source separation. In our recent work, we introduce the BS-RoFormer model which inherits the idea of band-split scheme in BSRNN at the front-end, and then uses the hierarchical Transformer with Rotary Position Embedding (RoPE) to model the inner-band and inter-band sequences for multi-band mask estimation. This model has achieved state-of-the-art performance, but the band-split scheme is defined empirically, without analytic supports from the literature. In this paper, we propose Mel-RoFormer, which adopts the Mel-band scheme that maps the frequency bins into overlapped subbands according to the mel scale. In contract, the band-split mapping in BSRNN and BS-RoFormer is non-overlapping and designed based on heuristics. Using the MUSDB18HQ dataset for experiments, we demonstrate that Mel-RoFormer outperforms BS-RoFormer in the separation tasks of vocals, drums, and other stems.

Music source separation (MSS) aims to separate a music recording into multiple musically distinct stems, such as vocals, bass, drums, and more. Recently, deep learning approaches such as convolutional neural networks (CNNs) and recurrent neural networks (RNNs) have been used, but the improvement is still limited. In this paper, we propose a novel frequency-domain approach based on a Band-Split RoPE Transformer (called BS-RoFormer). BS-RoFormer relies on a band-split module to project the input complex spectrogram into subband-level representations, and then arranges a stack of hierarchical Transformers to model the inner-band as well as inter-band sequences for multi-band mask estimation. To facilitate training the model for MSS, we propose to use the Rotary Position Embedding (RoPE). The BS-RoFormer system trained on MUSDB18HQ and 500 extra songs ranked the first place in the MSS track of Sound Demixing Challenge (SDX23). Benchmarking a smaller version of BS-RoFormer on MUSDB18HQ, we achieve state-of-the-art result without extra training data, with 9.80 dB of average SDR.

While the Transformer architecture dominates many fields, its quadratic self-attention complexity hinders its use in large-scale applications. Linear attention offers an efficient alternative, but its direct application often degrades performance, with existing fixes typically re-introducing computational overhead through extra modules (e.g., depthwise separable convolution) that defeat the original purpose. In this work, we identify a key failure mode in these methods: global context collapse, where the model loses representational diversity. To address this, we propose Multi-Head Linear Attention (MHLA), which preserves this diversity by computing attention within divided heads along the token dimension. We prove that MHLA maintains linear complexity while recovering much of the expressive power of softmax attention, and verify its effectiveness across multiple domains, achieving a 3.6\% improvement on ImageNet classification, a 6.3\% gain on NLP, a 12.6\% improvement on image generation, and a 41\% enhancement on video generation under the same time complexity.

We consider the convergence of the ESD for non-Hermitian random band matrices with independent entries to the circular law, which is the uniform measure on the unit disk in the center of the complex plane. We assume that the bandwidth of the matrix scales like n^γ for some γin(0,1], where n is the matrix size, and the variance profile of the matrix is only assumed to be doubly stochastic with no additional assumption on its specific mixing properties. We prove that the circular law limit holds either (1) when γ>5{6} and the entries are independent Gaussians, (2) or when γ>8{9} and the entries are independent subgaussian random variables. This new threshold improves the previous threshold γ>32{33} which was only proven for block band matrices and periodic band matrices. After the initial version of this paper, the author further extended the range of circular law for much smaller values of γ in 2508.18143 and 2511.01744 when the variance profile has specific mixing properties, but not for an arbitrary doubly stochastic variance profile. Thus the main contribution of this paper is the circular law for a genuine power law bandwidth for any doubly stochastic variance profile. We also prove an extended form of product circular law with a growing number of matrices. Weak delocalization estimates on eigenvectors are also derived. The new technical input is new polynomial lower bounds on some intermediate small singular values, and this estimate does not depend on the specific structure of the variance profile beyond the fact that it is doubly stochastic.

The two-stage fine-tuning (FT) method, linear probing (LP) then fine-tuning (LP-FT), outperforms linear probing and FT alone. This holds true for both in-distribution (ID) and out-of-distribution (OOD) data. One key reason for its success is the preservation of pre-trained features, achieved by obtaining a near-optimal linear head during LP. However, despite the widespread use of large language models, there has been limited exploration of more complex architectures such as Transformers. In this paper, we analyze the training dynamics of LP-FT for classification tasks on the basis of the neural tangent kernel (NTK) theory. Our analysis decomposes the NTK matrix into two components. This decomposition highlights the importance of the linear head norm alongside the prediction accuracy at the start of the FT stage. We also observe a significant increase in the linear head norm during LP, which stems from training with the cross-entropy (CE) loss. This increase in the linear head norm effectively reduces changes in learned features. Furthermore, we find that this increased norm can adversely affect model calibration, which can be corrected using temperature scaling. Additionally, we extend our analysis with the NTK to the low-rank adaptation (LoRA) method and validate its effectiveness. Our experiments using a Transformer-based model on multiple natural language processing datasets confirm our theoretical analysis. Our study demonstrates the effectiveness of LP-FT for fine-tuning language models. Code is available at https://github.com/tom4649/lp-ft_ntk.

The performance of music source separation (MSS) models has been greatly improved in recent years thanks to the development of novel neural network architectures and training pipelines. However, recent model designs for MSS were mainly motivated by other audio processing tasks or other research fields, while the intrinsic characteristics and patterns of the music signals were not fully discovered. In this paper, we propose band-split RNN (BSRNN), a frequency-domain model that explictly splits the spectrogram of the mixture into subbands and perform interleaved band-level and sequence-level modeling. The choices of the bandwidths of the subbands can be determined by a priori knowledge or expert knowledge on the characteristics of the target source in order to optimize the performance on a certain type of target musical instrument. To better make use of unlabeled data, we also describe a semi-supervised model finetuning pipeline that can further improve the performance of the model. Experiment results show that BSRNN trained only on MUSDB18-HQ dataset significantly outperforms several top-ranking models in Music Demixing (MDX) Challenge 2021, and the semi-supervised finetuning stage further improves the performance on all four instrument tracks.

Deep neural networks have shown promise for music audio signal processing applications, often surpassing prior approaches, particularly as end-to-end models in the waveform domain. Yet results to date have tended to be constrained by low sample rates, noise, narrow domains of signal types, and/or lack of parameterized controls (i.e. "knobs"), making their suitability for professional audio engineering workflows still lacking. This work expands on prior research published on modeling nonlinear time-dependent signal processing effects associated with music production by means of a deep neural network, one which includes the ability to emulate the parameterized settings you would see on an analog piece of equipment, with the goal of eventually producing commercially viable, high quality audio, i.e. 44.1 kHz sampling rate at 16-bit resolution. The results in this paper highlight progress in modeling these effects through architecture and optimization changes, towards increasing computational efficiency, lowering signal-to-noise ratio, and extending to a larger variety of nonlinear audio effects. Toward these ends, the strategies employed involved a three-pronged approach: model speed, model accuracy, and model generalizability. Most of the presented methods provide marginal or no increase in output accuracy over the original model, with the exception of dataset manipulation. We found that limiting the audio content of the dataset, for example using datasets of just a single instrument, provided a significant improvement in model accuracy over models trained on more general datasets.

Multi-Head Attention (MHA) is the core computational primitive underlying modern Large Language Models (LLMs). However, MHA suffers from a fundamental linear scaling limitation: H attention heads produce exactly H independent attention matrices, with no communication between heads during attention computation. This becomes problematic for multi-step reasoning, where correct answers depend on aggregating evidence from multiple parts of the context and composing latent token-to-token relations over a chain of intermediate inferences. To address this, we propose Interleaved Head Attention (IHA), which enables cross-head mixing by constructing P pseudo-heads per head (typically P=H), where each pseudo query/key/value is a learned linear combination of all H original queries, keys and values respectively. Interactions between pseudo-query and pseudo-key heads induce up to P^2 attention patterns per head with modest parameter overhead O(H^2P). We provide theory showing improved efficiency in terms of number of parameters on the synthetic Polynomial task (IHA uses Θ(kn^2) parameters vs. Θ(kn^2) for MHA) and on the synthetic order-sensitive CPM-3 task (IHA uses lceilN_{max}rceil heads vs. N_{max} for MHA). On real-world benchmarks, IHA improves Multi-Key retrieval on RULER by 10-20% (4k-16k) and, after fine-tuning for reasoning on OpenThoughts, improves GSM8K by 5.8% and MATH-500 by 2.8% (Majority Vote) over full attention.

We present the Neural Waveshaping Unit (NEWT): a novel, lightweight, fully causal approach to neural audio synthesis which operates directly in the waveform domain, with an accompanying optimisation (FastNEWT) for efficient CPU inference. The NEWT uses time-distributed multilayer perceptrons with periodic activations to implicitly learn nonlinear transfer functions that encode the characteristics of a target timbre. Once trained, a NEWT can produce complex timbral evolutions by simple affine transformations of its input and output signals. We paired the NEWT with a differentiable noise synthesiser and reverb and found it capable of generating realistic musical instrument performances with only 260k total model parameters, conditioned on F0 and loudness features. We compared our method to state-of-the-art benchmarks with a multi-stimulus listening test and the Fr\'echet Audio Distance and found it performed competitively across the tested timbral domains. Our method significantly outperformed the benchmarks in terms of generation speed, and achieved real-time performance on a consumer CPU, both with and without FastNEWT, suggesting it is a viable basis for future creative sound design tools.

Recent guidance methods in diffusion models steer reverse sampling by perturbing the model to construct an implicit weak model and guide generation away from it. Among these approaches, attention perturbation has demonstrated strong empirical performance in unconditional scenarios where classifier-free guidance is not applicable. However, existing attention perturbation methods lack principled approaches for determining where perturbations should be applied, particularly in Diffusion Transformer (DiT) architectures where quality-relevant computations are distributed across layers. In this paper, we investigate the granularity of attention perturbations, ranging from the layer level down to individual attention heads, and discover that specific heads govern distinct visual concepts such as structure, style, and texture quality. Building on this insight, we propose "HeadHunter", a systematic framework for iteratively selecting attention heads that align with user-centric objectives, enabling fine-grained control over generation quality and visual attributes. In addition, we introduce SoftPAG, which linearly interpolates each selected head's attention map toward an identity matrix, providing a continuous knob to tune perturbation strength and suppress artifacts. Our approach not only mitigates the oversmoothing issues of existing layer-level perturbation but also enables targeted manipulation of specific visual styles through compositional head selection. We validate our method on modern large-scale DiT-based text-to-image models including Stable Diffusion 3 and FLUX.1, demonstrating superior performance in both general quality enhancement and style-specific guidance. Our work provides the first head-level analysis of attention perturbation in diffusion models, uncovering interpretable specialization within attention layers and enabling practical design of effective perturbation strategies.

We introduce HiFi-HARP, a large-scale dataset of 7th-order Higher-Order Ambisonic Room Impulse Responses (HOA-RIRs) consisting of more than 100,000 RIRs generated via a hybrid acoustic simulation in realistic indoor scenes. HiFi-HARP combines geometrically complex, furnished room models from the 3D-FRONT repository with a hybrid simulation pipeline: low-frequency wave-based simulation (finite-difference time-domain) up to 900 Hz is used, while high frequencies above 900 Hz are simulated using a ray-tracing approach. The combined raw RIRs are encoded into the spherical-harmonic domain (AmbiX ACN) for direct auralization. Our dataset extends prior work by providing 7th-order Ambisonic RIRs that combine wave-theoretic accuracy with realistic room content. We detail the generation pipeline (scene and material selection, array design, hybrid simulation, ambisonic encoding) and provide dataset statistics (room volumes, RT60 distributions, absorption properties). A comparison table highlights the novelty of HiFi-HARP relative to existing RIR collections. Finally, we outline potential benchmarks such as FOA-to-HOA upsampling, source localization, and dereverberation. We discuss machine learning use cases (spatial audio rendering, acoustic parameter estimation) and limitations (e.g., simulation approximations, static scenes). Overall, HiFi-HARP offers a rich resource for developing spatial audio and acoustics algorithms in complex environments.

Despite the popularity of guitar effects, there is very little existing research on classification and parameter estimation of specific plugins or effect units from guitar recordings. In this paper, convolutional neural networks were used for classification and parameter estimation for 13 overdrive, distortion and fuzz guitar effects. A novel dataset of processed electric guitar samples was assembled, with four sub-datasets consisting of monophonic or polyphonic samples and discrete or continuous settings values, for a total of about 250 hours of processed samples. Results were compared for networks trained and tested on the same or on a different sub-dataset. We found that discrete datasets could lead to equally high performance as continuous ones, whilst being easier to design, analyse and modify. Classification accuracy was above 80\%, with confusion matrices reflecting similarities in the effects timbre and circuits design. With parameter values between 0.0 and 1.0, the mean absolute error is in most cases below 0.05, while the root mean square error is below 0.1 in all cases but one.

Deep neural networks perform remarkably well on image classification tasks but remain vulnerable to carefully crafted adversarial perturbations. This work revisits linear dimensionality reduction as a simple, data-adapted defense. We empirically compare standard Principal Component Analysis (PCA) with its sparse variant (SPCA) as front-end feature extractors for downstream classifiers, and we complement these experiments with a theoretical analysis. On the theory side, we derive exact robustness certificates for linear heads applied to SPCA features: for both ell_infty and ell_2 threat models (binary and multiclass), the certified radius grows as the dual norms of W^top u shrink, where W is the projection and u the head weights. We further show that for general (non-linear) heads, sparsity reduces operator-norm bounds through a Lipschitz composition argument, predicting lower input sensitivity. Empirically, with a small non-linear network after the projection, SPCA consistently degrades more gracefully than PCA under strong white-box and black-box attacks while maintaining competitive clean accuracy. Taken together, the theory identifies the mechanism (sparser projections reduce adversarial leverage) and the experiments verify that this benefit persists beyond the linear setting. Our code is available at https://github.com/killian31/SPCARobustness.

This project focuses on a method to extract a frequency comb in mechanical means, for general interest and numerous practical applications in MEMS. The method of execution is the implementation of a beam that is exhibiting non-linear dynamics that is perturbed and analyzed for its transverse vibrations. The perturbation is an external harmonic driver with a chosen small amplitude and frequency (which is slightly detuned from the beam eigenfrequency), that when engaged with the unperturbed beam oscillations, causes it reach a state of "injection pulling" - an effect that occurs when one harmonic oscillator is coupled with a second one and causes it to oscillate in a frequency near its own. This causes the beam to reach SNIC bifurcation, rendering a frequency comb as desired. Theoretical analysis showed that the problem can be modelled using a non-linear equation of the beam, that translates to a form of the non-linear Duffing equation. While a solution to the dynamics function of the beam is hard to obtain in practice due to mathematical difficulties, a slow evolution model is suggested that is composed of functions of a amplitude and phase. Using several additional mathematical assumptions, the amplitude is seen to be related to the phase, while the phase equation solution is seen to be of the form of Adler's equation. These assumptions ultimately reduce the entire behaviour of the beam to a relatively simple solution to the Adler equation, which has a known analytical solution. Computerized numerical simulations are run on it to check the results and compare them to the theory and desired outcome. The results agreed with the theory and produce the expected frequency comb, showing the assumptions to be valid in extracting the comb.

This paper presents a way of doing large scale audio understanding without traditional state of the art neural architectures. Ever since the introduction of deep learning for understanding audio signals in the past decade, convolutional architectures have been able to achieve state of the art results surpassing traditional hand-crafted features. In the recent past, there has been a similar shift away from traditional convolutional and recurrent neural networks towards purely end-to-end Transformer architectures. We, in this work, explore an approach, based on Bag-of-Words model. Our approach does not have any convolutions, recurrence, attention, transformers or other approaches such as BERT. We utilize micro and macro level clustered vanilla embeddings, and use a MLP head for classification. We only use feed-forward encoder-decoder models to get the bottlenecks of spectral envelops, spectral patches and slices as well as multi-resolution spectra. A classification head (a feed-forward layer), similar to the approach in SimCLR is trained on a learned representation. Using simple codes learned on latent representations, we show how we surpass traditional convolutional neural network architectures, and come strikingly close to outperforming powerful Transformer architectures. This work hopefully would pave way for exciting advancements in the field of representation learning without massive, end-to-end neural architectures.

Conventional acoustic beamformers assume that noise is stationary within short time frames. This assumption prevents them from exploiting correlations between frequencies in almost-periodic noise sources such as musical instruments, fans, and engines. These signals exhibit periodically varying statistics and are better modeled as cyclostationary processes. This paper introduces the cyclic MVDR (cMVDR) beamformer, an extension of the conventional MVDR that leverages both spatial and spectral correlations to improve noise reduction, particularly in low-SNR scenarios. The method builds on frequency-shifted (FRESH) filtering, where shifted versions of the input are combined to attenuate or amplify components that are coherent across frequency. To address inharmonicity, where harmonic partials deviate from exact integer multiples of the fundamental frequency, we propose a data-driven strategy that estimates resonant frequencies via periodogram analysis and computes the frequency shifts from their spacing. Analytical and experimental results demonstrate that performance improves with increasing spectral correlation. On real recordings, the cMVDR achieves up to 5 dB gain in scale-invariant signal-to-distortion ratio (SI-SDR) over the MVDR and remains effective even with a single microphone. Code is available at https://github.com/Screeen/cMVDR.

Recently, efficient fine-tuning of large-scale pre-trained models has attracted increasing research interests, where linear probing (LP) as a fundamental module is involved in exploiting the final representations for task-dependent classification. However, most of the existing methods focus on how to effectively introduce a few of learnable parameters, and little work pays attention to the commonly used LP module. In this paper, we propose a novel Moment Probing (MP) method to further explore the potential of LP. Distinguished from LP which builds a linear classification head based on the mean of final features (e.g., word tokens for ViT) or classification tokens, our MP performs a linear classifier on feature distribution, which provides the stronger representation ability by exploiting richer statistical information inherent in features. Specifically, we represent feature distribution by its characteristic function, which is efficiently approximated by using first- and second-order moments of features. Furthermore, we propose a multi-head convolutional cross-covariance (MHC^3) to compute second-order moments in an efficient and effective manner. By considering that MP could affect feature learning, we introduce a partially shared module to learn two recalibrating parameters (PSRP) for backbones based on MP, namely MP_{+}. Extensive experiments on ten benchmarks using various models show that our MP significantly outperforms LP and is competitive with counterparts at less training cost, while our MP_{+} achieves state-of-the-art performance.

Personalized Head-Related Transfer Functions (HRTFs) are starting to be introduced in many commercial immersive audio applications and are crucial for realistic spatial audio rendering. However, one of the main hesitations regarding their introduction is that creating personalized HRTFs is impractical at scale due to the complexities of the HRTF measurement process. To mitigate this drawback, HRTF spatial upsampling has been proposed with the aim of reducing measurements required. While prior work has seen success with different machine learning (ML) approaches, these models often struggle with long-range spatial consistency and generalization at high upsampling factors. In this paper, we propose a novel transformer-based architecture for HRTF upsampling, leveraging the attention mechanism to better capture spatial correlations across the HRTF sphere. Working in the spherical harmonic (SH) domain, our model learns to reconstruct high-resolution HRTFs from sparse input measurements with significantly improved accuracy. To enhance spatial coherence, we introduce a neighbor dissimilarity loss that promotes magnitude smoothness, yielding more realistic upsampling. We evaluate our method using both perceptual localization models and objective spectral distortion metrics. Experiments show that our model surpasses leading methods by a substantial margin in generating realistic, high-fidelity HRTFs.

We consider a family of linear systems A_mu alpha=C with system matrix A_mu depending on a parameter mu and for simplicity parameter-independent right-hand side C. These linear systems typically result from the finite-dimensional approximation of a parameter-dependent boundary-value problem. We derive a procedure based on the Empirical Interpolation Method to obtain a separated representation of the system matrix in the form A_muapproxsum_{m}beta_m(mu)A_{mu_m} for some selected values of the parameter. Such a separated representation is in particular useful in the Reduced Basis Method. The procedure is called nonintrusive since it only requires to access the matrices A_{mu_m}. As such, it offers a crucial advantage over existing approaches that instead derive separated representations requiring to enter the code at the level of assembly. Numerical examples illustrate the performance of our new procedure on a simple one-dimensional boundary-value problem and on three-dimensional acoustic scattering problems solved by a boundary element method.

This paper introduces FaceLiVT, a lightweight yet powerful face recognition model that integrates a hybrid Convolution Neural Network (CNN)-Transformer architecture with an innovative and lightweight Multi-Head Linear Attention (MHLA) mechanism. By combining MHLA alongside a reparameterized token mixer, FaceLiVT effectively reduces computational complexity while preserving competitive accuracy. Extensive evaluations on challenging benchmarks; including LFW, CFP-FP, AgeDB-30, IJB-B, and IJB-C; highlight its superior performance compared to state-of-the-art lightweight models. MHLA notably improves inference speed, allowing FaceLiVT to deliver high accuracy with lower latency on mobile devices. Specifically, FaceLiVT is 8.6 faster than EdgeFace, a recent hybrid CNN-Transformer model optimized for edge devices, and 21.2 faster than a pure ViT-Based model. With its balanced design, FaceLiVT offers an efficient and practical solution for real-time face recognition on resource-constrained platforms.

Convolutional networks are large linear systems divided into layers and connected by non-linear units. These units are the "articulations" that allow the network to adapt to the input. To understand how a network manages to solve a problem we must look at the articulated decisions in entirety. If we could capture the actions of non-linear units for a particular input, we would be able to replay the whole system back and forth as if it was always linear. It would also reveal the actions of non-linearities because the resulting linear system, a Linear Interpreter, depends on the input image. We introduce a hooking layer, called a LinearScope, which allows us to run the network and the linear interpreter in parallel. Its implementation is simple, flexible and efficient. From here we can make many curious inquiries: how do these linear systems look like? When the rows and columns of the transformation matrix are images, how do they look like? What type of basis do these linear transformations rely on? The answers depend on the problems presented, through which we take a tour to some popular architectures used for classification, super-resolution (SR) and image-to-image translation (I2I). For classification we observe that popular networks use a pixel-wise vote per class strategy and heavily rely on bias parameters. For SR and I2I we find that CNNs use wavelet-type basis similar to the human visual system. For I2I we reveal copy-move and template-creation strategies to generate outputs.

Artificial transmission lines built with lumped-element inductors and capacitors form the backbone of broadband, nearly quantum-limited traveling-wave parametric amplifiers (TWPAs). However, systematic design methods for TWPAs, and more generally artificial transmission lines, are lacking. Here, I develop a general synthesis framework for lossless artificial transmission lines by borrowing from periodic structure theory and passive network synthesis. These complementary approaches divide the design space: periodic loading synthesis employs spatial modulation of frequency-independent components, while filter synthesis employs frequency-dependent responses in spatially-uniform components. When tailoring transmission lines for parametric processes, nonlinear elements are added, typically nonlinear inductances in superconducting circuits, while ensuring energy and momentum conservation between interacting tones. Applying this framework, I design a kinetic inductance TWPA with a novel phase-matching architecture, and a backward-pumped Josephson TWPA exploiting an ambidextrous i.e., right-left-handed transmission line.

The presence of linear paths in parameter space between two different network solutions in certain cases, i.e., linear mode connectivity (LMC), has garnered interest from both theoretical and practical fronts. There has been significant research that either practically designs algorithms catered for connecting networks by adjusting for the permutation symmetries as well as some others that more theoretically construct paths through which networks can be connected. Yet, the core reasons for the occurrence of LMC, when in fact it does occur, in the highly non-convex loss landscapes of neural networks are far from clear. In this work, we take a step towards understanding it by providing a model of how the loss landscape needs to behave topographically for LMC (or the lack thereof) to manifest. Concretely, we present a `mountainside and ridge' perspective that helps to neatly tie together different geometric features that can be spotted in the loss landscape along the training runs. We also complement this perspective by providing a theoretical analysis of the barrier height, for which we provide empirical support, and which additionally extends as a faithful predictor of layer-wise LMC. We close with a toy example that provides further intuition on how barriers arise in the first place, all in all, showcasing the larger aim of the work -- to provide a working model of the landscape and its topography for the occurrence of LMC.

We present LiveBand, a real-time system that generates high-fidelity music accompaniments to live audio input, respecting strict causal constraints. Our method trains a causal transformer generator in the continuous latent space of a pre-trained causal audio autoencoder, using adversarial sequence-level supervision from a discriminator. At each timestep, the generator receives only the causally available mix context and Gaussian noise, and predicts accompaniment latents without access to future mix frames or ground-truth target latents. Training is performed in a single parallel forward pass under causal masking, while streaming inference proceeds autoregressively with a rolling attention state. The model's training and inference computations are matched by design, eliminating teacher forcing and the associated exposure bias. On a multi-instrument music accompaniment benchmark, LiveBand improves over prior work on objective measures of audio quality, beat alignment, and mix adherence, while enabling real-time streaming generation without lookahead into the future on consumer hardware.

The aim of this work is to define a model based on deep learning that is able to identify different instrument timbres with as few parameters as possible. For this purpose, we have worked with classical orchestral instruments played with different dynamics, which are part of a few instrument families and which play notes in the same pitch range. It has been possible to assess the ability to classify instruments by timbre even if the instruments are playing the same note with the same intensity. The network employed uses a multi-head attention mechanism, with 8 heads and a dense network at the output taking as input the log-mel magnitude spectrograms of the sound samples. This network allows the identification of 20 instrument classes of the classical orchestra, achieving an overall F_1 value of 0.62. An analysis of the weights of the attention layer has been performed and the confusion matrix of the model is presented, allowing us to assess the ability of the proposed architecture to distinguish timbre and to establish the aspects on which future work should focus.

Given the recent advances in music source separation and automatic mixing, removing audio effects in music tracks is a meaningful step toward developing an automated remixing system. This paper focuses on removing distortion audio effects applied to guitar tracks in music production. We explore whether effect removal can be solved by neural networks designed for source separation and audio effect modeling. Our approach proves particularly effective for effects that mix the processed and clean signals. The models achieve better quality and significantly faster inference compared to state-of-the-art solutions based on sparse optimization. We demonstrate that the models are suitable not only for declipping but also for other types of distortion effects. By discussing the results, we stress the usefulness of multiple evaluation metrics to assess different aspects of reconstruction in distortion effect removal.

Deep learning approaches for black-box modelling of audio effects have shown promise, however, the majority of existing work focuses on nonlinear effects with behaviour on relatively short time-scales, such as guitar amplifiers and distortion. While recurrent and convolutional architectures can theoretically be extended to capture behaviour at longer time scales, we show that simply scaling the width, depth, or dilation factor of existing architectures does not result in satisfactory performance when modelling audio effects such as fuzz and dynamic range compression. To address this, we propose the integration of time-varying feature-wise linear modulation into existing temporal convolutional backbones, an approach that enables learnable adaptation of the intermediate activations. We demonstrate that our approach more accurately captures long-range dependencies for a range of fuzz and compressor implementations across both time and frequency domain metrics. We provide sound examples, source code, and pretrained models to faciliate reproducibility.

The loudness war, an ongoing phenomenon in the music industry characterized by the increasing final loudness of music while reducing its dynamic range, has been a controversial topic for decades. Music mastering engineers have used limiters to heavily compress and make music louder, which can induce ear fatigue and hearing loss in listeners. In this paper, we introduce music de-limiter networks that estimate uncompressed music from heavily compressed signals. Inspired by the principle of a limiter, which performs sample-wise gain reduction of a given signal, we propose the framework of sample-wise gain inversion (SGI). We also present the musdb-XL-train dataset, consisting of 300k segments created by applying a commercial limiter plug-in for training real-world friendly de-limiter networks. Our proposed de-limiter network achieves excellent performance with a scale-invariant source-to-distortion ratio (SI-SDR) of 23.8 dB in reconstructing musdb-HQ from musdb- XL data, a limiter-applied version of musdb-HQ. The training data, codes, and model weights are available in our repository (https://github.com/jeonchangbin49/De-limiter).

This paper introduces Zimtohrli, a novel, full-reference audio similarity metric designed for efficient and perceptually accurate quality assessment. In an era dominated by computationally intensive deep learning models and proprietary legacy standards, there is a pressing need for an interpretable, psychoacoustically-grounded metric that balances performance with practicality. Zimtohrli addresses this gap by combining a 128-bin gammatone filterbank front-end, which models the frequency resolution of the cochlea, with a unique non-linear resonator model that mimics the human eardrum's response to acoustic stimuli. Similarity is computed by comparing perceptually-mapped spectrograms using modified Dynamic Time Warping (DTW) and Neurogram Similarity Index Measure (NSIM) algorithms, which incorporate novel non-linearities to better align with human judgment. Zimtohrli achieves superior performance to the baseline open-source ViSQOL metric, and significantly narrows the performance gap with the latest commercial POLQA metric. It offers a compelling balance of perceptual relevance and computational efficiency, positioning it as a strong alternative for modern audio engineering applications, from codec development to the evaluation of generative audio systems.

Linear probes are widely used in interpretability research and often compared by cosine similarity. The Mahalanobis cosine similarity (MCS) between two directions, which reweights the inner product by test data covariance, is a natural task-aware refinement. Ying et al. (2026) report that a probe's MCS to a reference probe trained on the out-of-distribution (OOD) data near-perfectly linearly predicts the probe's OOD AUROC (R^2 = 0.98). Here, we extend this empirical finding across models, layers, and concept domains, and prove this general phenomenon in closed form: For balanced classes whose projections are Gaussian, OOD AUROC and MCS to the reference probe are linear because both are sigmoid-shaped functions of the probe's signal-to-noise ratio (SNR) on the test data. The theory also predicts when this linearity fails, which we verify empirically. MCS offers a theoretically grounded and empirically effective alternative to Euclidean cosine similarity for comparing linear probes.

Deep learning-based music source separation has gained a lot of interest in the last decades. Most of the existing methods operate with either spectrograms or waveforms. Spectrogram based models learn suitable masks for separating magnitude spectrogram into different sources, and waveform-based models directly generate waveforms of individual sources. The two types of models have complementary strengths; the former is superior given harmonic sources such as vocals, while the latter demonstrates better results for percussion and bass instruments. In this work, we improved upon the state-of-the-art (SoTA) models and successfully combined the best of both worlds. The backbones of the proposed framework, dubbed Danna-Sep, are two spectrogram-based models including a modified X-UMX and U-Net, and an enhanced Demucs as the waveform-based model. Given an input of mixture, we linearly combined respective outputs from the three models to obtain the final result. We showed in the experiments that, despite its simplicity, Danna-Sep surpassed the SoTA models by a large margin in terms of Source-to-Distortion Ratio.

Time series forecasting (TSF) is critical in domains like energy, finance, healthcare, and logistics, requiring models that generalize across diverse datasets. Large pre-trained models such as Chronos and Time-MoE show strong zero-shot (ZS) performance but suffer from high computational costs. In this work, We introduce Super-Linear, a lightweight and scalable mixture-of-experts (MoE) model for general forecasting. It replaces deep architectures with simple frequency-specialized linear experts, trained on resampled data across multiple frequency regimes. A lightweight spectral gating mechanism dynamically selects relevant experts, enabling efficient, accurate forecasting. Despite its simplicity, Super-Linear matches state-of-the-art performance while offering superior efficiency, robustness to various sampling rates, and enhanced interpretability. The implementation of Super-Linear is available at https://github.com/azencot-group/SuperLinear{https://github.com/azencot-group/SuperLinear}

Fine-tuning large-scale music generation models, such as MusicGen and Mustango, is a computationally expensive process, often requiring updates to billions of parameters and, therefore, significant hardware resources. Parameter-Efficient Fine-Tuning (PEFT) techniques, particularly adapter-based methods, have emerged as a promising alternative, enabling adaptation with minimal trainable parameters while preserving model performance. However, the design choices for adapters, including their architecture, placement, and size, are numerous, and it is unclear which of these combinations would produce optimal adapters and why, for a given case of low-resource music genre. In this paper, we attempt to answer this question by studying various adapter configurations for two AI music models, MusicGen and Mustango, on two genres: Hindustani Classical and Turkish Makam music. Our findings reveal distinct trade-offs: convolution-based adapters excel in capturing fine-grained local musical details such as ornamentations and short melodic phrases, while transformer-based adapters better preserve long-range dependencies crucial for structured improvisation. Additionally, we analyze computational resource requirements across different adapter scales, demonstrating how mid-sized adapters (40M parameters) achieve an optimal balance between expressivity and quality. Furthermore, we find that Mustango, a diffusion-based model, generates more diverse outputs with better adherence to the description in the input prompt while lacking in providing stability in notes, rhythm alignment, and aesthetics. Also, it is computationally intensive and requires significantly more time to train. In contrast, autoregressive models like MusicGen offer faster training and are more efficient, and can produce better quality output in comparison, but have slightly higher redundancy in their generations.