arXiv subjects

Lauri Juvela

Publications and source records attributed to Lauri Juvela.

At least 19 recordsLinked to original sources

arXiv2026

Music Restoration via Latent Operator Optimization and Diffusion Model Priors

Music restoration seeks to recover a clean signal from an observed recording degraded by an unknown effect, distortion, or corruption. Existing systems often rely on paired training data and distortion-specific supervision, which limits their use when the forward process is not known in advance. We propose LOUDAR (Latent-space Optimization of Unknown Distortion for Audio Restoration) a general-purpose restoration method that operates in the latent space of a pretrained audio autoencoder and models the unknown distortion as a learnable latent operator. At inference time, LOUDAR alternates between estimating the clean latent variable and updating the latent operator parameters. An unconditional latent diffusion model provides a prior over clean audio and regularizes this inference by steering the latent estimate toward the manifold of clean recordings. Because the degradation model is adapted per input, the approach is broadly applicable across diverse restoration problems. We evaluate LOUDAR on singing voice effect removal and restoration, as well as guitar distortion removal, and show that it consistently improves over degraded inputs and is competitive with supervised and unsupervised baselines in waveform and latent domains.

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arXiv2026

Frequency-Aware Self-Supervised Music Representation Learning

Self-supervised learning (SSL) has emerged as an essential paradigm for music information retrieval (MIR). While current SSL models achieve state-of-the-art performance across various MIR tasks, they typically treat audio as 1D sequences, either operating on time-domain waveforms or on flattened time-frequency-domain spectrograms. This discards the rich spatial and structural information in time-frequency representations and overlooks a fundamental intuition in music production. In particular, music is naturally represented as time-frequency grids in MIDI-based workflows, a structure that tightly corresponds to 2D spectrograms and inherently makes many MIR tasks trivial. Motivated by this intuition, we propose PupuM2D, a musical Masked Modeling Duo (M2D) model that is trained directly on 2D music spectrograms. Instead of applying masked language modeling (MLM) to 1D sequences, PupuM2D learns robust representations by predicting the latent embeddings of masked 2D music spectrogram patches from unmasked contexts. To optimally adapt such a framework to music signals, we also apply domain-specific modifications to model architecture, training scheme, and inference paradigm, with comprehensive ablation studies showing their effectiveness. Evaluations on the MARBLEv2 benchmark show that PupuM2D outperforms the sequence-based SSL models across multiple MIR tasks in linear probing. Additionally, case studies of the attention maps also confirm that PupuM2D captures musically meaningful patterns within the 2D time-frequency domain. Codes and checkpoints are available at: https://www.yichenggu.com/PupuM2D/.

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arXiv2025

Aliasing-Free Neural Audio Synthesis

In neural audio synthesis, neural vocoders and codecs are models that reconstruct waveforms from acoustic and latent representations, which are essential to the resulting audio quality. While current models are capable of generating perceptually natural speech, they still struggle with high-fidelity music and singing voice synthesis, as severe aliasing artifacts are introduced by non-linear activation functions and upsampling layers in existing architectures. Although various anti-aliasing techniques have been proposed in digital signal processing, their integration into neural vocoders and codecs remains under-explored. This paper incorporates differentiable anti-aliasing techniques into the activation and upsampling modules to bridge this gap, and thus presents Pupu-Vocoder and Pupu-Codec. We build a test signal benchmark to evaluate the anti-aliased modules, and validate our proposed models on speech, singing voice, music, and audio. Experimental results show that Pupu-Vocoder and Pupu-Codec outperform existing systems on singing voice, music, and audio, while achieving comparable performance on speech. Demos, codes, and checkpoints are available at: VocodexElysium.github.io/AliasingFreeNeuralAudioSynthesis/.

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arXiv2025

Nord-Parl-TTS: Finnish and Swedish TTS Dataset from Parliament Speech

Text-to-speech (TTS) development is limited by scarcity of high-quality, publicly available speech data for most languages outside a few high-resource languages. We present Nord-Parl-TTS, an open TTS dataset for Finnish and Swedish based on speech found in the wild. Using recordings of Nordic parliamentary proceedings, we extract 900 hours of Finnish and 5090 hours of Swedish speech suitable for TTS training. The dataset is built using an adapted version of the Emilia data processing pipeline and includes unified evaluation sets to support model development and benchmarking. By offering open, large-scale data for Finnish and Swedish, Nord-Parl-TTS narrows the resource gap in TTS between high- and lower-resourced languages.

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arXiv2025

Deep Regularized RNNs for Virtual Analog Modeling

Virtual analog (VA) modeling methods seek to emulate analog audio hardware using digital signal processing (DSP). Modeling approaches fall into three broad categories: white-box methods, which use detailed device knowledge for accurate simulation; gray-box methods that use generic DSP blocks to model the system; and black-box methods, which rely solely on opaque models learned from input-output data. A category of architectures used widely in black-box modeling are recurrent neural networks (RNNs). To model device controls, the control values can be provided as conditioning input to the network. However, when the conditioning is time-varied, the models are susceptible to producing noise artifacts. Regularization of the RNN dynamics significantly reduces these artifacts, though at a loss in modeling accuracy. This paper closes the dynamics regularization quality gap by introducing deep control-conditioned LSTMs and a gammatone filterband (GFB) loss. Experiments indicate that the proposed method achieves comparable modeling performance as unregularized baselines while avoiding the noise artifacts caused by time-varying control inputs.

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arXiv2025

Pronunciation Editing for Finnish Speech using Phonetic Posteriorgrams

Synthesizing second-language (L2) speech is potentially highly valued for L2 language learning experience and feedback. However, due to the lack of L2 speech synthesis datasets, it is difficult to synthesize L2 speech for low-resourced languages. In this paper, we provide a practical solution for editing native speech to approximate L2 speech and present PPG2Speech, a diffusion-based multispeaker Phonetic-Posteriorgrams-to-Speech model that is capable of editing a single phoneme without text alignment. We use Matcha-TTS's flow-matching decoder as the backbone, transforming Phonetic Posteriorgrams (PPGs) to mel-spectrograms conditioned on external speaker embeddings and pitch. PPG2Speech strengthens the Matcha-TTS's flow-matching decoder with Classifier-free Guidance (CFG) and Sway Sampling. We also propose a new task-specific objective evaluation metric, the Phonetic Aligned Consistency (PAC), between the edited PPGs and the PPGs extracted from the synthetic speech for editing effects. We validate the effectiveness of our method on Finnish, a low-resourced, nearly phonetic language, using approximately 60 hours of data. We conduct objective and subjective evaluations of our approach to compare its naturalness, speaker similarity, and editing effectiveness with TTS-based editing. Our source code is published at https://github.com/aalto-speech/PPG2Speech.

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arXiv2025

Neurodyne: Neural Pitch Manipulation with Representation Learning and Cycle-Consistency GAN

Pitch manipulation is the process of producers adjusting the pitch of an audio segment to a specific key and intonation, which is essential in music production. Neural-network-based pitch-manipulation systems have been popular in recent years due to their superior synthesis quality compared to classical DSP methods. However, their performance is still limited due to their inaccurate feature disentanglement using source-filter models and the lack of paired in- and out-of-tune training data. This work proposes Neurodyne to address these issues. Specifically, Neurodyne uses adversarial representation learning to learn a pitch-independent latent representation to avoid inaccurate disentanglement and cycle-consistency training to create paired training data implicitly. Experimental results on global-key and template-based pitch manipulation demonstrate the effectiveness of the proposed system, marking improved synthesis quality while maintaining the original singer identity.

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arXiv2025

Unsupervised Estimation of Nonlinear Audio Effects: Comparing Diffusion-Based and Adversarial approaches

Accurately estimating nonlinear audio effects without access to paired input-output signals remains a challenging problem. This work studies unsupervised probabilistic approaches for solving this task. We introduce a method, novel for this application, based on diffusion generative models for blind system identification, enabling the estimation of unknown nonlinear effects using black- and gray-box models. This study compares this method with a previously proposed adversarial approach, analyzing the performance of both methods under different parameterizations of the effect operator and varying lengths of available effected recordings. Through experiments on guitar distortion effects, we show that the diffusion-based approach provides more stable results and is less sensitive to data availability, while the adversarial approach is superior at estimating more pronounced distortion effects. Our findings contribute to the robust unsupervised blind estimation of audio effects, demonstrating the potential of diffusion models for system identification in music technology.

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arXiv2025

Solid State Bus-Comp: A Large-Scale and Diverse Dataset for Dynamic Range Compressor Virtual Analog Modeling

Virtual Analog (VA) modeling aims to simulate the behavior of hardware circuits via algorithms to replicate their tone digitally. Dynamic Range Compressor (DRC) is an audio processing module that controls the dynamics of a track by reducing and amplifying the volumes of loud and quiet sounds, which is essential in music production. In recent years, neural-network-based VA modeling has shown great potential in producing high-fidelity models. However, due to the lack of data quantity and diversity, their generalization ability in different parameter settings and input sounds is still limited. To tackle this problem, we present Solid State Bus-Comp, the first large-scale and diverse dataset for modeling the classical VCA compressor -- SSL 500 G-Bus. Specifically, we manually collected 175 unmastered songs from the Cambridge Multitrack Library. We recorded the compressed audio in 220 parameter combinations, resulting in an extensive 2528-hour dataset with diverse genres, instruments, tempos, and keys. Moreover, to facilitate the use of our proposed dataset, we conducted benchmark experiments in various open-sourced black-box and grey-box models, as well as white-box plugins. We also conducted ablation studies in different data subsets to illustrate the effectiveness of the improved data diversity and quantity. The dataset and demos are on our project page: https://www.yichenggu.com/SolidStateBusComp/.

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arXiv2025

Estimation and Restoration of Unknown Nonlinear Distortion using Diffusion

The restoration of nonlinearly distorted audio signals, alongside the identification of the applied memoryless nonlinear operation, is studied. The paper focuses on the difficult but practically important case in which both the nonlinearity and the original input signal are unknown. The proposed method uses a generative diffusion model trained unconditionally on guitar or speech signals to jointly model and invert the nonlinear system at inference time. Both the memoryless nonlinear function model and the restored audio signal are obtained as output. Successful example case studies are presented including inversion of hard and soft clipping, digital quantization, half-wave rectification, and wavefolding nonlinearities. Our results suggest that, out of the nonlinear functions tested here, the cubic Catmull-Rom spline is best suited to approximating these nonlinearities. In the case of guitar recordings, comparisons with informed and supervised methods show that the proposed blind method is at least as good as they are in terms of objective metrics. Experiments on distorted speech show that the proposed blind method outperforms general-purpose speech enhancement techniques and restores the original voice quality. The proposed method can be applied to audio effects modeling, restoration of music and speech recordings, and characterization of analog recording media.

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arXiv2024

Open-Amp: Synthetic Data Framework for Audio Effect Foundation Models

This paper introduces Open-Amp, a synthetic data framework for generating large-scale and diverse audio effects data. Audio effects are relevant to many musical audio processing and Music Information Retrieval (MIR) tasks, such as modelling of analog audio effects, automatic mixing, tone matching and transcription. Existing audio effects datasets are limited in scope, usually including relatively few audio effects processors and a limited amount of input audio signals. Our proposed framework overcomes these issues, by crowdsourcing neural network emulations of guitar amplifiers and effects, created by users of open-source audio effects emulation software. This allows users of Open-Amp complete control over the input signals to be processed by the effects models, as well as providing high-quality emulations of hundreds of devices. Open-Amp can render audio online during training, allowing great flexibility in data augmentation. Our experiments show that using Open-Amp to train a guitar effects encoder achieves new state-of-the-art results on multiple guitar effects classification tasks. Furthermore, we train a one-to-many guitar effects model using Open-Amp, and use it to emulate unseen analog effects via manipulation of its learned latent space, indicating transferability to analog guitar effects data.

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arXiv2024

HiFi-Glot: High-Fidelity Neural Formant Synthesis with Differentiable Resonant Filters

Formant synthesis aims to generate speech with controllable formant structures, enabling precise control of vocal resonance and phonetic features. However, while existing formant synthesis approaches enable precise formant manipulation, they often yield an impoverished speech signal by failing to capture the complex co-occurring acoustic cues essential for naturalness. To address this issue, this letter presents HiFi-Glot, an end-to-end neural formant synthesis system that achieves both precise formant control and high-fidelity speech synthesis. Specifically, the proposed model adopts a source--filter architecture inspired by classical formant synthesis, where a neural vocoder generates the glottal excitation signal, and differentiable resonant filters model the formants to produce the speech waveform. Experiment results demonstrate that our proposed HiFi-Glot model can generate speech with higher perceptual quality and naturalness while exhibiting a more precise control over formant frequencies, outperforming industry-standard formant manipulation tools such as Praat. Code, checkpoints, and representative audio samples are available at https://www.yichenggu.com/HiFi-Glot/.

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arXiv2024

Audio Codec Augmentation for Robust Collaborative Watermarking of Speech Synthesis

Automatic detection of synthetic speech is becoming increasingly important as current synthesis methods are both near indistinguishable from human speech and widely accessible to the public. Audio watermarking and other active disclosure methods of are attracting research activity, as they can complement traditional deepfake defenses based on passive detection. In both active and passive detection, robustness is of major interest. Traditional audio watermarks are particularly susceptible to removal attacks by audio codec application. Most generated speech and audio content released into the wild passes through an audio codec purely as a distribution method. We recently proposed collaborative watermarking as method for making generated speech more easily detectable over a noisy but differentiable transmission channel. This paper extends the channel augmentation to work with non-differentiable traditional audio codecs and neural audio codecs and evaluates transferability and effect of codec bitrate over various configurations. The results show that collaborative watermarking can be reliably augmented by black-box audio codecs using a waveform-domain straight-through-estimator for gradient approximation. Furthermore, that results show that channel augmentation with a neural audio codec transfers well to traditional codecs. Listening tests demonstrate collaborative watermarking incurs negligible perceptual degradation with high bitrate codecs or DAC at 8kbps.

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arXiv2024

End-to-End Amp Modeling: From Data to Controllable Guitar Amplifier Models

This paper describes a data-driven approach to creating real-time neural network models of guitar amplifiers, recreating the amplifiers' sonic response to arbitrary inputs at the full range of controls present on the physical device. While the focus on the paper is on the data collection pipeline, we demonstrate the effectiveness of this conditioned black-box approach by training an LSTM model to the task, and comparing its performance to an offline white-box SPICE circuit simulation. Our listening test results demonstrate that the neural amplifier modeling approach can match the subjective performance of a high-quality SPICE model, all while using an automated, non-intrusive data collection process, and an end-to-end trainable, real-time feasible neural network model.

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arXiv2023

Collaborative Watermarking for Adversarial Speech Synthesis

Advances in neural speech synthesis have brought us technology that is not only close to human naturalness, but is also capable of instant voice cloning with little data, and is highly accessible with pre-trained models available. Naturally, the potential flood of generated content raises the need for synthetic speech detection and watermarking. Recently, considerable research effort in synthetic speech detection has been related to the Automatic Speaker Verification and Spoofing Countermeasure Challenge (ASVspoof), which focuses on passive countermeasures. This paper takes a complementary view to generated speech detection: a synthesis system should make an active effort to watermark the generated speech in a way that aids detection by another machine, but remains transparent to a human listener. We propose a collaborative training scheme for synthetic speech watermarking and show that a HiFi-GAN neural vocoder collaborating with the ASVspoof 2021 baseline countermeasure models consistently improves detection performance over conventional classifier training. Furthermore, we demonstrate how collaborative training can be paired with augmentation strategies for added robustness against noise and time-stretching. Finally, listening tests demonstrate that collaborative training has little adverse effect on perceptual quality of vocoded speech.

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arXiv2023

DDSP-based Neural Waveform Synthesis of Polyphonic Guitar Performance from String-wise MIDI Input

We explore the use of neural synthesis for acoustic guitar from string-wise MIDI input. We propose four different systems and compare them with both objective metrics and subjective evaluation against natural audio and a sample-based baseline. We iteratively develop these four systems by making various considerations on the architecture and intermediate tasks, such as predicting pitch and loudness control features. We find that formulating the control feature prediction task as a classification task rather than a regression task yields better results. Furthermore, we find that our simplest proposed system, which directly predicts synthesis parameters from MIDI input performs the best out of the four proposed systems. Audio examples are available at https://erl-j.github.io/neural-guitar-web-supplement.

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arXiv2023

Speaker-independent neural formant synthesis

We describe speaker-independent speech synthesis driven by a small set of phonetically meaningful speech parameters such as formant frequencies. The intention is to leverage deep-learning advances to provide a highly realistic signal generator that includes control affordances required for stimulus creation in the speech sciences. Our approach turns input speech parameters into predicted mel-spectrograms, which are rendered into waveforms by a pre-trained neural vocoder. Experiments with WaveNet and HiFi-GAN confirm that the method achieves our goals of accurate control over speech parameters combined with high perceptual audio quality. We also find that the small set of phonetically relevant speech parameters we use is sufficient to allow for speaker-independent synthesis (a.k.a. universal vocoding).

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arXiv2023

Adversarial Guitar Amplifier Modelling With Unpaired Data

We propose an audio effects processing framework that learns to emulate a target electric guitar tone from a recording. We train a deep neural network using an adversarial approach, with the goal of transforming the timbre of a guitar, into the timbre of another guitar after audio effects processing has been applied, for example, by a guitar amplifier. The model training requires no paired data, and the resulting model emulates the target timbre well whilst being capable of real-time processing on a modern personal computer. To verify our approach we present two experiments, one which carries out unpaired training using paired data, allowing us to monitor training via objective metrics, and another that uses fully unpaired data, corresponding to a realistic scenario where a user wants to emulate a guitar timbre only using audio data from a recording. Our listening test results confirm that the models are perceptually convincing.

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