Binary Balanced Tree Recursive Neural Networks (BBT-RvNNs) enforce sequence composition according to a preset balanced binary tree structure. Thus, their non-linear recursion depth (which is the tree depth) is just $\log_2 n$ ($n$ being the sequence length). Such logarithmic scaling makes BBT-RvNNs efficient and scalable on long sequence tasks such as Long Range Arena (LRA). However, such computational efficiency comes at a cost because BBT-RvNNs cannot solve simple arithmetic tasks like ListOps. On the flip side, RvNN models (e.g., Beam Tree RvNN) that do succeed on ListOps (and other structure-sensitive tasks like formal logical inference) are generally several times more expensive (in time and space) than even Recurrent Neural Networks.

Room impulse response (RIR) functions capture how the surrounding physical environment transforms the sounds heard by a listener, with implications for various applications in AR, VR, and robotics. Whereas traditional methods to estimate RIRs assume dense geometry and/or sound measurements throughout the environment, we explore how to infer RIRs based on a sparse set of images and echoes observed in the space. Towards that goal, we introduce a transformer-based method that uses self-attention to build a rich acoustic context, then predicts RIRs of arbitrary query source-receiver locations through cross-attention. Additionally, we design a novel training objective that improves the match in the acoustic signature between the RIR predictions and the targets. In experiments using a state-of-the-art audio-visual simulator for 3D environments, we demonstrate that our method successfully generates arbitrary RIRs, outperforming state-of-the-art methods and---in a major departure from traditional methods---generalizing to novel environments in a few-shot manner.

This paper introduces The Spheres dataset, multitrack orchestral recordings designed to advance machine learning research in music source separation and related MIR tasks within the classical music domain. The dataset is composed of over one hour recordings of musical pieces performed by the Colibrì Ensemble at The Spheres recording studio, capturing two canonical works - Tchaikovsky's Romeo and Juliet and Mozart's Symphony No. 40 - along with chromatic scales and solo excerpts for each instrument. The recording setup employed 23 microphones, including close spot, main, and ambient microphones, enabling the creation of realistic stereo mixes with controlled bleeding and providing isolated stems for supervised training of source separation models. In addition, room impulse responses were estimated for each instrument position, offering valuable acoustic characterization of the recording space. We present the dataset structure, acoustic analysis, and baseline evaluations using X-UMX based models for orchestral family separation and microphone debleeding. Results highlight both the potential and the challenges of source separation in complex orchestral scenarios, underscoring the dataset's value for benchmarking and for exploring new approaches to separation, localization, dereverberation, and immersive rendering of classical music.

In unsupervised or weakly-supervised approaches for speech dereverberation, the target clean (dry) signals are considered to be unknown during training. In that context, evaluating to what extent information can be retrieved from the sole knowledge of reverberant (wet) speech becomes critical. This work investigates the role of the reverberant (wet) phase in the time-frequency domain. Based on Statistical Wave Field Theory, we show that late reverberation perturbs phase components with white, uniformly distributed noise, except at low frequencies. Consequently, the wet phase carries limited useful information and is not essential for weakly supervised dereverberation. To validate this finding, we train dereverberation models under a recent weak supervision framework and demonstrate that performance can be significantly improved by excluding the reverberant phase from the loss function.

A room's acoustic properties are a product of the room's geometry, the objects within the room, and their specific positions. A room's acoustic properties can be characterized by its impulse response (RIR) between a source and listener

Traditional approaches to model room acoustics require extensive access to the physical environment.

Acoustic Environment Matching (AEM) is the task of transferring clean audio into a target acoustic environment, enabling engaging applications such as audio dubbing and auditory immersive virtual reality (VR). Recovering similar room impulse response (RIR) directly from reverberant speech offers more accessible and flexible AEM solution. However, this capability also introduces vulnerabilities of arbitrary ``relocation" if misused by malicious user, such as facilitating advanced voice spoofing attacks or undermining the authenticity of recorded evidence. To address this issue, we propose EchoMark, the first deep learning-based AEM framework that generates perceptually similar RIRs with embedded watermark. Our design tackle the challenges posed by variable RIR characteristics, such as different durations and energy decays, by operating in the latent domain. By jointly optimizing the model with a perceptual loss for RIR reconstruction and a loss for watermark detection, EchoMark achieves both high-quality environment transfer and reliable watermark recovery. Experiments on diverse datasets validate that EchoMark achieves room acoustic parameter matching performance comparable to FiNS, the state-of-the-art RIR estimator. Furthermore, a high Mean Opinion Score (MOS) of 4.22 out of 5, watermark detection accuracy exceeding 99\%, and bit error rates (BER) below 0.3\% collectively demonstrate the effectiveness of EchoMark in preserving perceptual quality while ensuring reliable watermark embedding.

Room impulse response (RIR) generation remains a critical challenge for creating immersive virtual acoustic environments. Current methods suffer from two fundamental limitations: the scarcity of full-band RIR datasets and the inability of existing models to generate acoustically accurate responses from diverse input modalities. We present PromptReverb, a two-stage generative framework that addresses these challenges. Our approach combines a variational autoencoder that upsamples band-limited RIRs to full-band quality (48 kHz), and a conditional diffusion transformer model based on rectified flow matching that generates RIRs from descriptions in natural language. Empirical evaluation demonstrates that PromptReverb produces RIRs with superior perceptual quality and acoustic accuracy compared to existing methods, achieving 8.8% mean RT60 error compared to -37% for widely used baselines and yielding more realistic room-acoustic parameters. Our method enables practical applications in virtual reality, architectural acoustics, and audio production where flexible, high-quality RIR synthesis is essential.

Accurate far-field speech datasets are critical for tasks such as automatic speech recognition (ASR), dereverberation, speech enhancement, and source separation. However, current datasets are limited by the trade-off between acoustic realism and scalability. Measured corpora provide faithful physics but are expensive, low-coverage, and rarely include paired clean and reverberant data. In contrast, most simulation-based datasets rely on simplified geometrical acoustics, thus failing to reproduce key physical phenomena like diffraction, scattering, and interference that govern sound propagation in complex environments. We introduce Treble10, a large-scale, physically accurate room-acoustic dataset. Treble10 contains over 3000 broadband room impulse responses (RIRs) simulated in 10 fully furnished real-world rooms, using a hybrid simulation paradigm implemented in the Treble SDK that combines a wave-based and geometrical acoustics solver. The dataset provides six complementary subsets, spanning mono, 8th-order Ambisonics, and 6-channel device RIRs, as well as pre-convolved reverberant speech scenes paired with LibriSpeech utterances. All signals are simulated at 32 kHz, accurately modelling low-frequency wave effects and high-frequency reflections. Treble10 bridges the realism gap between measurement and simulation, enabling reproducible, physically grounded evaluation and large-scale data augmentation for far-field speech tasks. The dataset is openly available via the Hugging Face Hub, and is intended as both a benchmark and a template for next-generation simulation-driven audio research.

A room's acoustic properties are a product of the room's geometry, the objects within the room, and their specific positions. A room's acoustic properties can be characterized by its impulse response (RIR) between a source and listener