arXiv:2607. 11117v1 Announce Type: cross Abstract: AI music generation has rapidly advanced alongside commercial platforms, raising the need for reliable watermarking for provenance and attribution.
By Seohwan Yun, Jeeyoung Yun, Yongjin Kim, Juyeon Lee, Sungwoong Kim
arXiv:2603. 05310v3 Announce Type: replace-cross Abstract: While existing audio watermarking techniques have achieved strong robustness against traditional digital signal processing (DSP) attacks, they remain vulnerable to neural compression.
By Yen-Shan Chen, Shih-Yu Lai, Ying-Jung Tsou, Yi-Cheng Lin, Bing-Yu Chen, Yun-Nung Chen, Hung-yi Lee, Shang-Tse Chen
Audio watermarking aims to embed identifiable information into audio while remaining imperceptible. Existing methods adopt high-fidelity, low-energy designs to preserve perceptual quality, but the resulting watermarks lack robustness under suppression by speech reconstruction models.
arXiv:2606. 11828v1 Announce Type: cross Abstract: Audio watermarking aims to embed identifiable information into audio while remaining imperceptible.
By Haiyun Li, Shuhai Peng, Zhisheng Zhang, Jingran Xie, Xiaofeng Xie, Hanyang Peng, Zhiyong Wu
arXiv:2607. 20253v1 Announce Type: cross Abstract: In this report, we present a unified song generation framework capable of producing high-quality full-length music from lyrics, text descriptions, and musical attributes.
By Junyu Dai, Xinyue Fan, Weiqin Li, Xiangang Li, Yunjia Li, Bin Ma, Yukun Ma, Chongjia Ni, Yufei Shi, Haoxu Wang, Menglin Wu, Jianwei Yu, Huaicheng Zhang, Han Zhao, Shengkui Zhao, Haina Zhu
In this report, we present a unified song generation framework capable of producing high-quality full-length music from lyrics, text descriptions, and musical attributes. The proposed framework supports three tasks: Lyrics-to-Song Generation, which generates complete songs from text descriptions, lyrics, and musical attributes; Instrumental Music Generation, which creates music without vocals; and Cover Song Generation, which reinterprets existing songs with different styles while preserving their melodic content.
Provenance watermarking is increasingly treated as a safeguard for synthetic speech, whether built directly into speech-generation models such as Chatterbox, provided through dedicated techniques such as AudioSeal, or deployed by commercial platforms such as ElevenLabs. We identify a previously uncharacterized liability: when synthetic speech is watermarked and human speech is not, detectors trained alongside latch onto the watermark as a spurious "watermark => fake" shortcut.
arXiv:2606. 23335v2 Announce Type: replace-cross Abstract: Provenance watermarking is increasingly treated as a safeguard for synthetic speech, whether built directly into speech-generation models such as Chatterbox, provided through dedicated techniques such as AudioSeal, or deployed by commercial platforms such as ElevenLabs.
By Nicolas M. M\"uller, Pascal Debus
arXiv:2605. 01790v2 Announce Type: replace-cross Abstract: A common design pattern in high-quality music generation is to handle structure and fidelity in different representation spaces: a generator first models high-level structure, followed by diffusion-based or neural decoding stages that reconstruct fine details.
By Jiafeng Liu, Yuanliang Dong, Hongjia Liu, Yuqing Cheng, Zhancheng Guo, Huijing Liang, Wenbo Zhan, Yuming Sun, Xiaobing Li, Feng Yu, Maosong Sun
arXiv:2608. 10166v1 Announce Type: cross Abstract: Digital watermarking has emerged as a critical technique for provenance and copyright attribution in AI-generated imagery, yet its robustness against realistic, model-agnostic removal attacks remains poorly explored.
By Jie Cao, Qi Li, Zelin Zhang, Xiaodong Wu, Lingshuang Liu, Xiangman Li, Jianbing Ni
arXiv:2606. 16612v1 Announce Type: cross Abstract: The rapid advancement of AI music generators highlights the urgent need for reliable Synthetic Song Detection (SSD).
By Yan Han, Zhibin Wen, Yuan Wang, Shuangrun Shao, Xiaobing Li, Yang Xu, Wei Li
arXiv:2608. 14916v1 Announce Type: cross Abstract: AI-generated music detectors are commonly evaluated against original songs, but real-world uploads are often remixed, re-encoded, pitch-shifted, or otherwise edited.
By Alexandru-Stefan Morosanu, Valerian Cecan, Stefan-Daniel Achirei, Laura Erhan