Search arXivSearch

arXiv · 2505.14188

Source Verification for Speech Deepfakes

Abstract

With the proliferation of speech deepfake generators, it becomes crucial not only to assess the authenticity of synthetic audio but also to trace its origin. While source attribution models attempt to address this challenge, they often struggle in open-set conditions against unseen generators. In this paper, we introduce the source verification task, which, inspired by speaker verification, determines whether a test track was produced using the same model as a set of reference signals. Our approach leverages embeddings from a classifier trained for source attribution, computing distance scores between tracks to assess whether they originate from the same source. We evaluate multiple models across diverse scenarios, analyzing the impact of speaker diversity, language mismatch, and post-processing operations. This work provides the first exploration of source verification, highlighting its potential and vulnerabilities, and offers insights for real-world forensic applications.

Explore related subjects

Keep this discovery

Explore connections, maps & timelines

BibTeXRIS

Viola Negroni, Davide Salvi, Paolo Bestagini, Stefano Tubaro. 2025-05-20. Source Verification for Speech Deepfakes. https://arxiv.org/abs/2505.14188

Cite the original work for its findings. Save a collection to share your selection of sources.

KEEP EXPLORING

Related papers

Text-only adaptation in LLM-based ASR through text denoising

Adapting large language model (LLM)-based automatic speech recognition (ASR) systems to new domains using text-only data is a significant yet underexplored challenge. Standard fine-tuning of the LLM on the target domain text often disrupts the critical alignment between the speech and text modality learned by the projector, degrading performance. We introduce a novel text-only adaptation method that frames this process as a text denoising task. Our approach trains the LLM to recover clean transcripts from noisy inputs. This process effectively adapts the model to a target domain while preserving cross-modal alignment. Our solution is lightweight, requiring no architectural changes or additional parameters. Extensive evaluation on two datasets demonstrates up to 22.1% relative improvement, outperforming recent state-of-the-art text-only adaptation methods.

cs.SD

Discrete vs. Continuous: A Comprehensive Study of Unified Audio Understanding in LALMs

Large Audio Language Models (LALMs) utilize either continuous features or discrete tokens, yet the optimal representation paradigm for general audio understanding remains debated. Existing benchmarks often focus on narrow domains or evaluate encoders outside LALM contexts. To address these gaps, we systematically evaluate continuous and discrete representations across speech, sound and music. Utilizing our UniARC framework with dual evaluation strategies across model scales from SmolLM2-135M to Llama-3-8B, we analyze the dynamic relationships of data volume, model capacity, and computational efficiency. Our results reveal the pivotal role of semantic constraints in tokenization for audio understanding and demonstrate that scaling backbones fail to compensate for information loss in audio representation, especially in data-limited tasks. These findings offer practical guidance for balancing semantic density, fidelity, and efficiency in future LALMs.

cs.SD

Synthesis and editing of multi-instrument audio mixtures using scalar-quantised latents with MIDI Span conditioning

Music creation often involves iterative refinement, changing selected musical details while retaining the rest. To support such refinement, we introduce SpanSynth-Edit, a flow-matching model for MIDI-guided synthesis and editing of multi-instrument audio mixtures using low-frame-rate scalar-quantised latents. MIDI Span encodes instrument-labelled note lifecycles as unordered event sets with continuous-valued attributes and pools each set into one conditioning vector per audio-latent frame. The model uses contextual audio for instrument-specific timbre guidance and supports editing by resynthesising the target region from revised MIDI. Experiments on single- and multi-instrument benchmarks show competitive performance and demonstrate within-frame onset control. We also discuss limitations of transcription-based note-adherence evaluation.

cs.SD