Search arXivSearch

arXiv · 2509.14675

How Does Instrumental Music Help SingFake Detection?

Abstract

Although many models exist to detect singing voice deepfakes (SingFake), how these models operate, particularly with instrumental accompaniment, is unclear. We investigate how instrumental music affects SingFake detection from two perspectives. To investigate the behavioral effect, we test different backbones, unpaired instrumental tracks, and frequency subbands. To analyze the representational effect, we probe how fine-tuning alters encoders' speech and music capabilities. Our results show that instrumental accompaniment acts mainly as data augmentation rather than providing intrinsic cues (e.g., rhythm or harmony). Furthermore, fine-tuning increases reliance on shallow speaker features while reducing sensitivity to content, paralinguistic, and semantic information. These insights clarify how models exploit vocal versus instrumental cues and can inform the design of more interpretable and robust SingFake detection systems.

Explore related subjects

Keep this discovery

Explore connections, maps & timelines

BibTeXRIS

Xuanjun Chen, Chia-Yu Hu, I-Ming Lin, Yi-Cheng Lin, I-Hsiang Chiu, You Zhang, Sung-Feng Huang, Yi-Hsuan Yang, Haibin Wu, Hung-yi Lee, Jyh-Shing Roger Jang. 2026-01-20. How Does Instrumental Music Help SingFake Detection?. https://arxiv.org/abs/2509.14675

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