Distinguishing AI-Generated Music from Edited Audio as a Hard-Negative Robustness Task

AI-generated music detectors are commonly evaluated against original songs, but real-world uploads are often remixed, re-encoded, pitch-shifted, or otherwise edited. These edited versions form a difficult negative class: they are not generated by AI, yet they may introduce spectral artifacts that resemble synthetic audio fingerprints. We study this problem as a hard-negative robustness setting for AI-generated music detection, focusing on AI-generated and edited variants derived from the same anchor songs. We compile a YouTube-based dataset of AI, edited, and original variants, using the original tracks only as references, and train a binary AI versus edited detector. Audio is processed as 10-second clips and passed as raw waveforms to a pretrained PaSST spectrogram transformer. To reduce leakage, all splits are performed by anchor song. On the held-out test set, the final video-level system achieves 0.811 balanced accuracy. At clip level, AI-generated clips reach an F1-score of 0.836, while edited clips reach a lower F1-score of 0.720. The results suggest that AI-generated music retains detectable fingerprint-like spectral cues beyond ordinary editing, but the lower edited-class F1-score shows that these cues can still overlap with artifacts from edited audio. Grad-CAM visualizations are used to inspect whether high-confidence predictions rely on localized time-frequency regions.

A Self-Supervised Approach for Minimal-Annotation Hydroacoustic Data Exploration

Passive hydroacoustic monitoring often generates large volumes of continuous recordings that are only partially exploited due to the cost of manual annotation. Supervised detection methods perform well but require large labeled datasets, seldom available for rare signals or understudied environments. This work proposes a self-supervised exploration pipeline to address this limitation in low-frequency settings. A Masked AutoEncoder (MAE) is pre-trained on a reconstruction pretext task, then used to extract patch-level representations from spectrograms. Within each spectrogram, adjacent informative patches are aggregated into event-level embeddings, enabling the disentanglement of overlapping events. These embeddings are then clustered at the dataset scale using the dimension reduction algorithm UMAP and the clustering algorithm HDBSCAN to identify hydroacoustic patterns. The pipeline was applied to a multi-year hydroacoustic dataset collected near Mayotte Island, Indian Ocean, containing marine mammal vocalizations, seismo-volcanic signals, and anthropogenic noise. The 317 clusters were manually mapped to 15 hydroacoustic classes or noise in less than one hour. The method was evaluated in two ways. Quantitatively, when used as a classifier, it achieved performance comparable to two existing detectors. Qualitatively, it recovered known seasonal patterns of marine mammal acoustic activity. It also identified patterns of previously unstudied signals, thereby demonstrating its practical value.

Time-frequency localization of bird calls in dense soundscapes

Passive acoustic monitoring enables large-scale observation of wildlife, but most bioacoustic classifiers only predict species presence in a time window without localizing vocalizations precisely in time or frequency, limiting downstream analyses. We formulate bird vocalization detection as an object detection task on spectrograms and train YOLO11 models to localize bird calls in dense tropical soundscapes from Singapore. We additionally introduce an open-source browser-based annotation tool and propose Intersection over Minimum (IoMin), an evaluation metric that better handles ambiguous acoustic boundaries than standard IoU and is better suited to the problem at hand. The best YOLO model nearly doubles baseline performance on in-distribution soundscapes from Singapore (81.8% vs. 42.1% IoMin@50 F1-score) while still outperforming the baseline on unseen out-of-distribution recordings from Hawaii (58.6% vs. 48.6%). These results suggest that object detection frameworks are a promising approach to time-frequency localization of animal vocalizations in complex soundscapes.