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Woosung Choi

Woosung Choi contributes to research discovery and scholarly infrastructure.

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Published work

3 published item(s)

preprint2026arXiv

Break-the-Beat! Controllable MIDI-to-Drum Audio Synthesis

Current methods for creating drum loop audio in digital music production, such as using one-shot samples or resampling, often demand non-trivial efforts of creators. While recent generative models achieve high fidelity and adhere to text, they lack the specific control needed for such a task. Existing symbolic-to-audio research often focuses on single, tonal instruments, leaving the challenge of polyphonic, percussive drum synthesis unaddressed. We address this gap by introducing ``Break-the-Beat!,'' a model capable of rendering a drum MIDI with the timbre of a reference audio. It is built by fine-tuning a pre-trained text-to-audio model with our proposed content encoder and a effective hybrid conditioning mechanism. To enable this, we construct a new dataset of paired target-reference drum audio from existing drum audio datasets. Experiments demonstrate that our model generates high-quality drum audio that follows high-resolution drum MIDI, achieving strong performance across metrics of audio quality, rhythmic alignment, and beat continuity. This offer producers a new, controllable tool for creative production. Demo page: https://ik4sumii.github.io/break-the-beat/

preprint2022arXiv

LightSAFT: Lightweight Latent Source Aware Frequency Transform for Source Separation

Conditioned source separations have attracted significant attention because of their flexibility, applicability and extensionality. Their performance was usually inferior to the existing approaches, such as the single source separation model. However, a recently proposed method called LaSAFT-Net has shown that conditioned models can show comparable performance against existing single-source separation models. This paper presents LightSAFT-Net, a lightweight version of LaSAFT-Net. As a baseline, it provided a sufficient SDR performance for comparison during the Music Demixing Challenge at ISMIR 2021. This paper also enhances the existing LightSAFT-Net by replacing the LightSAFT blocks in the encoder with TFC-TDF blocks. Our enhanced LightSAFT-Net outperforms the previous one with fewer parameters.Conditioned source separations have attracted significant attention because of their flexibility, applicability and extensionality. Their performance was usually inferior to the existing approaches, such as the single source separation model. However, a recently proposed method called LaSAFT-Net has shown that conditioned models can show comparable performance against existing single-source separation models. This paper presents LightSAFT-Net, a lightweight version of LaSAFT-Net. As a baseline, it provided a sufficient SDR performance for comparison during the Music Demixing Challenge at ISMIR 2021.

preprint2022arXiv

Music Demixing Challenge 2021

Music source separation has been intensively studied in the last decade and tremendous progress with the advent of deep learning could be observed. Evaluation campaigns such as MIREX or SiSEC connected state-of-the-art models and corresponding papers, which can help researchers integrate the best practices into their models. In recent years, the widely used MUSDB18 dataset played an important role in measuring the performance of music source separation. While the dataset made a considerable contribution to the advancement of the field, it is also subject to several biases resulting from a focus on Western pop music and a limited number of mixing engineers being involved. To address these issues, we designed the Music Demixing (MDX) Challenge on a crowd-based machine learning competition platform where the task is to separate stereo songs into four instrument stems (Vocals, Drums, Bass, Other). The main differences compared with the past challenges are 1) the competition is designed to more easily allow machine learning practitioners from other disciplines to participate, 2) evaluation is done on a hidden test set created by music professionals dedicated exclusively to the challenge to assure the transparency of the challenge, i.e., the test set is not accessible from anyone except the challenge organizers, and 3) the dataset provides a wider range of music genres and involved a greater number of mixing engineers. In this paper, we provide the details of the datasets, baselines, evaluation metrics, evaluation results, and technical challenges for future competitions.