TORUS

TORUSA Unified Closed-Loop Benchmark for Unified Audio Models

Abstract

Unified audio models capable of audio understanding, audio generation and, increasingly, audio editing are proliferating rapidly. However, each capability is evaluated in isolation on specialized benchmarks and a basic question remains unanswered: can these models understand the audio they generate/edit i.e. do they exhibit audio understanding-generation self-coherence (UGCOWN)? We introduce TORUS, an audio-native unified benchmark for holistic, closed-loop evaluation of unified audio models comprising 1,053 questions (117 tests) spanning 21 tasks and 8 audio domain settings across all 3 audio types. We evaluate unified models and cascades of specialized models across objective and subjective metrics. Best unified models are able to answer only 52.4% questions about their generations, while gpt-audio can answer 53.6% questions. We hypothesize that a truly unified audio intelligence should be highly self-coherent and thus position understanding-generation coherence as an essential test for future unified audio systems.

Benchmark at a glance
AudioUnderstandingAudioGenerationAudioEditingTORUS
117 tests
1,053 questions
6-option MCQs
Comparison with existing benchmarks
BenchmarkSizeModalityTasksProtocol
VSpSoMuUGECFLeak
MMAU-Pro5,305✗✓✓✓✓✗✗✗●
ADQA-Bench3,000✗✓✓✓✓✗✗✗✓
RiTTA800✗✗✓✗✗✓✗✗✗
TTA-Bench2,999✗✓✓✓✗✓✗✗✗
SpeechEditBench4,700✗✓✗✗✗✗✓✗✗
MMAE2,000✗✓✓✓✗✗✓✗✗
MME-Unify4,104✓✗✗✗✓✓✓✗✗
UmniBench4,797✓✗✗✗✓✓✓✓✗
TORUS (ours)1,053✗✓✓✓✓✓✓✓✓
V vision, Sp speech, So sound, Mu music; U understanding, G generation, E editing; CF counterfactual testing; Leak leakage screening; ● partial or not screened.
Closed-loop versus isolated evaluation
Isolated benchmarksUnderstandingUanswerkeyGenerationgenerationpromptGjudgeEditingeditingpromptGjudgeUnderstanding (U) and Generation (G)evaluated in isolationTORUS (Ours)Stage 1GenerationStage 2EditStage 3Counterfact. edit“A dog barks twice,then a door slams.”Ggenerated audiojudgeUQ: What follows the barks?A: car hornB: door slamSelf-coherenceClosed-loop evaluation ofunderstanding and generation

Benchmark coverage

Composition

Audio type
1,053
questions
117 tests
  • Sound351 q · 39 tests 33%
  • Speech351 q · 39 tests 33%
  • Music351 q · 39 tests 33%
Audio domain
8
domains
1,053 questions
  • Home and living space189 q · 21 tests 18%
  • Live performance153 q · 17 tests 15%
  • Studio and rehearsal153 q · 17 tests 15%
  • Office and institution135 q · 15 tests 13%
  • Street and transport126 q · 14 tests 12%
  • Crowd and venue108 q · 12 tests 10%
  • Workshop and machinery99 q · 11 tests 9%
  • Outdoors and nature90 q · 10 tests 9%

Task distribution: 5 task families, 21 tasks

1,053
questions
117 tests
21 tasks in 5 families; percentages are each family's share of the 1,053 questions
  • AScene composition, sources & preservation.16.2% What is presented, removed or swapped, and the rest must survive unchanged.Source additionSource substitutionSource subtraction
  • BPhysical causality, materials & forces.15.4% The consequence follows from physics: what something is made of, how hard it is struck, or a default sound that must be withheld.Material outcomeSuppressed defaultForce magnitude
  • CScene acoustics, channel & placement.18.8% The scene stays the same and the way it is heard changes: a barrier or microphone, a source moving, or the balance between sources shifting.Channel transferProminence balanceSource motionSelective channel
  • DTemporal structure, order & count.28.2% When things happen and how many times: order, counts, durations and tempo, intensity shape, and synchronisation between sources.Count integrityEvent orderIntensity trajectoryDuration tempoSynchronization
  • EInteraction dynamics, intent & delivery.21.4% Who speaks, what they say and how they say it, and whether a response fits: repairs, speaker changes, word swaps, prosody, affect.Conversational repairProsody deliverySpeaker continuityReaction significanceAffective congruenceLexical substitution

Experimental setup

Test generation

Human authoring and verification at the start and end, LLM/LALM authoring and gates in between; flagged questions get at most 2 repair rounds (options only, then question and options).

Evaluation pipeline

Native editing: each test comprises 3 stages (9 MCQs); each stage has a Render phase (G generates or edits a clip) and an Evaluate phase (U answers three MCQs about it).

Audio samples (please click each header to explore)

Select a test above to listen to all six models and see how each one answered.

soundB physical causalityforce-magnitude the same shove taken by the wall

How to read thisWe present the audio outputs of each model and its answers in the graphic below. The generation and edit prompts are labelled at the top; the questions and each model’s derived generation prompts can be seen on hover or in the drop-downs.

Stage 1 - GenerateT2A
promptIn a kitchen with a running refrigerator, a person gently pushes a wooden cutlery drawer shut.
intended audioA kitchen, faint fridge hum. A wooden cutlery drawer is pushed shut gently: a short soft roll on its runners, a light click of the catch, one faint chink.
Stage 2 - EditStyle Transfer
promptShove the drawer shut hard instead of pushing it gently.
intended audioThe same drawer is shoved shut hard: a fast rumbling roll, a loud wooden bang at the stop, the catch snapping, and the cutlery jangling for a second before settling.
Stage 3 - Counterfactual editStyle Transfer
promptThe cabinet stands on castors; push the entire cabinet back so it rolls and hits the wall, closing the drawer.
intended audioThe cabinet stands free on castors: it trundles back and hits the wall with a heavy thud and a low booming ring, the drawer closing with a soft knock.
ModelStage 1 - GenerateStage 2 - EditStage 3 - Counterfactual editScore
ClipClipClip
Cascaded BaselineS1.1 S1.2 S1.3✓✗✗S2.1 S2.2 S2.3✓✓✗S3.1 S3.2 S3.3✗✗✓4/9
Audex-30BS1.1 S1.2 S1.3✓✓✗S2.1 S2.2 S2.3✓✗✓S3.1 S3.2 S3.3✓✗✗5/9
Audio-OmniS1.1 S1.2 S1.3✓✗✗S2.1 S2.2 S2.3✓✗✓S3.1 S3.2 S3.3✓✗✗4/9
Audex-2BS1.1 S1.2 S1.3✗✓✗S2.1 S2.2 S2.3✗✗✓S3.1 S3.2 S3.3✗✗✗2/9
UniAudio-2S1.1 S1.2 S1.3✗✓✗S2.1 S2.2 S2.3✗✗✓S3.1 S3.2 S3.3✗✗✗2/9
Unified-IO 2S1.1 S1.2 S1.3✗✓✗S2.1 S2.2 S2.3✓✗✗S3.1 S3.2 S3.3✗✗✓3/9
What each model wrote and was given at stages 2 and 3

Exact text from each run. Self-caption chain models: U hears its own previous clip with the edit prompt and writes the derived generation prompt below (for speech in TTS mode, a derived transcript); G receives only that text. Audio-Omni receives the edit with its previous clip. The Cascaded Baseline (specialist editors) is not shown. Hover any Stage 2 or 3 clip above to see its entry.

ModelStage 2edit prompt: “Shove the drawer shut hard instead of pushing it gently.”Stage 3counterfactual prompt: “The cabinet stands on castors; push the entire cabinet back so it rolls and hits the wall, closing the drawer.”
Audex-30Bself-caption chainDerived generation prompt for G“A drawer is slammed shut with a forceful, loud thud instead of being gently pushed.”Derived generation prompt for G“The audio features the sound of a cabinet on castors being pushed back, rolling and hitting a wall, followed by the closing of a drawer.”
Audex-2Bself-caption chainDerived generation prompt for G“The drawer is shut hard with a loud, forceful sound.”Derived generation prompt for G“A cabinet on casters is pushed back, rolling and hitting the wall to close a drawer.”
UniAudio-2self-caption chainDerived generation prompt for G“\ntext: one sentence describing the resulting audio, sufficient on its own to generate it”Derived generation prompt for G“The audio resulting from the edit is: "The cabinet stands on castors; push the entire cabinet back so it rolls and hits the wall, closing the drawer.”
Unified-IO 2self-caption chainDerived generation prompt for G“Shove the drawer shut hard instead of pushing it gently.”U copied the edit prompt word for wordDerived generation prompt for G“The cabinet stands on castors; push the entire cabinet back so it rolls and hits the wall, closing the drawer.”U copied the edit prompt word for word
Audio-Omninative editNative edit · Style Transfer · on its Stage-1 clipsource → target“gently pushing the drawer shut” → “shoving the drawer shut hard”Native edit · Style Transfer · on its Stage-2 clipsource → target“shoving the drawer shut” → “trundling the wheeled cabinet into a wall”
Show all nine questions (three per stage)
Stage 1 - Generate
S1.1What is the primary action and setting depicted in this recording?
  • A wooden sliding compartment is pulled fully open in a completely silent room.
  • A plastic storage bin is dropped onto a carpeted floor in a quiet room.
  • A wooden sliding compartment is gently pushed shut in a room with a faint background hum.
  • A heavy wooden door is slowly latched shut in an outdoor setting with wind noise.
  • A metal filing cabinet drawer is slammed shut in a noisy office environment.
  • The sliding compartment is 30 centimeters wide and painted white, operating in a modern kitchen.
S1.2After the initial soft rolling sound of the drawer, which sequence of sounds is heard?
  • A light click of the catch, followed by a single faint metallic chink.
  • A single faint metallic chink, followed by a sharp wooden rattle.
  • A sharp wooden rattle, followed by a single faint metallic chink.
  • A single faint metallic chink, followed by a light click of the catch.
  • A light click of the catch, followed by a sharp wooden rattle.
  • A sharp wooden rattle, followed by a light click of the catch.
S1.3What is the manner of the closing event for the sliding compartment?
  • The sliding compartment is pushed by a person who is in a hurry, using their elbow to close it.
  • The movement is jerky and hesitant, resulting in multiple squeaks and uneven scraping sounds.
  • The movement is moderate in speed, resulting in a hollow, echoing wooden bounce.
  • The movement is slow and low-energy, resulting in a very soft, cushioned contact sound.
  • The movement is completely silent, with only the final metallic contact being audible.
  • The movement is extremely rapid and forceful, resulting in a loud, sharp wooden impact.
Stage 2 - Edit
S2.1What primary event occurs in this recording?
  • A heavy chest lid is slammed shut heavily, producing a deep wooden boom and a prolonged metallic vibration.
  • A cabinet door is swung shut quickly, producing a dull wooden thud and a brief metallic clink.
  • A sliding drawer is pulled open forcefully, producing a brief rolling sound and a sudden clatter of metal.
  • A sliding compartment is violently slammed shut, producing a loud wooden impact and a sharp metallic rattle.
  • A metal toolbox is dropped onto a table, producing a loud clanging impact and a sharp rattling sound.
  • A sliding compartment is pushed closed gently, producing a soft wooden click and a light metallic jingle.
S2.2What is the sequence of acoustic events during the closing of the sliding compartment?
  • A loud wooden bang occurs first, followed by a rapid rumbling sound and a final quiet metallic click.
  • The hand contacts the handle, the drawer slides along its metal tracks, and the internal cutlery is displaced.
  • A rapid, heavy rumbling sound is followed by a loud wooden bang, which then triggers a brief period of jangling metal.
  • A brief, soft rolling sound occurs first, followed immediately by a quiet click and a single faint metallic chink.
  • A sharp metallic jangling occurs first, followed by a heavy rumbling sound and a final soft wooden knock.
  • A continuous wooden scraping sound occurs first, ending abruptly with no metallic sounds at all.
S2.3What is the manner of the sound made by the loose items inside the sliding compartment during the event?
  • The loose items jangle loudly and chaotically for about a second before settling.
  • The loose items produce only a single, barely audible metallic chink.
  • The loose items consist of stainless steel forks and spoons that are slightly scratched from use.
  • The loose items remain completely silent and undisturbed throughout the event.
  • The loose items slide smoothly with a continuous, low-pitched scraping sound.
  • The loose items rattle in a rhythmic, repeating pattern that slowly fades out over several seconds.
Stage 3 - Counterfactual edit
S3.1Which of these describes the events present in this recording?
  • A wooden cabinet on four rubber castors is pushed two meters across a kitchen floor into a plaster wall.
  • A heavy rolling structure trundles and collides with a surface, but no internal sliding compartment movement or closing sound occurs.
  • A heavy rolling structure trundles and collides with a surface, accompanied by a separate, quieter sliding compartment closing sound.
  • A heavy rolling structure is pushed smoothly across a carpeted floor without colliding or causing any other sounds.
  • A heavy object is dropped directly onto a wooden floor, followed by the sound of a sliding compartment opening.
  • A sliding compartment is slammed shut violently, with no rolling sound from the larger structure.
S3.2What is the sequence of acoustic events in this recording?
  • A heavy, resonant thud occurs first, followed immediately by a continuous, high-pitched metallic rattling.
  • A soft, dull knock occurs first, followed by a low trundling sound and a final heavy, resonant thud.
  • The operator pushes the cabinet, the wheels rotate on the floor, and the drawer slides shut due to inertia.
  • A low trundling sound leads to a heavy, resonant thud, followed shortly after by a soft, dull knock.
  • A rapid, heavy rumbling sound is followed by a loud wooden bang, which then triggers a brief period of jangling metal.
  • A low trundling sound occurs continuously, with a soft knock and a heavy thud happening at the exact same instant.
S3.3What is the manner of the sound produced by the sliding compartment closing during this event?
  • The sliding compartment closes with a loud, sustained metallic jangling of loose items.
  • The sliding compartment closes with a muffled, rubbery thud that repeats twice.
  • The sliding compartment is made of oak and contains heavy silverware that remains perfectly organized.
  • The sliding compartment closes with a quiet, soft knock and no metallic jangling.
  • The sliding compartment closes with a sharp, high-pitched wooden snap and a loud click.
  • The sliding compartment closes with a long, screeching scrape followed by a heavy crash.

speechD temporal structureduration-tempo stage line paced out, then run on one breath

How to read thisWe present the audio outputs of each model and its answers in the graphic below. The generation and edit prompts are labelled at the top; the questions and each model’s derived generation prompts can be seen on hover or in the drop-downs.

Stage 1 - GenerateT2A
promptIn a rumbling hall, an actor projects: 'The messenger arrived at dawn and nobody opened the gate.', inserting three long silences within the line.
intended audioA hall with a long tail and low air rumble. An actor projects 'The messenger arrived at dawn and nobody opened the gate.' with three long silences inside it.
Stage 2 - EditStyle Transfer
promptMake the actor deliver the line three times faster without any pauses.
intended audioA hall with a long tail and low air rumble. The actor runs the same line straight through on one breath, three times faster, the tails washing over the words.
Stage 3 - Counterfactual editStyle Transfer
promptModify the actor's voice to become weak, breathy, and strained during the final third of the line.
intended audioA hall with a long tail and low air rumble. Two thirds through the fast unbroken line, the voice thins to a weak, breathy, strained sound for the last words.
ModelStage 1 - GenerateStage 2 - EditStage 3 - Counterfactual editScore
ClipClipClip
Cascaded BaselineS1.1 S1.2 S1.3✓✓✓S2.1 S2.2 S2.3✗✓✓S3.1 S3.2 S3.3✗✗✗5/9
Audex-30B TTSS1.1 S1.2 S1.3✓✓✓S2.1 S2.2 S2.3✗✓✗S3.1 S3.2 S3.3✓✗✗5/9
Audio-OmniS1.1 S1.2 S1.3✓✓✓S2.1 S2.2 S2.3✗✓✗S3.1 S3.2 S3.3✓✗✓6/9
Audex-2B TTSS1.1 S1.2 S1.3✓✓✓S2.1 S2.2 S2.3✗✗✓S3.1 S3.2 S3.3✓✗✗5/9
UniAudio-2 TTSS1.1 S1.2 S1.3✓✓✓S2.1 S2.2 S2.3✓✓✗S3.1 S3.2 S3.3✓✗✗6/9
Unified-IO 2S1.1 S1.2 S1.3✗✗✗S2.1 S2.2 S2.3✗✗✗S3.1 S3.2 S3.3✗✗✓1/9
What each model wrote and was given at stages 2 and 3

Exact text from each run. Self-caption chain models: U hears its own previous clip with the edit prompt and writes the derived generation prompt below (for speech in TTS mode, a derived transcript); G receives only that text. Audio-Omni receives the edit with its previous clip. The Cascaded Baseline (specialist editors) is not shown. Hover any Stage 2 or 3 clip above to see its entry.

ModelStage 2edit prompt: “Make the actor deliver the line three times faster without any pauses.”Stage 3counterfactual prompt: “Modify the actor's voice to become weak, breathy, and strained during the final third of the line.”
Audex-30B TTSself-caption chainDerived transcript for G“In a rumbling hall an actor projects, the messenger arrived at dawn and nobody opened the gate, inserting three long silences within the line.”Derived transcript for G“In a rumbling hall an actor projects, the messenger arrived at dawn and nobody opened the gate, inserting three long silences within the line.”
Audex-2B TTSself-caption chainDerived transcript for G“In a rumbling hall an actor projects the messenger arrived at dawn and nobody opened the gate, inserting three long silences within the line.”Derived transcript for G“In a rumbling hall an actor projects the messenger arrived at dawn and nobody opened the gate, inserting three long silences within the line.”
UniAudio-2 TTSself-caption chainDerived transcript for G“The actor repeats the line three times faster without pauses”Derived transcript for G“The actor's voice becomes weak and strained”
Unified-IO 2self-caption chainDerived generation prompt for G“Faster line”Derived generation prompt for G“{”U wrote no usable text; G was given this as is
Audio-Omninative editNative edit · Style Transfer · on its Stage-1 clipsource → target“slow with pauses” → “fast and continuous”Native edit · Style Transfer · on its Stage-2 clipsource → target“consistent fast delivery” → “strained breathy ending”
Show all nine questions (three per stage)
Stage 1 - Generate
S1.1Which of the following best describes the acoustic environment and delivery of the speech in the recording?
  • A voice speaking with pauses in a carpeted lecture room with a dry, muffled acoustic.
  • A voice speaking with pauses in a high-ceilinged tiled corridor with a bright, flutter echo.
  • A voice speaking with pauses in a large, rumbling hall with a long reverberation tail.
  • A voice speaking with pauses in a narrow, damp cellar with a rapid, metallic echo.
  • A voice speaking with pauses in an open-air concrete courtyard with a short, faint decay.
  • A voice speaking with pauses in a small, wooden cabin with a warm, tight reverberation.
S1.2How do the spoken words and the background environment alternate over time?
  • The spoken phrases are delivered continuously without any pauses, followed by a long silence at the very end.
  • The spoken phrases are separated by long pauses where only the room's reverberation and rumble continue.
  • The text transcript shows punctuation marks indicating where the speaker should have paused.
  • The spoken phrases overlap with each other, creating a continuous layer of speech with no silence at all.
  • The speech starts with a long pause, and then each word is followed by an immediate loud echo that cuts off the next word.
  • The background rumble plays first for several seconds, followed by the entire sentence spoken without any gaps.
S1.3Which of the following describes the pacing and structure of the spoken sentence?
  • The sentence is delivered at a normal conversational pace with no pauses at all.
  • The sentence is delivered extremely fast, with brief gaps after every single word.
  • The sentence is delivered with a constantly accelerating pace, ending in a rapid rush of words.
  • The sentence contains exactly twelve words spoken in a highly dramatic tone.
  • The sentence is delivered slowly, interrupted by three distinct, long pauses.
  • The sentence is delivered slowly, with a single long pause right in the middle of the line.
Stage 2 - Edit
S2.1What happens in this scene?
  • The speaker delivers the entire sentence rapidly in a single continuous breath without any pauses.
  • The speaker delivers the sentence slowly, with three long pauses separating the phrases.
  • The transcript of the sentence is displayed on a screen with a fast-forward icon next to it.
  • The speaker delivers the sentence at a normal, steady pace with brief pauses between words.
  • The speaker delivers only the first half of the sentence and then stops completely.
  • The speaker whispers the sentence slowly, pausing after every word to take a deep breath.
S2.2What is the relationship between the speaker's delivery and the room's acoustics in this recording?
  • The speaker's increasing distance from the microphone causes the sound to transition from dry and intimate to highly reverberant.
  • The steady, rhythmic cadence prevents the reverberation from building up, keeping the level of decay constant throughout.
  • The whispered delivery fails to excite the room's acoustics, keeping the voice dry despite the large hall setting.
  • The deliberate pauses between phrases allow the long reverberant tail of each segment to completely decay to silence.
  • The rapid, unbroken delivery on a single breath causes the reverberant tails of the words to overlap and blend together.
  • The fluctuating speech rate creates alternating periods of heavy reverberation and clear, dry silence.
S2.3How does the rapid delivery of the spoken line interact with the acoustics of the hall?
  • The reverberant tails of the words accumulate and partially wash over the speech.
  • The low-frequency air rumble in the room builds up to mask the quieter consonants of the speech.
  • The speed of the delivery prevents the late reflections from fully developing, keeping the sound dry.
  • The room boundaries rapidly absorb the high frequencies, causing the speech to sound progressively muffled.
  • The overlapping acoustic reflections create a metallic comb-filtering effect that alters the vocal timbre.
  • The fast-paced delivery excites a series of distinct flutter echoes that punctuate the gaps between words.
Stage 3 - Counterfactual edit
S3.1Which of the following best describes the vocal delivery and acoustic environment in the recording?
  • A rapid, continuous delivery of a spoken sentence inside a large, highly reverberant hall, with the voice thinning to a weak, breathy, strained sound at the end.
  • A natural, conversational delivery of a spoken sentence inside a completely dry, soundproofed booth, with the voice thinning to a weak, breathy, strained sound at the end.
  • A slow, deliberate delivery of a spoken sentence inside a small, heavily carpeted office, with the voice thinning to a weak, breathy, strained sound at the end.
  • A slow, deliberate delivery of a spoken sentence inside a large, highly reverberant hall, with the voice trailing off into a soft, gentle whisper at the end.
  • A natural, conversational delivery of a spoken sentence inside a large, highly reverberant hall, with the voice remaining clear, steady, and consistent until the end.
  • A rapid, continuous delivery of a spoken sentence inside a small, heavily carpeted office, with the voice remaining clear, steady, and consistent until the end.
S3.2How does the quality of the voice change over the course of the spoken sentence?
  • The voice starts with a soft, breathy delivery for the first half of the sentence, then shifts to an intense, shouting quality for the remaining words.
  • The voice projects strongly for the first two thirds of the sentence, then shifts to a weak, strained quality for the final words.
  • The voice exhibits a high pitched, tense quality for the first two thirds of the sentence, then suddenly drops to a deep, relaxed tone for the final words.
  • The voice maintains a consistent, well projected strength throughout the first half of the sentence, then gradually fades into complete silence.
  • The voice starts with a shaky, whispered tone for the first third of the sentence, then gains a strong, resonant quality for the remaining words.
  • The voice begins with a clear, steady tone, drops to a raspy whisper in the middle, and returns to its original strength for the final words.
S3.3What is the vocal character of the final words heard at the end of the sentence?
  • The final words are spoken in a deep, booming, and highly authoritative bass voice.
  • The final words are written in a smaller, italicized font to suggest a quieter tone.
  • The final words maintain the same strong, projected, and resonant vocal quality as the beginning.
  • The final words are spoken with a thin, breathy, and strained vocal quality.
  • The final words are replaced by a completely different speaker with a high-pitched voice.
  • The final words are spoken with a heavy electronic vocoder effect.

musicA scene compositionsource-addition banjo joined by a harmonium drone that goes flat

How to read thisWe present the audio outputs of each model and its answers in the graphic below. The generation and edit prompts are labelled at the top; the questions and each model’s derived generation prompts can be seen on hover or in the drop-downs.

Stage 1 - GenerateT2M
promptA clawhammer banjo plays a moderate rolling pattern close-mic'd in a small room, with rain pattering on the window.
intended audioIn a small room with rain pattering on the window, a clawhammer banjo plays a rolling pattern at a moderate tempo, close to the microphone. Nothing else plays.
Stage 2 - EditAdd
promptAdd a harmonium playing a low sustained note underneath the stringed instrument.
intended audioA harmonium enters underneath on one low sustained note, in tune with the banjo, and holds it unbroken to the end. The two sit together with no beating.
Stage 3 - Counterfactual editStyle Transfer
promptSlightly detune the drone instrument against the stringed instrument.
intended audioThe harmonium note is now tuned slightly flat against the banjo, so their combined tone swells and thins about three times a second in a slow regular pulsing.
ModelStage 1 - GenerateStage 2 - EditStage 3 - Counterfactual editScore
ClipClipClip
Cascaded BaselineS1.1 S1.2 S1.3✗✓✓S2.1 S2.2 S2.3✓✓✗S3.1 S3.2 S3.3✗✗✓5/9
Audex-30BS1.1 S1.2 S1.3✗✓✓S2.1 S2.2 S2.3✗✗✗S3.1 S3.2 S3.3✓✗✓4/9
Audio-OmniS1.1 S1.2 S1.3✗✓✗S2.1 S2.2 S2.3✓✗✓S3.1 S3.2 S3.3✓✗✗4/9
Audex-2BS1.1 S1.2 S1.3✗✓✗S2.1 S2.2 S2.3✗✗✗S3.1 S3.2 S3.3✓✗✗2/9
UniAudio-2S1.1 S1.2 S1.3✗✗✗S2.1 S2.2 S2.3✗✗✗S3.1 S3.2 S3.3✗✗✗0/9
Unified-IO 2S1.1 S1.2 S1.3✗✗✗S2.1 S2.2 S2.3✗✗✗S3.1 S3.2 S3.3✗✗✗0/9
What each model wrote and was given at stages 2 and 3

Exact text from each run. Self-caption chain models: U hears its own previous clip with the edit prompt and writes the derived generation prompt below (for speech in TTS mode, a derived transcript); G receives only that text. Audio-Omni receives the edit with its previous clip. The Cascaded Baseline (specialist editors) is not shown. Hover any Stage 2 or 3 clip above to see its entry.

ModelStage 2edit prompt: “Add a harmonium playing a low sustained note underneath the stringed instrument.”Stage 3counterfactual prompt: “Slightly detune the drone instrument against the stringed instrument.”
Audex-30Bself-caption chainDerived generation prompt for G“A banjo melody is accompanied by a low, sustained harmonium note.”Derived generation prompt for G“A banjo and mandolin play together, with the banjo slightly out of tune, creating a gentle, slightly dissonant duet.”
Audex-2Bself-caption chainDerived generation prompt for G“A harmonium plays a low sustained note beneath the stringed instrument.”Derived generation prompt for G“The drone instrument is slightly detuned, creating a subtle shift in pitch compared to the stringed instrument.”
UniAudio-2self-caption chainDerived generation prompt for G“A bass line with a steady rhythm”Derived generation prompt for G“\n\n"Double the tempo of the entire performance. The resulting audio is a performance with a faster tempo, maintaining the original pitch and dynamics.”
Unified-IO 2self-caption chainDerived generation prompt for G“A low sustained note is played on a harmonium.”Derived generation prompt for G“Slightly detune the drone instrument against the stringed instrument.”U copied the edit prompt word for word
Audio-Omninative editNative edit · Add · on its Stage-1 clipEdit description“Add a harmonium playing a low sustained note underneath the stringed instrument.”Native edit · Style Transfer · on its Stage-2 clipsource → target“perfectly in tune” → “slightly flat”
Show all nine questions (three per stage)
Stage 1 - Generate
S1.1Which combination of sounds is heard in this recording?
  • A stringed instrument playing a repetitive strumming pattern while wind howls in the background.
  • A stringed instrument playing a lively, syncopated pattern while crickets chirp in the background.
  • A stringed instrument playing a gentle fingerstyle pattern while waves lap in the background.
  • A stringed instrument playing a steady rhythmic pattern while a fireplace crackles in the background.
  • A stringed instrument playing a rolling pattern while rain patters in the background.
  • A stringed instrument playing a slow, plucked melody while birds chirp in the background.
S1.2How do the rain sounds and the banjo music overlap in the clip?
  • The banjo music is heard continuously, while the rain sounds stop halfway through.
  • The rain sounds and the banjo music are both heard continuously from the start to the end of the clip.
  • The rain sounds are heard continuously, while the banjo music stops playing halfway through.
  • The rain sounds are heard only at the beginning of the clip, after which the banjo music plays alone.
  • The rain sounds are heard continuously, while the banjo music only begins playing halfway through.
  • The banjo music is heard continuously, while the rain sounds only begin halfway through.
S1.3How is the primary stringed instrument played in this clip?
  • It is played with a bow, producing sustained, scraping tones rather than plucked notes.
  • It is played using a slide technique, creating long, gliding pitches between notes.
  • It is played at a moderate tempo using a rolling, repetitive pattern.
  • It is played with slow, widely spaced individual chords that ring out and decay.
  • It is played at an extremely fast, frantic speed with erratic, non-repetitive notes.
  • A voice in the background counts the beats of the rhythm out loud.
Stage 2 - Edit
S2.1What happens in this scene?
  • A bright, ringing acoustic guitar chord joins behind the banjo and decays slowly to the end.
  • A low, sustained harmonium note joins underneath the banjo and holds unbroken to the end.
  • A soft, repeating hand drum pattern joins underneath the banjo and continues unchanged to the end.
  • A light, rhythmic tambourine shake joins alongside the banjo and pulses regularly to the end.
  • A high, fluttering wooden flute melody joins above the banjo and plays consistently to the end.
  • A warm, bowed cello line joins underneath the banjo and lingers softly to the end.
S2.2What is the temporal sequence of the audio elements in this clip?
  • The banjo plays alone initially, with the weather sounds and a low sustained harmonium note entering together later.
  • A low sustained harmonium note starts first, followed by the simultaneous entry of the banjo and weather sounds.
  • The banjo and weather sounds start first, and then a low sustained harmonium note enters and continues.
  • The weather sounds start first, followed by the banjo, and finally a low sustained harmonium note enters near the end.
  • The banjo, weather sounds, and a low sustained harmonium note all start at the exact same time.
  • A low sustained harmonium note and weather sounds start first, and then the banjo enters and continues.
S2.3How does the sustained background note sound in relation to the stringed instrument?
  • It is slightly sharp, creating a slow, pulsing acoustic beating that increases in speed over time.
  • It starts in unison but gradually slides upward in pitch, ending a perfect fifth above the stringed instrument.
  • It constantly drifts in and out of tune, producing a warbling effect against the stringed notes.
  • It sits a half-step below the stringed instrument, creating a tense, unresolved dissonance.
  • It matches the pitch but is heavily modulated with a tremolo effect, causing it to pulse rapidly.
  • It blends smoothly and remains perfectly in tune, with no acoustic beating or pulsing.
Stage 3 - Counterfactual edit
S3.1Which of the following best describes the audio in this scene?
  • The background weather sounds grow louder and more turbulent, while the low note and the stringed instrument maintain a steady, quiet volume.
  • The stringed instrument and the background weather sounds are heard clearly, while the sustained low note pulses and then stops abruptly.
  • A sustained low note and the background weather sounds are the primary focus, while the stringed instrument plays only a few faint, sporadic notes.
  • A sustained low note slowly rises in pitch, while the stringed instrument and the background weather sounds remain constant.
  • A plucked stringed instrument plays a fast melody over a low note, while the background weather sounds gradually fade into silence.
  • A sustained low note and a plucked stringed instrument are both heard clearly alongside a gentle background weather sound.
S3.2What is the temporal sequence of events in this clip?
  • The stringed instrument and low pulsing note start first, followed shortly by the weather sounds.
  • The low pulsing note and weather sounds start first, followed shortly by the stringed instrument.
  • The stringed instrument and weather sounds start first, followed shortly by the low pulsing note.
  • The weather sounds start alone, followed shortly by the simultaneous entry of the stringed instrument and the low pulsing note.
  • The low pulsing note starts alone, followed shortly by the simultaneous entry of the stringed instrument and the weather sounds.
  • The stringed instrument starts alone, followed shortly by the simultaneous entry of the weather sounds and the low pulsing note.
S3.3How does the combined sound of the instruments behave in this clip?
  • The combined sound undergoes a sudden, abrupt shift in octave, completely changing the register of the melody.
  • The notes of the instruments alternate rapidly in pitch, creating a fast and shimmering tremolo effect.
  • The combined tone swells and thins regularly, creating a slow, steady pulsing effect.
  • The pitches merge into a seamless unison, blending together without any audible beating or pulsing.
  • The volume of one instrument gradually fades into the background, leaving the other to carry the melody alone.
  • The two sounds clash with a sharp, discordant resonance that rings out with a bright metallic buzz.

musicC scene acousticschannel-transfer guitar and metronome through an open then shut door

How to read thisWe present the audio outputs of each model and its answers in the graphic below. The generation and edit prompts are labelled at the top; the questions and each model’s derived generation prompts can be seen on hover or in the drop-downs.

Stage 1 - GenerateT2M
promptIn a carpeted room, a nylon-string guitar fingerpicks a slow arpeggio beside a ticking metronome, heard through an open doorway from another room with a humming fridge.
intended audioIn a carpeted room a nylon-string guitar fingerpicks a slow arpeggio while a metronome ticks. Heard from the next room through an open doorway. A fridge hums quietly.
Stage 2 - EditStyle Transfer
promptShut the door separating the listener from the instrument and the timekeeper.
intended audioThe connecting door is now shut. The guitar and metronome are quiet and dull, the string attack softened to a thud and each tick reduced to a soft knock.
Stage 3 - Counterfactual editStyle Transfer
promptMove the instrument and the timekeeper into a small tiled bathroom.
intended audioThe guitar and metronome are now in a small tiled bathroom. A reverberant tail follows each pluck and runs them together, and every knock is trailed by a splashy ring.
ModelStage 1 - GenerateStage 2 - EditStage 3 - Counterfactual editScore
ClipClipClip
Cascaded BaselineS1.1 S1.2 S1.3✗✓✓S2.1 S2.2 S2.3✗✓✗S3.1 S3.2 S3.3✓✓✗5/9
Audex-30BS1.1 S1.2 S1.3✗✓✗S2.1 S2.2 S2.3✗✓✗S3.1 S3.2 S3.3✓✓✗4/9
Audio-OmniS1.1 S1.2 S1.3✓✓✗S2.1 S2.2 S2.3✗✗✗S3.1 S3.2 S3.3✗✓✗3/9
Audex-2BS1.1 S1.2 S1.3✗✓✗S2.1 S2.2 S2.3✗✓✗S3.1 S3.2 S3.3✗✓✗3/9
UniAudio-2S1.1 S1.2 S1.3✗✗✗S2.1 S2.2 S2.3✗✗✗S3.1 S3.2 S3.3✗✗✗0/9
Unified-IO 2S1.1 S1.2 S1.3✗✗✗S2.1 S2.2 S2.3✗✓✗S3.1 S3.2 S3.3✗✗✗1/9
What each model wrote and was given at stages 2 and 3

Exact text from each run. Self-caption chain models: U hears its own previous clip with the edit prompt and writes the derived generation prompt below (for speech in TTS mode, a derived transcript); G receives only that text. Audio-Omni receives the edit with its previous clip. The Cascaded Baseline (specialist editors) is not shown. Hover any Stage 2 or 3 clip above to see its entry.

ModelStage 2edit prompt: “Shut the door separating the listener from the instrument and the timekeeper.”Stage 3counterfactual prompt: “Move the instrument and the timekeeper into a small tiled bathroom.”
Audex-30Bself-caption chainDerived generation prompt for G“A single sentence describing the resulting audio.”Derived generation prompt for G“A whistling melody is heard alongside a ticking clock, echoing in a small tiled bathroom.”
Audex-2Bself-caption chainDerived generation prompt for G“The door is shut, isolating the listener from the instrument and the timekeeper.”Derived generation prompt for G“The sound of the instrument and the timekeeper being moved into a small tiled bathroom is heard.”
UniAudio-2self-caption chainDerived generation prompt for G“A man plays a guitar while a train passes by”Derived generation prompt for G“\”U wrote no usable text; G was given this as is
Unified-IO 2self-caption chainDerived generation prompt for G“Shut the door separating the listener from the instrument and the timekeeper.”U copied the edit prompt word for wordDerived generation prompt for G“Move the instrument and the timekeeper into a small tiled bathroom.”U copied the edit prompt word for word
Audio-Omninative editNative edit · Style Transfer · on its Stage-1 clipsource → target“open doorway” → “closed door”Native edit · Style Transfer · on its Stage-2 clipsource → target“adjacent carpeted room” → “small tiled bathroom”
Show all nine questions (three per stage)
Stage 1 - Generate
S1.1What primary sound sources are active in this recording?
  • A plucked string instrument playing a slow arpeggio, accompanied by a soft, rhythmic thumping and a continuous, high-pitched hiss.
  • A plucked string instrument playing a slow arpeggio, accompanied by a sharp, repeating beep and a faint, airy whisper.
  • A plucked string instrument playing a slow arpeggio, accompanied by a steady mechanical ticking and a low, continuous hum.
  • A plucked string instrument playing a slow arpeggio, accompanied by a slow, dripping sound and a deep, vibrating drone.
  • A plucked string instrument playing a slow arpeggio, accompanied by a rapid metallic clicking and a distant, low-frequency rumble.
  • A plucked string instrument playing a slow arpeggio, accompanied by a crackling static noise and a steady, rushing airflow.
S1.2How do the sounds in this recording overlap in time?
  • The low hum is heard constantly throughout, while the individual plucks are heard only at the very beginning and the ticks only at the very end.
  • The low hum is heard constantly throughout, while the ticking and the individual plucks alternate in a regular, non-overlapping pattern.
  • The low hum is heard constantly throughout, while the ticks occur at a steady pace and the individual plucks occur only during the first few seconds.
  • The low hum is heard constantly throughout, while the ticks fade in and out at opposite times to the individual plucks.
  • The low hum is heard constantly throughout, while the individual plucks and ticks occur repeatedly and concurrently.
  • The low hum is heard constantly throughout, with the individual plucks playing first followed by the ticks starting only after the plucks stop.
S1.3Which of the following describes the acoustic character of the plucked instrument and the ticking source?
  • They sound distant and indirect, as if heard from an adjacent room through an open passage.
  • They sound extremely close and direct, as if the listener is positioned right next to them in a dead space.
  • A spoken narrator describes the distance and layout of the rooms.
  • They sound bright and sparkling, with a sharp, crisp presence directly in the center of the stereo field.
  • They sound heavily distorted and fuzzy, as if played through a low-quality radio transmitter.
  • They sound highly reverberant and echoing, as if playing inside a large, empty stone cathedral.
Stage 2 - Edit
S2.1What is heard in this scene?
  • The plucks and ticks are accompanied by a loud, rushing wind sound that masks their high frequencies.
  • The plucks and ticks are extremely muffled and quiet, with their sharp high-frequency details completely lost.
  • A voice states that the door has been shut and the sound is now muffled.
  • The plucks and ticks are completely silent, leaving only the low hum audible in the room.
  • The plucks and ticks are clearly audible and bright, sounding as if they are in the next room with an open doorway.
  • The plucks and ticks are loud and distorted, sounding as if they are being played through a clipping speaker.
S2.2What is the temporal relationship between the sounds in this clip?
  • A sequence of alternating softened plucks and dull ticks begins only after a continuous, barely perceptible low-frequency hum completely fades away.
  • A sequence of alternating softened plucks and dull ticks gradually fades out, leaving only a continuous, barely perceptible low-frequency hum.
  • A sequence of alternating softened plucks and dull ticks is interrupted at regular intervals by a sudden, loud low-frequency hum.
  • A sequence of alternating softened plucks and dull ticks occurs in random, overlapping bursts against a continuous, barely perceptible low-frequency hum.
  • A sequence of alternating softened plucks and dull ticks plays over a continuous, barely perceptible low-frequency hum.
  • A sequence of simultaneous softened plucks and dull ticks plays over a continuous, barely perceptible low-frequency hum.
S2.3Which of the following describes the specific quality of the plucked instrument and the ticking source?
  • The plucks sound like scratchy scrapes and the ticks sound like static crackles.
  • The plucks sound sharp and metallic, while the ticks sound like high-pitched electronic beeps.
  • The plucks have a bright, crisp string attack and the ticks have a sharp, wooden click.
  • The plucks sound like wet splashes and the ticks sound like heavy dripping water.
  • A narrator explains that the high frequencies have been filtered out of the instruments.
  • The plucks are reduced to soft, low-frequency thuds and the ticks sound like muted, hollow knocks.
Stage 3 - Counterfactual edit
S3.1Which of the following best describes the acoustic environment and the sound sources heard in this scene?
  • A bowed instrument and a ticking device playing together in a dry, heavily carpeted room.
  • A plucked instrument and a ticking device playing together in a highly reverberant, tiled space.
  • A plucked instrument and a ticking device playing together in a dry, heavily carpeted room.
  • A bowed instrument and a metallic clinking sound playing together in a dry, heavily carpeted room.
  • A bowed instrument and a ticking device playing together in a highly reverberant, tiled space.
  • A plucked instrument and a metallic clinking sound playing together in a highly reverberant, tiled space.
S3.2How do the sounds and their decays interact over time?
  • The decays of the plucks and ticks build up gradually, peaking in volume only after the primary sounds have stopped.
  • Every pluck and tick triggers a brief echo that repeats at a fixed interval, fading out entirely before the next sound is played.
  • The decay of each pluck and tick is heard only as a constant, unchanging background hum that does not overlap with the main events.
  • The decay of the initial pluck persists throughout the entire sequence, while subsequent ticks have no audible decay.
  • Each pluck and tick is followed by a prolonged, overlapping decay that blurs into the subsequent sound.
  • Each pluck and tick decays rapidly to silence before the next one begins, keeping the events completely distinct.
S3.3Which of the following describes the acoustic character of the plucks and ticks?
  • They are heavily muffled, with each sound followed by a soft, low frequency, and muddy decaying tail.
  • They are brightly detailed, with each sound followed by a short, crisp, and clean acoustic tail.
  • They are sharply defined, with each sound followed by a tight, fluttery, and dry acoustic tail.
  • They are highly reverberant, with each sound followed by a bright, metallic, and splashy ringing tail.
  • They are deeply echoing, with each sound followed by a dark, cavernous, and spacious lingering tail.
  • They are moderately resonant, with each sound followed by a warm, woody, and smooth decaying tail.

speechE interaction dynamicsconversational-repair trail directions asked again, then spelled out slowly

How to read thisWe present the audio outputs of each model and its answers in the graphic below. The generation and edit prompts are labelled at the top; the questions and each model’s derived generation prompts can be seen on hover or in the drop-downs.

Stage 1 - GenerateT2A
promptSteady wind through dry grass. A woman says 'Take the left fork past the fallen tree.' A man close by answers 'Got it, the left fork past the tree.'
intended audioSteady wind through dry grass. A woman says 'Take the left fork past the fallen tree.' A man close by answers 'Got it, the left fork past the tree.'
Stage 2 - EditStyle Transfer
promptThe responder changes his line to 'Hold on. Which one was it.' and nothing follows.
intended audioSteady wind through dry grass. A woman says 'Take the left fork past the fallen tree.' The man answers 'Hold on. Which one was it.' Nothing follows.
Stage 3 - Counterfactual editAdd
promptThe speaker repeats her direction at half speed, stretching and separating every syllable after the responder's question.
intended audioSteady wind through dry grass. After the man's question, the woman repeats her direction at half speed, every syllable stretched and separated.
ModelStage 1 - GenerateStage 2 - EditStage 3 - Counterfactual editScore
ClipClipClip
Cascaded BaselineS1.1 S1.2 S1.3✓✗✓S2.1 S2.2 S2.3✗✓✓S3.1 S3.2 S3.3✓✓✗6/9
Audex-30B TTSS1.1 S1.2 S1.3✗✓✓S2.1 S2.2 S2.3✗✓✗S3.1 S3.2 S3.3✓✓✗5/9
Audio-OmniS1.1 S1.2 S1.3✗✓✓S2.1 S2.2 S2.3✗✗✗S3.1 S3.2 S3.3✓✓✗4/9
Audex-2B TTSS1.1 S1.2 S1.3✗✗✓S2.1 S2.2 S2.3✗✓✓S3.1 S3.2 S3.3✓✓✗5/9
UniAudio-2 TTSS1.1 S1.2 S1.3✗✗✗S2.1 S2.2 S2.3✗✓✓S3.1 S3.2 S3.3✗✓✗3/9
Unified-IO 2S1.1 S1.2 S1.3✗✗✗S2.1 S2.2 S2.3✗✗✗S3.1 S3.2 S3.3✗✗✓1/9
What each model wrote and was given at stages 2 and 3

Exact text from each run. Self-caption chain models: U hears its own previous clip with the edit prompt and writes the derived generation prompt below (for speech in TTS mode, a derived transcript); G receives only that text. Audio-Omni receives the edit with its previous clip. The Cascaded Baseline (specialist editors) is not shown. Hover any Stage 2 or 3 clip above to see its entry.

ModelStage 2edit prompt: “The responder changes his line to 'Hold on. Which one was it.' and nothing follows.”Stage 3counterfactual prompt: “The speaker repeats her direction at half speed, stretching and separating every syllable after the responder's question.”
Audex-30B TTSself-caption chainDerived transcript for G“Hold on. Which one was it.”Derived transcript for G“Hold on, which one was it?”
Audex-2B TTSself-caption chainDerived transcript for G“Hold on. Which one was it.”Derived transcript for G“hold on which one was it”
UniAudio-2 TTSself-caption chainDerived transcript for G“The speaker says "Hold on. Which one was it?”Derived transcript for G“The speaker says "hold on" slowly, with each word stretched out”
Unified-IO 2self-caption chainDerived generation prompt for G“[ "The responder changes his line to 'Hold on. Which one was it?', and nothing follows. " ]”U copied the edit prompt word for wordDerived generation prompt for G“The speaker repeats her direction at half speed, stretching and separating every syllable after the responder's question.”U copied the edit prompt word for word
Audio-Omninative editNative edit · Style Transfer · on its Stage-1 clipsource → target“Got it, the left fork past the tree.” → “Hold on. Which one was it.”Native edit · Add · on its Stage-2 clipEdit description“The speaker repeats her direction at half speed, stretching and separating every syllable after the responder's question.”
Show all nine questions (three per stage)
Stage 1 - Generate
S1.1What environment and speakers are heard in this recording?
  • A rainy street setting with a male voice giving directions to a female voice.
  • A windy forest setting with two female voices arguing over which path to take.
  • A transcript of a conversation about a tree path set in a windy field.
  • A windy outdoor setting with dry grass, featuring a female voice giving directions followed by a male voice asking a confused question.
  • A windy outdoor setting with dry grass, featuring a female voice giving directions followed by a male voice repeating them in agreement.
  • A quiet indoor room where a female voice and a male voice discuss a map without background noise.
S1.2In what order do the sounds occur in this recording?
  • The two voices speak simultaneously over the sound of wind.
  • The female voice speaks first in silence, and then the wind starts blowing when the male voice begins speaking.
  • The male voice speaks first, followed by the female voice, over a continuous background of wind.
  • The male voice speaks, followed by a gust of wind, and then the female voice speaks.
  • The sound of wind blowing is heard first, followed by a female voice speaking, and then a male voice speaking immediately after.
  • A timeline diagram showing wind starting at second zero, female text at second two, and male text at second five.
S1.3How does the second speaker respond to the first speaker's directions?
  • He expresses concern about the safety of the path.
  • He asks her to repeat the directions because of the wind.
  • He asks for clarification about which landmark she means.
  • He suggests taking the opposite path instead.
  • He confirms the instruction by repeating the key detail.
  • He complains about the difficulty of the route.
Stage 2 - Edit
S2.1Which of the following describes the dialogue in this scene?
  • The first speaker gives a direction, and the second speaker starts to ask a question but is interrupted.
  • The first speaker gives a direction, and the second speaker disagrees, leading to a brief argument.
  • The first speaker gives a direction, and the second speaker sighs in frustration instead of replying.
  • The first speaker gives a direction, and the second speaker asks a question that is immediately answered.
  • The first speaker gives a direction, and the second speaker asks a clarifying question but receives no reply.
  • The first speaker gives a direction, and the second speaker repeats it to confirm they understood.
S2.2What is the sequence of events heard in this recording?
  • The male voice asks a question first, followed immediately by the female voice making a statement, ending in silence.
  • The female voice speaks first, followed immediately by the male voice asking a question, and then both continue to converse.
  • The female voice speaks first, followed immediately by the male voice asking a question, ending in silence.
  • The female voice speaks first, followed by a period of silence, and then the male voice asks a question.
  • The female voice speaks first, followed immediately by the male voice making a statement, ending in silence.
  • The male voice speaks first, followed immediately by the female voice asking a question, ending in silence.
S2.3How does the interaction end after the second speaker finishes speaking?
  • The audio cuts off immediately after the question is asked, with no further spoken response.
  • The first speaker repeats the direction more slowly as the wind noise gets louder.
  • The first speaker can be heard sighing before the sound of footsteps fades away.
  • The sound of rustling paper is heard as if someone is consulting a map.
  • The first speaker laughs briefly and offers to lead the way instead.
  • The second speaker answers his own question after a brief pause of realization.
Stage 3 - Counterfactual edit
S3.1Which of these is present in this scene?
  • The male speaker's question and the wind are heard first, followed by a single, fast-paced female instruction at the very end.
  • The initial female instruction is followed by the male speaker's question, but there is no background wind or subsequent repetition.
  • The background wind and the female speaker's initial instruction are followed immediately by the slow-tempo repetition, with no male speaker heard.
  • The scene contains only the background wind and a dialogue between two male speakers, followed by a brief female whisper.
  • The background wind, the initial female instruction, and the male speaker's question are all present before the final speech segment.
  • The female speaker gives her instruction twice at normal speed, with the male speaker's question heard only after the wind fades out.
S3.2What is the temporal sequence of all speech events in this recording?
  • The male voice asks a question, the female voice speaks, and then the female voice speaks again slowly.
  • The female voice speaks, the male voice asks a question, and then the recording ends in silence.
  • The female voice speaks, the male voice asks a question, and then the female voice speaks a second time at a much slower pace.
  • The female voice speaks twice in a row, followed by the male voice asking a question.
  • The female voice speaks, the male voice agrees, and then the female voice speaks again at normal speed.
  • A timeline diagram showing three text blocks where the third block is visually stretched out.
S3.3How does the woman deliver her final line of direction after the man's question?
  • She delivers it in a rapid, hurried stammer before the recording abruptly cuts off.
  • She speaks it in a normal, conversational tempo with a steady and relaxed tone.
  • She shouts it angrily at a high volume, raising her pitch significantly.
  • She repeats it at half her normal speed, stretching and separating every syllable.
  • She whispers it quickly in a hushed tone, as if trying to avoid being overheard.
  • She sings it in a melodic, rhythmic cadence resembling a short chant.

soundA scene compositionsource-subtraction gull colony taken out of a shingle coast

How to read thisWe present the audio outputs of each model and its answers in the graphic below. The generation and edit prompts are labelled at the top; the questions and each model’s derived generation prompts can be seen on hover or in the drop-downs.

Stage 1 - GenerateT2A
promptA shingle coast with waves breaking and dragging over pebbles every four seconds, overlapping harsh gull cries between the washes, and a buffeting wind.
intended audioA shingle coast with three layers: waves breaking and dragging over pebbles in a rattling wash every four seconds, overlapping harsh gull cries between the washes, and a buffeting wind.
Stage 2 - EditRemove
promptRemove the crying birds from the scene.
intended audioThe gulls are gone, with not a single call anywhere in the clip. Between one wash and the next there is only wind.
Stage 3 - Counterfactual editAdd
promptAdd a hard rain shower that starts a couple of seconds into the scene.
intended audioA couple of seconds in, a hard rain shower comes in over the shingle, hissing and clattering on the stones and filling every gap between the washes to the end.
ModelStage 1 - GenerateStage 2 - EditStage 3 - Counterfactual editScore
ClipClipClip
Cascaded BaselineS1.1 S1.2 S1.3✓✓✗S2.1 S2.2 S2.3✓✓✓S3.1 S3.2 S3.3✗✗✗5/9
Audex-30BS1.1 S1.2 S1.3✓✓✓S2.1 S2.2 S2.3✓✓✓S3.1 S3.2 S3.3✓✗✗7/9
Audio-OmniS1.1 S1.2 S1.3✗✓✗S2.1 S2.2 S2.3✓✗✗S3.1 S3.2 S3.3✗✗✗2/9
Audex-2BS1.1 S1.2 S1.3✗✓✓S2.1 S2.2 S2.3✗✗✗S3.1 S3.2 S3.3✓✗✗3/9
UniAudio-2S1.1 S1.2 S1.3✗✓✗S2.1 S2.2 S2.3✗✗✗S3.1 S3.2 S3.3✓✗✓3/9
Unified-IO 2S1.1 S1.2 S1.3✗✗✗S2.1 S2.2 S2.3✗✗✗S3.1 S3.2 S3.3✗✗✗0/9
What each model wrote and was given at stages 2 and 3

Exact text from each run. Self-caption chain models: U hears its own previous clip with the edit prompt and writes the derived generation prompt below (for speech in TTS mode, a derived transcript); G receives only that text. Audio-Omni receives the edit with its previous clip. The Cascaded Baseline (specialist editors) is not shown. Hover any Stage 2 or 3 clip above to see its entry.

ModelStage 2edit prompt: “Remove the crying birds from the scene.”Stage 3counterfactual prompt: “Add a hard rain shower that starts a couple of seconds into the scene.”
Audex-30Bself-caption chainDerived generation prompt for G“The audio features the sound of waves crashing on the shore, with the wind blowing and the distant hum of a boat engine.”Derived generation prompt for G“The audio features the sound of waves crashing on the shore, accompanied by the gentle rustling of wind, and then, a few seconds in, a sudden onset of a hard rain shower that patters against the surface, blending with the existing sounds to create a dynamic and immersive coastal storm scene.”
Audex-2Bself-caption chainDerived generation prompt for G“The audio now contains only the sound of a sewing machine.”Derived generation prompt for G“A hard rain shower starts a couple of seconds into the scene.”
UniAudio-2self-caption chainDerived generation prompt for G“A loud groan followed by a continuous fan sound”Derived generation prompt for G“A whistling wind sound plays as the train moves away”
Unified-IO 2self-caption chainDerived generation prompt for G“Remove the crying birds from the scene.”U copied the edit prompt word for wordDerived generation prompt for G“A sudden and heavy downpour starts with a couple of seconds of quiet before escalating into a hard rain shower that lasts for a few seconds.”
Audio-Omninative editNative edit · Remove · on its Stage-1 clipEdit description“Remove the crying birds from the scene.”Native edit · Add · on its Stage-2 clipEdit description“Add a hard rain shower that starts a couple of seconds into the scene.”
Show all nine questions (three per stage)
Stage 1 - Generate
S1.1Which combination of sounds best describes the coastal environment heard in the recording?
  • Water steadily squelching through a muddy estuary with a thick bubbling sound, interspersed with low heron croaks and a buffeting wind.
  • Water splashing against wooden dock pilings with a hollow creaking sound, interspersed with squeaking tern cries and a buffeting wind.
  • Waves regularly dragging over loose pebbles with a rattling sound, interspersed with harsh gull cries and a buffeting wind.
  • Waves gently lapping against a sandy beach with a soft hissing sound, interspersed with piping sandpiper calls and a buffeting wind.
  • Water rushing through dense marsh reeds with a dry rustling sound, interspersed with chirping sparrow songs and a buffeting wind.
  • Waves crashing violently against rocky cliffs with a deep booming sound, interspersed with sharp cormorant shrieks and a buffeting wind.
S1.2When are the gull cries heard in relation to the periodic wave washes?
  • They occur in the brief moments before each wave wash begins.
  • They occur during the intervals between the wave washes.
  • They occur only during the first few wave washes of the clip.
  • They occur in a random pattern unrelated to the wave cycle.
  • They occur continuously across both the washes and the intervals.
  • They occur during the loudest peaks of the wave washes.
S1.3Which of the following describes the sound of the waves interacting with the shoreline?
  • A gentle, bubbling gurgle as waves recede through tide pools.
  • A deep, booming crash as waves slam against large rocks.
  • A distinct rattling and dragging sound as waves wash over pebbles.
  • A hollow, echoing splash as waves hit a concrete seawall.
  • A soft, continuous hissing as waves slide onto a sandy beach.
  • A rhythmic, high-pitched splashing as waves lap against wooden pilings.
Stage 2 - Edit
S2.1Which of the following best describes the sounds present in this scene?
  • Periodic water washes with harsh animal calls occurring in the intervals.
  • Periodic water washes and a continuous wind, with no animal vocalizations.
  • A voice stating that the birds have flown away from the shore.
  • Periodic water washes accompanied by the sound of a ship horn.
  • Continuous water washes with cricket chirps in the background.
  • A completely silent environment where only a faint breeze is heard.
S2.2What is heard in the intervals between the periodic water washes?
  • A narrator explains what happened to the birds during the gaps.
  • Complete, dead silence fills the gaps.
  • A gentle rustling of leaves is heard in the gaps.
  • Harsh, overlapping animal cries are heard.
  • The sound of footsteps walking on the stones fills the gaps.
  • Only the continuous, buffeting wind is heard.
S2.3What is the acoustic character of the gaps between the water washes?
  • A deep, resonant metallic humming.
  • A soft, rhythmic clicking sound.
  • A series of sharp, piercing shrieks.
  • A bubbling and gurgling water sound.
  • A voice whispering words quietly.
  • A low, hollow rushing air sound.
Stage 3 - Counterfactual edit
S3.1Which of these describes the change in the soundscape during the clip?
  • The periodic wave washes persist throughout the clip, while a continuous, sharp pattering fills the gaps between them.
  • The rhythmic splashing sounds slowly fade away, while a low, constant rumbling builds up in the background.
  • The heavy wave impacts completely cease, while a shrill whistling sound grows steadily louder.
  • The steady wind gusts gradually diminish, while a sharp, rhythmic whistling takes over the soundscape.
  • The gentle water trickles remain clearly audible, while a sudden, loud crackling of thunder echoes overhead.
  • The continuous rustling sounds fade out entirely, while a series of silent intervals grows increasingly longer.
S3.2What is the temporal sequence of the weather elements in this clip?
  • The clip begins with a steady sharp clattering, which then transitions into gentle wind and water washes.
  • The steady sharp clattering and the wind and water washes all begin simultaneously and fade out together.
  • The clip starts with only wind and water washes, followed shortly by the onset of a steady sharp clattering.
  • The clip starts with wind and water washes, which fade out completely before a steady sharp clattering begins.
  • A steady sharp clattering is heard initially, followed by a brief silence, and then wind and water washes.
  • Wind and water washes play throughout, with a steady sharp clattering starting only in the final few seconds.
S3.3What is the acoustic manner of the sound that fills the gaps between the periodic washes?
  • A sharp, dense, hissing and clattering texture.
  • A light, scattered, pattering and dripping pattern.
  • A faint, steady, whistling and sighing draft.
  • A low, resonant, rumbling and grinding vibration.
  • A soft, continuous, bubbling and trickling murmur.
  • A deep, hollow, rushing and roaring resonance.

soundC scene acousticsprominence-balance A campfire crackles close at a night campsite while crickets chirp nearby and an owl hoots from distant trees

How to read thisWe present the audio outputs of each model and its answers in the graphic below. The generation and edit prompts are labelled at the top; the questions and each model’s derived generation prompts can be seen on hover or in the drop-downs.

Stage 1 - GenerateT2A
promptA campsite at night: a campfire crackles and pops right beside the recorder, and the campfire is the loudest thing in the scene, crickets chirp steadily from the grass a little way off, and an owl hoots several times from the trees far away, faint under the fire; the fire is already burning before the first hoot.
intended audioa campfire crackles close and is the loudest thing present; crickets chirp steadily and an owl hoots faintly several times after the fire is established
Stage 2 - EditStyle Transfer
promptBring the hooting bird to the front of the mix.
intended audiothe owl's hoots are the loudest element; the crackle and the crickets sit beneath them
Stage 3 - Counterfactual editStyle Transfer
promptBring the chirping insects to the front of the mix.
intended audiothe crickets are the loudest element; the crackle and the hoots sit beneath them
ModelStage 1 - GenerateStage 2 - EditStage 3 - Counterfactual editScore
ClipClipClip
Cascaded BaselineS1.1 S1.2 S1.3✓✗✗S2.1 S2.2 S2.3✓✓✓S3.1 S3.2 S3.3✓✓✓7/9
Audex-30BS1.1 S1.2 S1.3✓✗✓S2.1 S2.2 S2.3✓✗✓S3.1 S3.2 S3.3✓✓✗6/9
Audio-OmniS1.1 S1.2 S1.3✓✗✓S2.1 S2.2 S2.3✗✓✓S3.1 S3.2 S3.3✓✓✓7/9
Audex-2BS1.1 S1.2 S1.3✓✗✗S2.1 S2.2 S2.3✓✗✗S3.1 S3.2 S3.3✓✓✗4/9
UniAudio-2S1.1 S1.2 S1.3✗✗✓S2.1 S2.2 S2.3✗✓✗S3.1 S3.2 S3.3✗✗✗2/9
Unified-IO 2S1.1 S1.2 S1.3✗✗✗S2.1 S2.2 S2.3✗✗✓S3.1 S3.2 S3.3✓✗✗2/9
What each model wrote and was given at stages 2 and 3

Exact text from each run. Self-caption chain models: U hears its own previous clip with the edit prompt and writes the derived generation prompt below (for speech in TTS mode, a derived transcript); G receives only that text. Audio-Omni receives the edit with its previous clip. The Cascaded Baseline (specialist editors) is not shown. Hover any Stage 2 or 3 clip above to see its entry.

ModelStage 2edit prompt: “Bring the hooting bird to the front of the mix.”Stage 3counterfactual prompt: “Bring the chirping insects to the front of the mix.”
Audex-30Bself-caption chainDerived generation prompt for G“The hooting bird is positioned prominently in the foreground of the mix, while the background remains filled with the crackling fire and intermittent impact sounds.”Derived generation prompt for G“The audio features prominent, clear chirping of insects at the forefront, with other background sounds subtly present.”
Audex-2Bself-caption chainDerived generation prompt for G“The audio is edited to bring the hooting bird to the front of the mix.”Derived generation prompt for G“The chirping insects are brought to the forefront of the mix.”
UniAudio-2self-caption chainDerived generation prompt for G“A clear voice speaking”Derived generation prompt for G“A person speaking with insect sounds in the background”
Unified-IO 2self-caption chainDerived generation prompt for G“Bring the hooting bird to the front of the mix.”U copied the edit prompt word for wordDerived generation prompt for G“Bring the chirping insects to the front of the mix.”U copied the edit prompt word for word
Audio-Omninative editNative edit · Style Transfer · on its Stage-1 clipsource → target“the campfire is the loudest thing in the scene” → “the owl”Native edit · Style Transfer · on its Stage-2 clipsource → target“the owl” → “the crickets”
Show all nine questions (three per stage)
Stage 1 - Generate
S1.1Which distinct sound sources are active in this scene?
  • A crackling fire, flowing water, and a hooting bird.
  • A crackling fire, steadily chirping insects, and a hooting bird.
  • A crackling fire and steadily chirping insects only.
  • A crackling fire, steadily chirping insects, and a barking dog.
  • A crackling fire, a howling wind, and chirping insects.
  • A spoken voice-over listing a campfire, crickets, and an owl.
S1.2Which of the following describes the temporal relationship between the sounds in the scene?
  • The hooting of an owl is established first, followed later by the chirping of crickets.
  • The chirping of crickets is established first, followed later by the hooting of an owl.
  • The hooting of an owl is established first, followed later by the crackling of a campfire.
  • The chirping of crickets is established first, followed later by the crackling of a campfire.
  • The crackling of a campfire is established first, followed later by the hooting of an owl.
  • The crackling of a campfire is established first, followed later by the chirping of crickets.
S1.3Which of the active sound sources is the loudest element in the mix?
  • The croaking of the frogs.
  • The hooting of the owl.
  • The howling of the wind.
  • The rustling of the leaves.
  • The crackling of the campfire.
  • The chirping of the crickets.
Stage 2 - Edit
S2.1Which of the three environmental sound sources are audible in this clip?
  • Only the crackling source and the hooting source are audible.
  • Only the chirping source is audible.
  • The crackling, chirping, and hooting sources are all audible.
  • Only the crackling source and the chirping source are audible.
  • Only the chirping source and the hooting source are audible.
  • Only the hooting source is audible.
S2.2What is the temporal relationship between the crackling source and the hooting source?
  • The hooting source is established before the crackling source starts, but the hooting source only sounds once.
  • The hooting source is established and sounds at least twice before the crackling source starts.
  • The crackling source and the hooting source begin at the same time, but the hooting source only sounds once.
  • The crackling source and the hooting source begin at the same time, with the hooting source sounding at least twice.
  • The crackling source is established before the first sound from the hooting source, which sounds at least twice.
  • The crackling source starts, but the hooting source only sounds once.
S2.3Which of the active sound sources is the loudest element in this scene?
  • The whistling source.
  • The chirping source.
  • The hooting source.
  • The rustling source.
  • The splashing source.
  • The crackling source.
Stage 3 - Counterfactual edit
S3.1Which of the following describes the presence of the sound sources in this scene?
  • Only the crackling source is audible.
  • Only the crackling source and the chirping source are audible.
  • Only the chirping source is audible.
  • The crackling, chirping, and hooting sources are audible in this scene.
  • Only the crackling source and the hooting source are audible.
  • Only the chirping source and the hooting source are audible.
S3.2What is the temporal relationship between the crackling source and the hooting source?
  • The crackling source starts, but the hooting source only sounds once.
  • Both sources start together, and the hooting source sounds at least twice.
  • The hooting source starts, but the crackling source only sounds once.
  • The crackling source starts first, and the hooting source sounds at least twice.
  • The hooting source starts first, and the crackling source sounds at least twice.
  • Both sources start together, but the hooting source only sounds once.
S3.3Which of the active sound sources is the loudest element in this scene?
  • The hooting source.
  • A voice saying "the crickets are the loudest element".
  • The crackling source.
  • All three sources are at the exact same volume level.
  • The chirping source.
  • None of the sources; the scene is entirely silent.

soundD temporal structureduration-tempo A train clacks over rail joints heard from inside a carriage and speeds up as it leaves a station

How to read thisWe present the audio outputs of each model and its answers in the graphic below. The generation and edit prompts are labelled at the top; the questions and each model’s derived generation prompts can be seen on hover or in the drop-downs.

Stage 1 - GenerateT2A
promptRecorded from inside a passenger carriage as a train is departing from the station platform: the clack of the wheels over rail joints starts slow and widely spaced and quickens steadily as the train gathers speed, with a low rumble underneath the whole time. No voices and no announcement.
intended audiowheel clacks over rail joints start slow and widely spaced and quicken steadily to the end, over a continuous low rumble; no voices
Stage 2 - EditStyle Transfer
promptHave the train be arriving at the station instead.
intended audiodecelerating: the clack intervals lengthen from the start to the end
Stage 3 - Counterfactual editStyle Transfer
promptHave the train be passing through the station instead.
intended audioeven: the clack intervals are the same at the start and at the end
ModelStage 1 - GenerateStage 2 - EditStage 3 - Counterfactual editScore
ClipClipClip
Cascaded BaselineS1.1 S1.2 S1.3✓✓✓S2.1 S2.2 S2.3✓✓✗S3.1 S3.2 S3.3✗✓✓7/9
Audex-30BS1.1 S1.2 S1.3✓✓✓S2.1 S2.2 S2.3✗✓✗S3.1 S3.2 S3.3✗✓✗5/9
Audio-OmniS1.1 S1.2 S1.3✗✗✗S2.1 S2.2 S2.3✗✓✗S3.1 S3.2 S3.3✗✓✗2/9
Audex-2BS1.1 S1.2 S1.3✓✓✗S2.1 S2.2 S2.3✗✓✗S3.1 S3.2 S3.3✗✓✓5/9
UniAudio-2S1.1 S1.2 S1.3✗✗✗S2.1 S2.2 S2.3✗✗✗S3.1 S3.2 S3.3✗✓✗1/9
Unified-IO 2S1.1 S1.2 S1.3✗✗✗S2.1 S2.2 S2.3✗✗✗S3.1 S3.2 S3.3✗✗✗0/9
What each model wrote and was given at stages 2 and 3

Exact text from each run. Self-caption chain models: U hears its own previous clip with the edit prompt and writes the derived generation prompt below (for speech in TTS mode, a derived transcript); G receives only that text. Audio-Omni receives the edit with its previous clip. The Cascaded Baseline (specialist editors) is not shown. Hover any Stage 2 or 3 clip above to see its entry.

ModelStage 2edit prompt: “Have the train be arriving at the station instead.”Stage 3counterfactual prompt: “Have the train be passing through the station instead.”
Audex-30Bself-caption chainDerived generation prompt for G“A train arrives at the station, its engine humming and wheels screeching as it slows to a stop, blending with the distant murmur of passengers and the soft whoosh of doors opening.”Derived generation prompt for G“A train passes through the station, its horn blaring and wheels clattering on the tracks.”
Audex-2Bself-caption chainDerived generation prompt for G“The train is arriving at the station.”Derived generation prompt for G“The train passes through the station.”
UniAudio-2self-caption chainDerived generation prompt for G“A person speaking about a train arriving at a station”Derived generation prompt for G“,”U wrote no usable text; G was given this as is
Unified-IO 2self-caption chainDerived generation prompt for G“Have the train be arriving at the station instead.”U wrote nothing usable, so G was given the edit prompt itselfDerived generation prompt for G“Have the train be passing through the station instead.”U copied the edit prompt word for word
Audio-Omninative editNative edit · Style Transfer · on its Stage-1 clipsource → target“departing from the station platform” → “arriving at the station”Native edit · Style Transfer · on its Stage-2 clipsource → target“arriving at the station” → “passing through the station”
Show all nine questions (three per stage)
Stage 1 - Generate
S1.1What is the primary sound environment depicted in this recording?
  • A continuous low rumble interrupted by sudden, loud metallic crashes and the sound of rushing wind.
  • Steady metallic clicking accompanied by a repeating automated station announcement and passenger footsteps.
  • Rhythmic metallic clacking that starts slow and steadily accelerates over a continuous low rumble, with no vocal sounds.
  • Irregular metallic scraping and screeching sounds that gradually fade out, with faint background chatter.
  • Rhythmic metallic clacking that starts fast and slows down to a complete stop, over a high-pitched mechanical whine.
  • A constant, unchanging rhythm of metallic thuds over a low rumble, accompanied by occasional distant train horns.
S1.2Which of the following describes the temporal layout of the sounds in the clip?
  • The continuous rumble is heard throughout, while the rhythmic impacts only begin in the final third of the clip.
  • The rhythmic impacts start at the beginning and fade out halfway through, leaving only the continuous rumble at the end.
  • Both sounds start together, but the continuous rumble ends halfway through while the rhythmic impacts continue to the end.
  • The rhythmic impacts and the continuous rumble alternate back and forth, never overlapping with each other.
  • Both the rhythmic impacts and the continuous rumble persist from the very beginning to the very end of the clip.
  • The continuous rumble starts first, followed by the rhythmic impacts which then stop before the rumble fades out.
S1.3How does the tempo of the rhythmic clacking sounds change over the course of the clip?
  • The tempo starts slow, speeds up in the middle, and slows down again at the end.
  • The tempo remains completely constant throughout the entire clip.
  • The tempo starts fast, slows down in the middle, and speeds up again at the end.
  • The tempo fluctuates randomly with no clear pattern.
  • The tempo starts fast and gradually decelerates until the end.
  • The tempo starts slow and gradually accelerates until the end.
Stage 2 - Edit
S2.1Which of the following best describes the progression of the sounds in the clip?
  • The rhythmic impacts and the continuous low rumble, with the rate of impacts alternating between fast and slow tempos.
  • The rhythmic impacts and the continuous low rumble, with the rate of impacts remaining perfectly constant.
  • The rhythmic impacts and the continuous low rumble, with the rate of impacts steadily slowing down.
  • The rhythmic impacts and the continuous low rumble, with the rate of impacts fluctuating at random intervals.
  • The rhythmic impacts and the continuous low rumble, with the rate of impacts accelerating and then decelerating.
  • The rhythmic impacts and the continuous low rumble, with the rate of impacts steadily speeding up.
S2.2Which of the following describes the temporal layout of the sounds in this clip?
  • The rhythmic impacts and the continuous rumble alternate back and forth without ever overlapping.
  • The continuous rumble starts first, and the rhythmic impacts only begin to play in the final third of the clip.
  • The continuous rumble fades out halfway through, while the rhythmic impacts continue until the end.
  • The rhythmic impacts start only after the continuous rumble has played for several seconds.
  • The rhythmic impacts and the continuous rumble play together from the very beginning to the very end.
  • The rhythmic impacts stop midway through the clip, leaving only the continuous rumble to play until the end.
S2.3How does the rate of the rhythmic impact sounds change over the course of this clip?
  • The intervals between the impacts steadily shorten, making the rhythm faster toward the end.
  • The intervals between the impacts fluctuate randomly, speeding up and slowing down repeatedly.
  • The intervals between the impacts steadily lengthen, making the rhythm slower toward the end.
  • The intervals between the impacts remain completely constant from the start to the end.
  • The impacts start slow, speed up in the middle, and slow down again at the end.
  • A voice says the word 'decelerating' at the end of the clip.
Stage 3 - Counterfactual edit
S3.1Which of these sound combinations is present in this scene?
  • The rhythmic impacts and the continuous low rumble, with the rate of impacts remaining completely constant.
  • The rhythmic impacts and the continuous low rumble, with the rate of impacts steadily slowing down.
  • Only the rhythmic impacts, with the continuous low rumble completely missing.
  • The rhythmic impacts and the continuous low rumble, accompanied by a sudden loud squeal of brakes.
  • The rhythmic impacts and the continuous low rumble, with the rate of impacts steadily speeding up.
  • A voice announcing that the train is passing through the station.
S3.2Which of the following describes the temporal layout of the sounds in this clip?
  • Both the rhythmic impacts and the continuous rumble begin simultaneously and continue until the very end.
  • The rhythmic impacts start only after the continuous rumble has played for several seconds.
  • The rhythmic impacts cease halfway through the clip, leaving only the continuous rumble to play.
  • The continuous rumble starts only after the rhythmic impacts have played for several seconds.
  • The rhythmic impacts and the continuous rumble alternate continuously, never occurring at the same time.
  • The continuous rumble ceases halfway through the clip, leaving only the rhythmic impacts to play.
S3.3How does the rate of the rhythmic impact sounds change over the course of this clip?
  • The intervals between the impacts steadily shorten, making the rhythm faster toward the end.
  • A voice says the word 'constant' or 'even' at the end of the clip.
  • The intervals between the impacts remain completely constant from the start to the end.
  • The intervals between the impacts steadily lengthen, making the rhythm slower toward the end.
  • The impacts start fast, slow down in the middle, and speed up again at the end.
  • The intervals between the impacts fluctuate randomly, speeding up and slowing down repeatedly.

soundE interaction dynamicsreaction-significance AudioCaps-style domestic clip: a dog breathing in a quiet room, a doorbell chime, then repeated barking

How to read thisWe present the audio outputs of each model and its answers in the graphic below. The generation and edit prompts are labelled at the top; the questions and each model’s derived generation prompts can be seen on hover or in the drop-downs.

Stage 1 - GenerateT2A
promptA quiet living room. A dog is dozing on the floor next to its metal food bowl: slow breathing with an occasional collar jingle. A doorbell chimes once, and the dog springs up and barks repeatedly toward the door for the rest of the clip. No voices, no music.
intended audiothe clip opens with a dog's slow breathing and an occasional collar jingle; a doorbell chimes once and the dog then barks repeatedly to the end
Stage 2 - EditStyle Transfer
promptThe doorbell is swapped for a mobile phone.
intended audiono reaction: after the phone the dog stays down, breathing with at most a collar jingle, no barks and no movement
Stage 3 - Counterfactual editStyle Transfer
promptThe doorbell is swapped for a scoop of kibble hitting the dog's metal bowl.
intended audiofeeding: after the kibble the dog gets up, claws click across the floor and crunching follows, with no barks
ModelStage 1 - GenerateStage 2 - EditStage 3 - Counterfactual editScore
ClipClipClip
Cascaded BaselineS1.1 S1.2 S1.3✓✓✓S2.1 S2.2 S2.3✗✓✗S3.1 S3.2 S3.3✗✗✓5/9
Audex-30BS1.1 S1.2 S1.3✓✓✓S2.1 S2.2 S2.3✓✗✓S3.1 S3.2 S3.3✓✗✓7/9
Audio-OmniS1.1 S1.2 S1.3✗✓✗S2.1 S2.2 S2.3✗✗✓S3.1 S3.2 S3.3✗✓✓4/9
Audex-2BS1.1 S1.2 S1.3✓✗✗S2.1 S2.2 S2.3✗✗✓S3.1 S3.2 S3.3✗✗✗2/9
UniAudio-2S1.1 S1.2 S1.3✗✗✗S2.1 S2.2 S2.3✓✗✗S3.1 S3.2 S3.3✗✗✗1/9
Unified-IO 2S1.1 S1.2 S1.3✗✗✗S2.1 S2.2 S2.3✗✗✗S3.1 S3.2 S3.3✗✓✗1/9
What each model wrote and was given at stages 2 and 3

Exact text from each run. Self-caption chain models: U hears its own previous clip with the edit prompt and writes the derived generation prompt below (for speech in TTS mode, a derived transcript); G receives only that text. Audio-Omni receives the edit with its previous clip. The Cascaded Baseline (specialist editors) is not shown. Hover any Stage 2 or 3 clip above to see its entry.

ModelStage 2edit prompt: “The doorbell is swapped for a mobile phone.”Stage 3counterfactual prompt: “The doorbell is swapped for a scoop of kibble hitting the dog's metal bowl.”
Audex-30Bself-caption chainDerived generation prompt for G“A mobile phone rings in place of the doorbell.”Derived generation prompt for G“A dog barks as kibble clinks into its metal bowl.”
Audex-2Bself-caption chainDerived generation prompt for G“A mobile phone rings instead of a doorbell.”Derived generation prompt for G“A scoop of kibble hits a dog's metal bowl.”
UniAudio-2self-caption chainDerived generation prompt for G“\nduring the caller's turn, a jackhammer comes onto the line”Derived generation prompt for G“\ncan you hear the sound of a jackhammer coming onto the line after the agent's turn”
Unified-IO 2self-caption chainDerived generation prompt for G“The doorbell is swapped for a mobile phone.”U wrote nothing usable, so G was given the edit prompt itselfDerived generation prompt for G“The doorbell is swapped for a scoop of kibble hitting the dog's metal bowl.”U copied the edit prompt word for word
Audio-Omninative editNative edit · Style Transfer · on its Stage-1 clipsource → target“doorbell” → “mobile phone”Native edit · Style Transfer · on its Stage-2 clipsource → target“mobile phone” → “kibble hitting the metal bowl”
Show all nine questions (three per stage)
Stage 1 - Generate
S1.1Which sound sources are present in this clip?
  • A dog whimpering and a buzzer sounding, with background traffic noise.
  • A bird chirping and a doorbell chime, with wind blowing.
  • A cat meowing and a telephone ringing, with no other sounds.
  • A visual waveform displaying a dog barking and a doorbell ringing.
  • A dog and a doorbell chime, accompanied by a human voice speaking and background music.
  • A dog and a doorbell chime, with no human speech and no music.
S1.2What is the very first sound heard at the beginning of the clip?
  • A loud bark from the animal.
  • The jingling of a collar.
  • The slow breathing of the animal.
  • A human voice speaking.
  • The sharp chime of the signaling device.
  • A subtitle reading '[breathing]' appearing on screen.
S1.3How many times does the animal vocalize after the signaling device sounds?
  • Exactly twice.
  • None; the animal remains silent.
  • Five or more times, continuing without pause.
  • Exactly once.
  • A digital counter displaying the number of barks.
  • Three or more times.
Stage 2 - Edit
S2.1Which signaling sound is present in this clip?
  • A mobile phone ringtone, with no doorbell chime.
  • A doorbell chime, with no mobile phone ringtone.
  • A doorbell chime, with no landline telephone ring.
  • A mobile phone ringtone, with no landline telephone ring.
  • A landline telephone ring, with no mobile phone ringtone.
  • A landline telephone ring, with no doorbell chime.
S2.2What sound is heard before the signaling device sounds?
  • The slow breathing of the animal.
  • The ringing of the signaling device occurs immediately at the start.
  • An introductory title card on the screen.
  • A sharp bark from the animal.
  • A human voice whispering.
  • The sound of footsteps on a hard floor.
S2.3How does the animal react after the signaling device sounds?
  • The animal ignores the sound completely and continues to chew on a toy.
  • The animal lets out a single sharp whine and then goes silent.
  • The animal immediately starts panting heavily and pacing around.
  • The animal growls softly and begins to scratch at the floor.
  • The animal remains still, with only slow breathing heard.
  • The animal barks three or more times after the sound.
Stage 3 - Counterfactual edit
S3.1Which of these events is heard in the audio clip?
  • The sound of a treat bag rustling, with the animal whining and scratching at the cabinet.
  • The sound of dry food pouring into a dish, followed by the animal walking across the floor and crunching.
  • The sound of a squeaky toy being squeezed, with the animal panting and tail wagging.
  • The sound of a mobile phone ringing, with the animal remaining silent.
  • The sound of a collar jingling, with the animal panting and walking toward the door.
  • The sound of a can opener running, with the animal meowing and pacing around the kitchen.
S3.2What is the first sound heard in this clip?
  • The ringing of a mobile phone.
  • The sound of food pouring into a container.
  • The sound of crunching and chewing.
  • The slow breathing of the animal.
  • The clicking of claws on the floor.
  • A dog barking loudly.
S3.3What does the animal do after the food pours into the container?
  • The animal whimpers and pants while waiting patiently to be fed.
  • The animal remains still, with only slow breathing heard.
  • The animal barks excitedly and immediately begins eating from the bowl.
  • The animal walks away from the food and starts playing with a toy.
  • The animal runs to the bowl, drinks water quickly, and then leaves.
  • The animal moves across the floor and makes crunching sounds, with no barking.

speechA scene compositionsource-addition In a quiet kitchen a woman reads two recipe sentences aloud evenly with nothing else heard

How to read thisWe present the audio outputs of each model and its answers in the graphic below. The generation and edit prompts are labelled at the top; the questions and each model’s derived generation prompts can be seen on hover or in the drop-downs.

Stage 1 - GenerateT2A
promptIn a quiet kitchen a woman reads aloud, evenly: 'Preheat the oven to two hundred degrees. Line the tray with paper.' Nothing else is heard.
intended audioone woman reads two sentences evenly, the second following the first with only a breath between them; nothing else sounds
Stage 2 - EditAdd
promptAdd a baby in the next room.
intended audioboth sentences read straight through with no pause or reaction; a baby's cry behind the wall
Stage 3 - Counterfactual editAdd
promptAdd a dog in the next room instead of the baby.
intended audiounchanged: both sentences read straight through with no pause or reaction (a dog barks behind the wall, no cry)
ModelStage 1 - GenerateStage 2 - EditStage 3 - Counterfactual editScore
ClipClipClip
Cascaded BaselineS1.1 S1.2 S1.3✓✗✓S2.1 S2.2 S2.3✗✗✓S3.1 S3.2 S3.3✗✓✓5/9
Audex-30B TTSS1.1 S1.2 S1.3✗✓✓S2.1 S2.2 S2.3✗✓✓S3.1 S3.2 S3.3✓✓✓7/9
Audio-OmniS1.1 S1.2 S1.3✗✗✗S2.1 S2.2 S2.3✓✗✓S3.1 S3.2 S3.3✗✗✓3/9
Audex-2B TTSS1.1 S1.2 S1.3✓✓✓S2.1 S2.2 S2.3✗✗✓S3.1 S3.2 S3.3✗✓✓6/9
UniAudio-2 TTSS1.1 S1.2 S1.3✗✗✗S2.1 S2.2 S2.3✓✗✗S3.1 S3.2 S3.3✗✗✗1/9
Unified-IO 2S1.1 S1.2 S1.3✗✓✗S2.1 S2.2 S2.3✓✗✗S3.1 S3.2 S3.3✓✓✗4/9
What each model wrote and was given at stages 2 and 3

Exact text from each run. Self-caption chain models: U hears its own previous clip with the edit prompt and writes the derived generation prompt below (for speech in TTS mode, a derived transcript); G receives only that text. Audio-Omni receives the edit with its previous clip. The Cascaded Baseline (specialist editors) is not shown. Hover any Stage 2 or 3 clip above to see its entry.

ModelStage 2edit prompt: “Add a baby in the next room.”Stage 3counterfactual prompt: “Add a dog in the next room instead of the baby.”
Audex-30B TTSself-caption chainDerived transcript for G“In a quiet kitchen a woman reads aloud evenly, preheat the oven to 200 degrees, line the tray with paper, nothing else is heard. Add a baby in the next room.”Derived transcript for G“In a quiet kitchen a woman reads aloud evenly, preheat the oven to 200 degrees, line the tray with paper, nothing else is heard. Add a dog in the next room.”
Audex-2B TTSself-caption chainDerived transcript for G“Add a baby in the next room.”U copied the edit prompt word for wordDerived transcript for G“Add a dog in the next room instead of the baby.”U copied the edit prompt word for word
UniAudio-2 TTSself-caption chainDerived transcript for G“Reheat the oven to 200 degrees. Line the tray with paper.”Style caption for G“The acoustic character of the result, covering setting, spatial placement and delivery”copied from the field description in U’s request, not a description of the audioDerived transcript for G“The utterance "the dog" spoken in the next room instead of the baby”
Unified-IO 2self-caption chainDerived generation prompt for G“Add a baby in the next room.”U copied the edit prompt word for wordDerived generation prompt for G“Add a dog in the next room instead of the baby.”U copied the edit prompt word for word
Audio-Omninative editNative edit · Add · on its Stage-1 clipEdit description“Add a baby in the next room.”Native edit · Add · on its Stage-2 clipEdit description“Add a dog in the next room instead of the baby.”
Show all nine questions (three per stage)
Stage 1 - Generate
S1.1Which of the following best describes the audio recording?
  • A single male voice reading three sentences in a quiet room with brief breaths between them.
  • A single female voice reading two sentences in a quiet room with a long pause between them.
  • A single female voice reading two sentences in a quiet room with only a brief breath between them.
  • Two different female voices reading one sentence each in a quiet room with a brief pause between them.
  • A single female voice reading three sentences in a quiet room with brief breaths between them.
  • A single male voice reading two sentences in a quiet room with only a brief breath between them.
S1.2Which of the following describes the transition between the two spoken sentences?
  • They are separated by a short pause filled with low-level background noise.
  • They are separated by a slight overlap where the second sentence starts before the first ends.
  • They are separated by a brief pause containing a throat-clearing sound.
  • They are separated by a distinct pause of several seconds of complete silence.
  • They are separated by a short pause containing an audible sigh.
  • They are separated by a brief breath, with no other sounds in between.
S1.3Which of the following best describes the pacing and delivery of the two spoken sentences?
  • The speaker begins reading the first sentence quickly, transitions into the second without a pause, and then gradually slows down toward the end.
  • The speaker delivers both sentences with a noticeable acceleration in tempo, starting each one slowly and finishing them much faster.
  • The speaker reads the first sentence at a steady pace, pauses briefly, and then delivers the second sentence at a significantly faster rate.
  • The speaker delivers the first sentence at a moderate tempo, pauses for several seconds, and then reads the second sentence much more slowly.
  • The speaker reads both sentences with frequent, rhythmic pauses after every few words, creating a highly structured and deliberate cadence.
  • The speaker reads both sentences at a consistent, steady pace with only a brief pause for breath between them.
Stage 2 - Edit
S2.1What sounds are present in this recording?
  • The reader speaking, with no other background sounds.
  • The reader speaking, with a background sound of a baby crying.
  • Only a baby crying, with no reader speaking.
  • The reader speaking, with a background sound of a phone ringing.
  • A written description of a kitchen scene with a crying infant.
  • The reader speaking, with a background sound of a dog barking.
S2.2What is the temporal relationship between the two spoken sentences?
  • The second sentence overlaps with and interrupts the end of the first sentence.
  • The second sentence is delayed by a long pause during which only the background sound is heard.
  • The second sentence begins immediately after the first with no pause between them.
  • The second sentence is spoken after a brief pause filled by a deep breath from the speaker.
  • The second sentence begins after a distinct pause of several seconds.
  • The second sentence starts only after a short laugh from the speaker.
S2.3How does the reader react when the background sound occurs?
  • The reader laughs briefly before continuing to read the second sentence.
  • The reader whispers the rest of the sentence to avoid making noise.
  • The reader continues reading evenly without any pause, hesitation, or change in tone.
  • The reader stops reading completely as soon as the background sound begins.
  • The reader gasps and raises her voice in response to the background sound.
  • The transcript includes an exclamation point to show the reader's surprise.
Stage 3 - Counterfactual edit
S3.1Which of these is present in this scene?
  • Only a dog barking, with no reader speaking.
  • The reader speaking, with no other background sounds.
  • The reader speaking, with a background sound of a baby crying.
  • The reader speaking, with a background sound of a dog barking.
  • The reader speaking, with a background sound of a cat meowing.
  • A written script indicating a dog is barking behind a wall.
S3.2What is the temporal relationship between the two spoken sentences?
  • There is a distinct three-second silence between the end of the first sentence and the start of the second.
  • The second sentence overlaps slightly with the final word of the first sentence.
  • The second sentence is delayed by a long pause during which only the background sound is heard.
  • The first sentence fades out slowly before the second sentence begins after a short gap.
  • The second sentence begins after a moderate pause, during which a brief sigh is heard.
  • The second sentence begins immediately after the first sentence ends, with only a brief pause.
S3.3How does the reader react when the background sound occurs?
  • The reader pauses or gasps in reaction to the background sound.
  • The reader starts shouting the second sentence.
  • The reader whispers the second sentence.
  • The transcript shows a stage direction indicating the reader ignores the sound.
  • The reader continues reading evenly without any pause, hesitation, or change in tone.
  • The reader stutters during the second sentence.

speechB physical causalityforce-magnitude In an open-plan office with faint typing, a woman asks a colleague whether he has seen a folder

How to read thisWe present the audio outputs of each model and its answers in the graphic below. The generation and edit prompts are labelled at the top; the questions and each model’s derived generation prompts can be seen on hover or in the drop-downs.

Stage 1 - GenerateT2A
promptAn open-plan office with faint keyboard clatter, opening onto a long corridor. A woman standing beside a colleague at his desk says at conversational level: 'Have you seen the blue folder? I left it by the printer this morning.' Nothing else.
intended audioone woman speaks two sentences at ordinary conversational effort over faint keyboard clatter, asking about the folder before mentioning the printer; no reply
Stage 2 - EditStyle Transfer
promptThe colleague is across the room when she says it.
intended audioa raised calling voice, above conversational but not a shout
Stage 3 - Counterfactual editStyle Transfer
promptThe colleague is at the far end of the corridor when she says it.
intended audioa full shout, stretched vowels and much higher pitch
ModelStage 1 - GenerateStage 2 - EditStage 3 - Counterfactual editScore
ClipClipClip
Cascaded BaselineS1.1 S1.2 S1.3✗✓✓S2.1 S2.2 S2.3✗✗✗S3.1 S3.2 S3.3✗✗✗2/9
Audex-30B TTSS1.1 S1.2 S1.3✓✓✓S2.1 S2.2 S2.3✗✓✓S3.1 S3.2 S3.3✗✗✗5/9
Audio-OmniS1.1 S1.2 S1.3✓✓✓S2.1 S2.2 S2.3✗✓✗S3.1 S3.2 S3.3✗✗✗4/9
Audex-2B TTSS1.1 S1.2 S1.3✓✗✓S2.1 S2.2 S2.3✓✗✗S3.1 S3.2 S3.3✗✗✗3/9
UniAudio-2 TTSS1.1 S1.2 S1.3✓✓✓S2.1 S2.2 S2.3✓✓✓S3.1 S3.2 S3.3✗✗✓7/9
Unified-IO 2S1.1 S1.2 S1.3✗✗✗S2.1 S2.2 S2.3✗✗✗S3.1 S3.2 S3.3✗✗✗0/9
What each model wrote and was given at stages 2 and 3

Exact text from each run. Self-caption chain models: U hears its own previous clip with the edit prompt and writes the derived generation prompt below (for speech in TTS mode, a derived transcript); G receives only that text. Audio-Omni receives the edit with its previous clip. The Cascaded Baseline (specialist editors) is not shown. Hover any Stage 2 or 3 clip above to see its entry.

ModelStage 2edit prompt: “The colleague is across the room when she says it.”Stage 3counterfactual prompt: “The colleague is at the far end of the corridor when she says it.”
Audex-30B TTSself-caption chainDerived transcript for G“The colleague is across the room when she says it.”U copied the edit prompt word for wordDerived transcript for G“The colleague is at the far end of the corridor when she says it.”U copied the edit prompt word for word
Audex-2B TTSself-caption chainDerived transcript for G“The colleague is across the room when she says it.”U copied the edit prompt word for wordDerived transcript for G“The colleague is at the far end of the corridor when she says it.”U copied the edit prompt word for word
UniAudio-2 TTSself-caption chainDerived transcript for G“I left it by the printer this morning”Style caption for G“setting, spatial placement and delivery”copied from the field description in U’s request, not a description of the audioDerived transcript for G“The colleague says it at the far end of the corridor”
Unified-IO 2self-caption chainDerived generation prompt for G“The colleague is across the room when she says it.”U copied the edit prompt word for wordDerived generation prompt for G“The colleague is at the far end of the corridor when she says it.”U copied the edit prompt word for word
Audio-Omninative editNative edit · Style Transfer · on its Stage-1 clipsource → target“beside a colleague” → “across the room”Native edit · Style Transfer · on its Stage-2 clipsource → target“across the room” → “at the far end of the corridor”
Show all nine questions (three per stage)
Stage 1 - Generate
S1.1How many speakers are speaking in this recording, and what background sound is present?
  • A single female speaker, with faint keyboard typing in the background.
  • A male and a female speaker, with a faint printer running in the background.
  • A male and a female speaker, with faint keyboard typing in the background.
  • A single male speaker, with a faint printer running in the background.
  • A single female speaker, with a faint printer running in the background.
  • A single male speaker, with faint keyboard typing in the background.
S1.2Which of the following describes the order and type of the speaker's remarks about the folder and the printer?
  • A question about the folder is spoken first, followed by a statement mentioning the printer.
  • A statement about the folder is spoken first, followed by a statement mentioning the printer.
  • A question about the printer is spoken first, followed by a statement about the folder.
  • A question about the folder is spoken first, followed by a question about the printer.
  • A statement about the folder is spoken first, followed by a question about the printer.
  • A statement mentioning the printer is spoken first, followed by a question about the folder.
S1.3What is the vocal effort of the speaker?
  • An unstable voice that alternates between whispering and shouting.
  • A text label indicating 'conversational volume'.
  • A full, high-pitched shout with stretched vowels.
  • A raised calling voice, louder than normal conversation.
  • An ordinary conversational effort, as if speaking to someone sitting right next to them.
  • A soft whisper, as if trying not to disturb a quiet room.
Stage 2 - Edit
S2.1Which of the following describes the voice and background in this recording?
  • A transcript of a woman calling out for a folder.
  • Two voices speaking in conversational tones over faint keyboard typing.
  • A single voice speaking with ordinary conversational effort with no background sounds.
  • A single voice speaking with a raised calling effort over faint keyboard typing.
  • A single voice speaking with ordinary conversational effort over faint keyboard typing.
  • A single voice shouting loudly over a printer running.
S2.2Which of the following best describes the speaker's vocal delivery?
  • A completely silent pause with no vocalization
  • A raised calling voice, above conversational but not a shout
  • An angry shout, much louder than a normal calling voice
  • A standard conversational tone, neither raised nor lowered
  • A theatrical singing voice with highly dramatic pitch shifts
  • A quiet whisper, softer than conversational speech
S2.3What is the vocal effort of the speaker?
  • A raised calling voice, above conversational but not a full shout.
  • A normal conversational voice, typical of a relaxed face-to-face discussion.
  • A soft whisper, as if speaking quietly.
  • A maximum-effort shout, as if trying to be heard over extremely loud noise.
  • A quiet, low-pitched murmur, as if speaking to oneself.
  • A projected theatrical voice, clear and resonant but not strained.
Stage 3 - Counterfactual edit
S3.1Which of the following is present in this scene?
  • A single speaker mentioning the printer before asking about the folder, with no keyboard clatter.
  • Two speakers, one mentioning the printer before the other asks about the folder, over faint keyboard clatter.
  • Two speakers, one asking about the folder before the other mentions the printer, over faint keyboard clatter.
  • A single speaker asking about the folder before mentioning the printer, over faint keyboard clatter.
  • Two speakers, one asking about the folder before the other mentions the printer, with no keyboard clatter.
  • A single speaker mentioning the printer before asking about the folder, over faint keyboard clatter.
S3.2Which of the following best describes the speaker's vocal characteristics in the audio?
  • The speaker delivers the audio with a shaky, nervous tone, rapid vowels, and a fluctuating pitch.
  • The speaker delivers the audio in a deep, gravelly voice, breathy vowels, and a descending pitch.
  • The speaker delivers the audio in a quiet whisper, with short vowels and a much lower pitch.
  • The speaker delivers the audio with a cheerful, singing tone, staccato vowels, and a constant pitch.
  • The speaker delivers the audio in a flat monotone, with clipped vowels and a standard pitch.
  • The speaker delivers the audio with a full shout, stretched vowels, and a much higher pitch.
S3.3What is the vocal effort of the speaker?
  • A soft, breathy whisper with a lower pitch, as if trying not to be overheard.
  • A standard conversational voice with normal pitch, as if speaking to a companion nearby.
  • A full shout with stretched vowels and a much higher pitch, as if calling to someone far away.
  • A projected stage voice with sustained vowels, as if performing to a small audience.
  • A low-pitched, muttered undertone with clipped vowels, as if speaking to oneself.
  • A raised calling voice, above conversational but not a full shout.

speechC scene acousticschannel-transfer A man records a voice memo on his phone in a quiet kitchen, held close to his mouth

How to read thisWe present the audio outputs of each model and its answers in the graphic below. The generation and edit prompts are labelled at the top; the questions and each model’s derived generation prompts can be seen on hover or in the drop-downs.

Stage 1 - GenerateT2A
promptA man records a voice memo on his phone, held in his hand near his mouth in a quiet kitchen: 'Reminder for tomorrow: pick up the dry cleaning before ten, then call the dentist about Thursday.' Close and dry, nothing else.
intended audioone man speaks a single reminder, the dry cleaning named before the dentist; his voice is close, dry and full-range with no room tail
Stage 2 - EditStyle Transfer
promptRecord it again with the device in his pocket.
intended audiothe voice reaches the mic through fabric: high frequencies gone, still close and dry, with rustle
Stage 3 - Counterfactual editStyle Transfer
promptRecord it again with the device on the counter across the kitchen.
intended audiothe voice reaches the mic across the room: high frequencies present, distant, with room reverberation
ModelStage 1 - GenerateStage 2 - EditStage 3 - Counterfactual editScore
ClipClipClip
Cascaded BaselineS1.1 S1.2 S1.3✓✓✓S2.1 S2.2 S2.3✓✓✗S3.1 S3.2 S3.3✓✓✓8/9
Audex-30B TTSS1.1 S1.2 S1.3✓✓✓S2.1 S2.2 S2.3✓✗✓S3.1 S3.2 S3.3✗✓✓7/9
Audio-OmniS1.1 S1.2 S1.3✗✗✓S2.1 S2.2 S2.3✓✗✓S3.1 S3.2 S3.3✓✓✗5/9
Audex-2B TTSS1.1 S1.2 S1.3✓✓✓S2.1 S2.2 S2.3✓✗✗S3.1 S3.2 S3.3✗✓✓6/9
UniAudio-2 TTSS1.1 S1.2 S1.3✗✓✓S2.1 S2.2 S2.3✓✗✓S3.1 S3.2 S3.3✗✗✓5/9
Unified-IO 2S1.1 S1.2 S1.3✗✗✗S2.1 S2.2 S2.3✗✗✗S3.1 S3.2 S3.3✗✓✗1/9
What each model wrote and was given at stages 2 and 3

Exact text from each run. Self-caption chain models: U hears its own previous clip with the edit prompt and writes the derived generation prompt below (for speech in TTS mode, a derived transcript); G receives only that text. Audio-Omni receives the edit with its previous clip. The Cascaded Baseline (specialist editors) is not shown. Hover any Stage 2 or 3 clip above to see its entry.

ModelStage 2edit prompt: “Record it again with the device in his pocket.”Stage 3counterfactual prompt: “Record it again with the device on the counter across the kitchen.”
Audex-30B TTSself-caption chainDerived transcript for G“Record it again with the device in his pocket.”U copied the edit prompt word for wordDerived transcript for G“Record it again with the device on the counter across the kitchen.”U copied the edit prompt word for word
Audex-2B TTSself-caption chainDerived transcript for G“Record it again with the device in his pocket.”U copied the edit prompt word for wordDerived transcript for G“record it again with the device in his pocket.”
UniAudio-2 TTSself-caption chainDerived transcript for G“\ntext: the utterance spoken in the result, verbatim \ncaption_text: the acoustic character of the result, covering setting, spatial placement and delivery”Derived transcript for G“The utterance spoken in the result verbatim”
Unified-IO 2self-caption chainDerived generation prompt for G“Record it again with the device in his pocket.”U copied the edit prompt word for wordDerived generation prompt for G“Record it again with the device on the counter across the kitchen.”U copied the edit prompt word for word
Audio-Omninative editNative edit · Style Transfer · on its Stage-1 clipsource → target“held in his hand near his mouth” → “in his pocket”Native edit · Style Transfer · on its Stage-2 clipsource → target“in his pocket” → “on the counter across the kitchen”
Show all nine questions (three per stage)
Stage 1 - Generate
S1.1What is the speaker doing in this recording?
  • A single male voice speaking a question.
  • A single male voice speaking an apology.
  • A single male voice speaking a command.
  • A single male voice speaking a reminder.
  • A single male voice speaking a warning.
  • A single male voice speaking a greeting.
S1.2In the spoken reminder, which task is mentioned first?
  • Both tasks are mentioned simultaneously.
  • Calling the dentist.
  • Going to the grocery store.
  • Picking up the dry cleaning.
  • Booking a flight.
  • A text list showing the tasks.
S1.3How does the speaker's voice sound in relation to the microphone?
  • Distant and heavily muffled.
  • A visual volume meter displaying the voice level.
  • Close but extremely distorted and static-filled.
  • Whispered quietly directly into the microphone.
  • Clear but with a noticeable echo as if in a large room.
  • Very close and clear, with no room echo or muffled quality.
Stage 2 - Edit
S2.1What occurs during the speech in this recording?
  • A single speaker delivers a reminder clearly with no muffling or rustling.
  • A single speaker delivers a reminder with a noticeable echo in a large, empty room.
  • A single speaker delivers a reminder with a muffled quality and rustling sounds.
  • A single speaker delivers a reminder with intermittent dropouts and digital distortion.
  • A single speaker delivers a reminder with significant background static and electronic hums.
  • A single speaker delivers a reminder with a subtle outdoor breeze and distant traffic noise.
S2.2Which of the two tasks does the speaker say first?
  • Going to the grocery store, which is spoken with a spacious, echoing reverberation.
  • Calling the dentist, which is heard with a very distant, echoey sound and no rustle.
  • The speaker does not mention either task.
  • Calling the dentist, which is heard in a bright, clear voice with prominent high frequencies.
  • Both tasks, which are spoken in a crystal-clear tone with no fabric interference.
  • Picking up the dry cleaning, which is spoken in a muffled voice through fabric with high frequencies gone.
S2.3What is the acoustic character of the speaker's voice?
  • Muffled and low-pass filtered with fabric rustle, yet dry and close.
  • Clear, dry, and full-range with no muffling or rustling.
  • Bright and reverberant with noticeable room echo and background hiss.
  • Warm and bass-heavy with a slight slapback delay and room resonance.
  • Thin and distant with a high-pass filter effect and wind noise.
  • Highly compressed and distorted with digital artifacts and static.
Stage 3 - Counterfactual edit
S3.1Which of these is true about the recording?
  • The speaker mentions calling the dentist before picking up the dry cleaning, with their voice sounding like a close-up whisper with no room reverberation.
  • The speaker mentions picking up the dry cleaning before calling the dentist, with their voice sounding distant, having high frequencies present, and showing room reverberation.
  • The speaker mentions only the dentist and drops the dry cleaning task.
  • The speaker mentions calling the dentist before picking up the dry cleaning, with their voice sounding distant, having high frequencies present, and showing room reverberation.
  • The speaker mentions buying groceries before going to the bank, with their voice sounding muffled and lacking high frequencies.
  • The speaker mentions picking up the dry cleaning before calling the dentist, with their voice sounding heavily bass-boosted and right next to the microphone.
S3.2In what order are the tasks spoken in this recording?
  • The dentist task is spoken before the dry cleaning task.
  • The dry cleaning task and the dentist task are spoken at the same time.
  • The dry cleaning task is spoken, but the dentist task is never mentioned.
  • The tasks are spoken in a random, overlapping order.
  • The dentist task is spoken, but the dry cleaning task is never mentioned.
  • The dry cleaning task is spoken before the dentist task.
S3.3What is the acoustic character of the voice in this recording?
  • Clear, close, and dry with no room echo at all.
  • A room impulse response diagram showing the distance.
  • Extremely distorted with heavy radio static and dropouts.
  • Whispered very closely into the microphone with no echo.
  • Muffled with high frequencies missing and accompanied by close-up rustling.
  • Distant and echoing with noticeable room reverberation, but retaining high-frequency clarity.

musicB physical causalitymaterial-outcome A djembe played by hand in a living room, a steady repeating rhythm, no other instruments

How to read thisWe present the audio outputs of each model and its answers in the graphic below. The generation and edit prompts are labelled at the top; the questions and each model’s derived generation prompts can be seen on hover or in the drop-downs.

Stage 1 - GenerateT2A
promptA home recording in a living room: a djembe is played with bare hands in a steady, simple repeating four-beat pattern for the whole clip, no other instruments.
intended audioa single hand drum plays one steady repeating four-beat pattern all the way through; every hit is a bare-hand stroke, mixing slaps and open tones
Stage 2 - EditStyle Transfer
promptThe djembe is played with drumsticks.
intended audioeach hit is a sharp hard crack with a stick click
Stage 3 - Counterfactual editStyle Transfer
promptThe djembe is played with felt mallets.
intended audioeach hit is a round soft boom with no click
ModelStage 1 - GenerateStage 2 - EditStage 3 - Counterfactual editScore
ClipClipClip
Cascaded BaselineS1.1 S1.2 S1.3✗✓✗S2.1 S2.2 S2.3✓✗✗S3.1 S3.2 S3.3✓✗✗3/9
Audex-30BS1.1 S1.2 S1.3✓✓✗S2.1 S2.2 S2.3✓✓✓S3.1 S3.2 S3.3✓✓✗7/9
Audio-OmniS1.1 S1.2 S1.3✓✗✗S2.1 S2.2 S2.3✓✓✓S3.1 S3.2 S3.3✓✗✗5/9
Audex-2BS1.1 S1.2 S1.3✗✗✗S2.1 S2.2 S2.3✓✗✗S3.1 S3.2 S3.3✗✓✗2/9
UniAudio-2S1.1 S1.2 S1.3✗✗✗S2.1 S2.2 S2.3✗✗✗S3.1 S3.2 S3.3✗✗✗0/9
Unified-IO 2S1.1 S1.2 S1.3✗✓✓S2.1 S2.2 S2.3✓✗✗S3.1 S3.2 S3.3✗✗✗3/9
What each model wrote and was given at stages 2 and 3

Exact text from each run. Self-caption chain models: U hears its own previous clip with the edit prompt and writes the derived generation prompt below (for speech in TTS mode, a derived transcript); G receives only that text. Audio-Omni receives the edit with its previous clip. The Cascaded Baseline (specialist editors) is not shown. Hover any Stage 2 or 3 clip above to see its entry.

ModelStage 2edit prompt: “The djembe is played with drumsticks.”Stage 3counterfactual prompt: “The djembe is played with felt mallets.”
Audex-30Bself-caption chainDerived generation prompt for G“The djembe is played with drumsticks.”U copied the edit prompt word for wordDerived generation prompt for G“The djembe is played with felt mallets.”U copied the edit prompt word for word
Audex-2Bself-caption chainDerived generation prompt for G“The djembe is played with drumsticks.”U copied the edit prompt word for wordDerived generation prompt for G“The djembe is being played with felt mallets.”
UniAudio-2self-caption chainDerived generation prompt for G“The loudspeakers are switched off when the call comes in”Derived generation prompt for G“A woman speaks in a quiet room”
Unified-IO 2self-caption chainDerived generation prompt for G“The djembe is played with drumsticks.”U wrote nothing usable, so G was given the edit prompt itselfDerived generation prompt for G“The djembe is played with felt mallets.”U copied the edit prompt word for word
Audio-Omninative editNative edit · Style Transfer · on its Stage-1 clipsource → target“bare hands” → “drumsticks”Native edit · Style Transfer · on its Stage-2 clipsource → target“drumsticks” → “felt mallets”
Show all nine questions (three per stage)
Stage 1 - Generate
S1.1Which of the following describes the sound source present in the clip?
  • A hand drum accompanied by a background acoustic guitar chord progression.
  • Multiple distinct percussion instruments playing in an ensemble.
  • A voice speaking a rhythmic sequence of numbers.
  • An electronic synthesizer playing a steady bassline.
  • A single percussion instrument playing alone without any accompaniment.
  • A series of metallic clangs and ambient wind noise.
S1.2What is the temporal structure of the rhythmic pattern heard in the clip?
  • A syncopated five-beat pattern that alternates with brief periods of silence.
  • A two-beat pattern that slows down progressively until it stops entirely.
  • A pattern that changes its tempo and beat structure completely halfway through.
  • A single four-beat pattern repeats steadily from the beginning to the end.
  • A three-beat pattern that gradually accelerates in tempo over the course of the clip.
  • An irregular seven-beat pattern that maintains a constant, unvarying tempo.
S1.3Which of the following best describes the character of the individual strikes?
  • The strikes have a metallic, ringing sustain, sounding like a small hammer hitting an anvil.
  • The strikes have a deep, echoing resonance, sounding like a heavy mallet hitting a large gong.
  • The strikes are completely muted and soft, sounding like footsteps on carpet.
  • The strikes have a buzzing, vibrating quality, sounding like a snare drum wire rattling.
  • The strikes have a sharp, crisp snap, sounding like wooden drumsticks clacking together.
  • The strikes have a moderate attack, sounding like bare hands hitting a surface.
Stage 2 - Edit
S2.1What happens in this scene?
  • A voice says 'each hit is a sharp hard crack with a stick click'.
  • A single drum plays a steady repeating pattern where every hit has a sharp click.
  • A metallic object is dropped onto a wooden table and rolls to a stop.
  • A drum plays a steady repeating pattern with soft, fleshy hand slaps.
  • A synthesizer plays a sequence of high-pitched electronic bleeps.
  • A drum plays a steady repeating pattern with bare-hand strokes and no clicks.
S2.2What is the temporal structure of the sounds heard in this clip?
  • The sharp strikes occur in a single rapid burst at the very beginning, followed by silence.
  • The sharp strikes repeat in a steady four-beat pattern from start to finish.
  • The sharp strikes occur at irregular, unpredictable intervals throughout the clip.
  • The sharp strikes occur in pairs separated by long, equal intervals of silence.
  • A single sharp strike occurs in the middle of the clip with silence before and after.
  • The sharp strikes gradually speed up until they merge into a continuous buzz.
S2.3Which of the following best describes the character of the individual hits?
  • Each hit has a heavy, resonant attack characteristic of a large mallet strike.
  • Each hit has a soft, muffled attack characteristic of a felt beater tap.
  • Each hit has a thin, scraping attack characteristic of a wire brush sweep.
  • Each hit has a bright, ringing attack characteristic of a metal rod ping.
  • Each hit has a sharp, hard attack characteristic of a wooden stick click.
  • Each hit has a moderate attack characteristic of a bare hand slap.
Stage 3 - Counterfactual edit
S3.1Which of these is present in this scene?
  • A series of random, non-rhythmic thuds with no repeating structure.
  • A single drum playing the exact same steady repeating pattern heard previously.
  • A voice stating that the drum pattern has remained the same.
  • A continuous, unbroken low-frequency hum with no individual hits.
  • A drum playing a completely new, syncopated rhythm with frequent pauses.
  • A drum playing a steady pattern, but accompanied by a shaker and a tambourine.
S3.2Which of the following best describes the acoustic character of the hits in this clip?
  • Each hit is a sharp, metallic clink with a high-pitched ringing tail.
  • Each hit is a loud, explosive pop with a sharp, distinct click.
  • Each hit is a low, fuzzy buzz that vibrates continuously.
  • Each hit is a harsh, raspy scrape followed by a brief hiss.
  • The soft hits occur at irregular, drifting intervals with no clear tempo.
  • Each hit is a round, soft boom with no click.
S3.3Which of the following best describes the character of the individual hits?
  • Each hit has a round, soft attack with a deep body tone and no sharp click.
  • Each hit has a sharp, hard attack with a distinct high-frequency click.
  • Each hit has a dry, hollow attack with a wooden body tone and a subtle rattling buzz.
  • Each hit has a bright, metallic attack with a ringing resonance and a high-pitched buzz.
  • Each hit has a quick, snappy attack with a tight mid-range punch and a lingering metallic sizzle.
  • Each hit has a heavy, blunt attack with a muddy low-end decay and a faint scraping noise.

musicD temporal structureevent-order A club trio opens a slow number with one player alone before the other two come in

How to read thisWe present the audio outputs of each model and its answers in the graphic below. The generation and edit prompts are labelled at the top; the questions and each model’s derived generation prompts can be seen on hover or in the drop-downs.

Stage 1 - GenerateT2A
promptA live club trio on a slow number: an acoustic guitar plays a figure alone for the opening two bars, then an upright bass and brushed drums join it and all three play together to the end of the clip. No vocals.
intended audioan acoustic guitar plays alone for the opening bars, then an upright bass and brushed drums come in and all three play to the end; no vocals
Stage 2 - EditStyle Transfer
promptHave the brushed drums play the opening two bars alone and the other two join after them.
intended audiodrums first: brushed drums are the only part at the opening, guitar and bass coming in after them
Stage 3 - Counterfactual editStyle Transfer
promptHave the upright bass play the opening two bars alone and the other two join after it.
intended audiobass first: the upright bass is the only part at the opening, guitar and drums coming in after it
ModelStage 1 - GenerateStage 2 - EditStage 3 - Counterfactual editScore
ClipClipClip
Cascaded BaselineS1.1 S1.2 S1.3✗✗✗S2.1 S2.2 S2.3✗✗✗S3.1 S3.2 S3.3✗✗✓1/9
Audex-30BS1.1 S1.2 S1.3✓✗✓S2.1 S2.2 S2.3✗✗✓S3.1 S3.2 S3.3✓✗✗4/9
Audio-OmniS1.1 S1.2 S1.3✓✓✓S2.1 S2.2 S2.3✗✓✓S3.1 S3.2 S3.3✓✓✗7/9
Audex-2BS1.1 S1.2 S1.3✓✓✓S2.1 S2.2 S2.3✗✗✗S3.1 S3.2 S3.3✓✓✓6/9
UniAudio-2S1.1 S1.2 S1.3✗✗✓S2.1 S2.2 S2.3✗✗✓S3.1 S3.2 S3.3✓✓✗4/9
Unified-IO 2S1.1 S1.2 S1.3✓✗✗S2.1 S2.2 S2.3✗✗✗S3.1 S3.2 S3.3✗✗✗1/9
What each model wrote and was given at stages 2 and 3

Exact text from each run. Self-caption chain models: U hears its own previous clip with the edit prompt and writes the derived generation prompt below (for speech in TTS mode, a derived transcript); G receives only that text. Audio-Omni receives the edit with its previous clip. The Cascaded Baseline (specialist editors) is not shown. Hover any Stage 2 or 3 clip above to see its entry.

ModelStage 2edit prompt: “Have the brushed drums play the opening two bars alone and the other two join after them.”Stage 3counterfactual prompt: “Have the upright bass play the opening two bars alone and the other two join after it.”
Audex-30Bself-caption chainDerived generation prompt for G“The brushed drums play the opening two bars alone, and then the other two instruments join in.”Derived generation prompt for G“The upright bass plays the opening two bars alone, followed by the other two instruments joining in.”
Audex-2Bself-caption chainDerived generation prompt for G“The audio features a solo performance of the first two bars of the brushed drums, followed by the second two bars joining in.”Derived generation prompt for G“The opening two bars are played by the upright bass alone, followed by the addition of the other two bars by the ensemble.”
UniAudio-2self-caption chainDerived generation prompt for G“The man speaks with a guitar accompaniment, followed by a woman's voice, in a quiet setting.”Derived generation prompt for G“What should be the answer? Explain your logic for choosing the answer. Output only the object with the key "text".”
Unified-IO 2self-caption chainDerived generation prompt for G“Have the brushed drums play the opening two bars alone and the other two join after them.”U copied the edit prompt word for wordDerived generation prompt for G“Have the upright bass play the opening two bars alone and the other two join after it.”U copied the edit prompt word for word
Audio-Omninative editNative edit · Style Transfer · on its Stage-1 clipsource → target“an acoustic guitar” → “the brushed drums”Native edit · Style Transfer · on its Stage-2 clipsource → target“the brushed drums” → “the upright bass”
Show all nine questions (three per stage)
Stage 1 - Generate
S1.1Which of the following describes the instrumentation and entry order in this clip?
  • An electric guitar plays alone first, then an electric bass and standard drums join in.
  • A concert flute plays alone first, then a classical guitar and hand percussion join in.
  • A grand piano plays alone first, then a violin and a cello join in.
  • An acoustic guitar plays alone first, then an upright bass and brushed drums join in.
  • A tenor saxophone plays alone first, then an organ and a drum kit join in.
  • A mandolin plays alone first, then a banjo and a fiddle join in.
S1.2Which instruments are heard playing at the very end of the clip?
  • An acoustic guitar, an upright bass, and brushed drums are all playing together.
  • Only brushed drums are playing, while the other instruments have stopped.
  • An upright bass and brushed drums are playing, while the acoustic guitar has stopped.
  • An acoustic guitar and an upright bass are playing, while the brushed drums have stopped.
  • Only an acoustic guitar is playing, while the other instruments have stopped.
  • Only an upright bass is playing, while the other instruments have stopped.
S1.3Which instrument plays alone at the very beginning of the clip?
  • An acoustic guitar
  • A synthesizer
  • A saxophone
  • An electric guitar
  • A violin
  • A grand piano
Stage 2 - Edit
S2.1What happens in this scene?
  • The bass guitar plays a solo introduction before the drums and guitar join in.
  • The guitar and drums start the track together, with the bass entering a few bars later.
  • The guitar plays a solo intro, with the bass and drums entering after several measures.
  • The brushed drums play alone at the opening, with the guitar and bass coming in after them.
  • All three instruments begin playing simultaneously from the very first beat.
  • The plucked string instrument still opens the piece alone before the others join.
S2.2What is the arrangement of the instruments at the very end of this clip?
  • The plucked string instrument, the low-pitched string instrument, and the percussion instrument are all playing together.
  • The percussion instrument and the low-pitched string instrument continue playing after the plucked string instrument stops.
  • Only the low-pitched string instrument is playing, holding a sustained note after the other instruments stop.
  • Only the plucked string instrument is playing, performing a solo outro after the other instruments stop.
  • Only the percussion instrument is playing, as the other instruments stopped early.
  • Only the plucked string instrument and the low-pitched string instrument are playing, while the percussion instrument has stopped.
S2.3Which instrument is heard playing alone at the very beginning of this clip?
  • The percussion instrument.
  • The low-pitched string instrument.
  • A volume meter showing a high decibel reading in the mid-to-high frequency range.
  • The plucked string instrument.
  • All three instruments playing together from the start.
  • A keyboard instrument.
Stage 3 - Counterfactual edit
S3.1Which of these is present in this scene?
  • The instruments are replaced entirely by an electronic synthesizer ensemble.
  • A metadata tag listing the original track names and tempo.
  • The same three instruments play at the original tempo, with no new instruments or vocals added.
  • The percussion instrument still opens the piece alone before the others join.
  • A brass instrument is added to the trio, playing a new melody.
  • The tempo is significantly slowed down, though the instruments remain the same.
S3.2What is the arrangement of the instruments at the very end of this clip?
  • The plucked string instrument, the low-pitched string instrument, and the percussion instrument all play together until the final cut.
  • Only the percussion instrument is playing, with the string instruments dropping out a few seconds prior.
  • Only the low-pitched string instrument is playing, as the other instruments stopped early.
  • Only the plucked string instrument is playing, as the other instruments fade out before the finish.
  • The low-pitched string instrument and the plucked string instrument perform a duet after the percussion instrument cuts out.
  • The plucked string instrument and the percussion instrument continue playing after the low-pitched string instrument stops.
S3.3Which instrument is heard playing alone at the very beginning of this clip?
  • The brass instrument.
  • The keyboard instrument.
  • The electronic instrument.
  • The percussion instrument.
  • The woodwind instrument.
  • The low-pitched string instrument.

musicE interaction dynamicsconversational-repair MusicCaps-style rehearsal-room recording: stick count-in, a guitar-bass-drums intro riff, straight into the verse

How to read thisWe present the audio outputs of each model and its answers in the graphic below. The generation and edit prompts are labelled at the top; the questions and each model’s derived generation prompts can be seen on hover or in the drop-downs.

Stage 1 - GenerateT2A
promptA school band rehearsal in a music room: the drummer counts in with four stick clicks, the band plays the intro riff on guitar, bass and drums, and carries straight on into the verse with no interruption to the end of the clip. No singing.
intended audiofour stick clicks come first, then guitar, bass and drums play an intro riff and carry straight on with no break to the end; no singing
Stage 2 - EditAdd
promptA phone alarm goes off during the intro.
intended audiorestart: after the alarm the band breaks off, a second count-in of four clicks follows, and the intro is played again
Stage 3 - Counterfactual editAdd
promptA phone alarm goes off before the count-in.
intended audiono restart: a single count-in, the intro runs straight into the verse with no break
ModelStage 1 - GenerateStage 2 - EditStage 3 - Counterfactual editScore
ClipClipClip
Cascaded BaselineS1.1 S1.2 S1.3✓✓✓S2.1 S2.2 S2.3✗✓✓S3.1 S3.2 S3.3✓✗✗6/9
Audex-30BS1.1 S1.2 S1.3✗✓✓S2.1 S2.2 S2.3✗✗✓S3.1 S3.2 S3.3✓✗✗4/9
Audio-OmniS1.1 S1.2 S1.3✓✓✓S2.1 S2.2 S2.3✗✓✓S3.1 S3.2 S3.3✓✓✗7/9
Audex-2BS1.1 S1.2 S1.3✗✓✓S2.1 S2.2 S2.3✗✓✗S3.1 S3.2 S3.3✓✗✗4/9
UniAudio-2S1.1 S1.2 S1.3✗✓✗S2.1 S2.2 S2.3✗✗✓S3.1 S3.2 S3.3✓✗✗3/9
Unified-IO 2S1.1 S1.2 S1.3✗✗✗S2.1 S2.2 S2.3✗✗✗S3.1 S3.2 S3.3✗✗✗0/9
What each model wrote and was given at stages 2 and 3

Exact text from each run. Self-caption chain models: U hears its own previous clip with the edit prompt and writes the derived generation prompt below (for speech in TTS mode, a derived transcript); G receives only that text. Audio-Omni receives the edit with its previous clip. The Cascaded Baseline (specialist editors) is not shown. Hover any Stage 2 or 3 clip above to see its entry.

ModelStage 2edit prompt: “A phone alarm goes off during the intro.”Stage 3counterfactual prompt: “A phone alarm goes off before the count-in.”
Audex-30Bself-caption chainDerived generation prompt for G“A phone alarm interrupts the intro of a rock song, followed by a drum solo and a cymbal crash.”Derived generation prompt for G“A phone alarm sounds off, followed by a count-in and then a lively drum solo with cymbals and hi-hat.”
Audex-2Bself-caption chainDerived generation prompt for G“A phone alarm sounds during the intro.”Derived generation prompt for G“A phone alarm sounds before the count-in begins.”
UniAudio-2self-caption chainDerived generation prompt for G“A person is speaking over a loudspeaker with background music”Derived generation prompt for G“A man sings with a piano while a crowd cheers”
Unified-IO 2self-caption chainDerived generation prompt for G“A phone alarm goes off during the intro.”U copied the edit prompt word for wordDerived generation prompt for G“A phone alarm goes off before the count-in.”U copied the edit prompt word for word
Audio-Omninative editNative edit · Add · on its Stage-1 clipEdit description“A phone alarm goes off during the intro.”Native edit · Add · on its Stage-2 clipEdit description“A phone alarm goes off before the count-in.”
Show all nine questions (three per stage)
Stage 1 - Generate
S1.1What instruments and sound sources are heard in this recording?
  • A rimshot count-in followed by an instrumental performance by a guitar, keyboard, and drums trio.
  • A hi-hat count-in followed by an instrumental performance by a guitar, bass, and drums trio.
  • A stick count-in followed by an instrumental performance by a guitar, bass, and drums trio.
  • A stick count-in followed by an instrumental performance by an acoustic guitar and percussion duo.
  • A stick count-in followed by an instrumental performance by a keyboard, bass, and drums trio.
  • A spoken count-in followed by an instrumental performance by a guitar, bass, and drums trio.
S1.2What is the temporal order of the initial events in this clip?
  • A spoken count-in is heard first, followed immediately by the guitar, bass, and drums playing together.
  • Four stick clicks are heard first, followed immediately by the guitar, bass, and drums playing together.
  • A keyboard chord is heard first, followed immediately by the guitar, bass, and drums playing together.
  • A solo bass line is heard first, followed immediately by the guitar and drums joining in.
  • A short drum roll is heard first, followed immediately by the guitar and bass joining in.
  • A solo guitar riff is heard first, followed immediately by the bass and drums joining in.
S1.3Which statement best describes the structure of the count-in and the music that follows it?
  • There is a count-in at the beginning, and another count-in halfway through after a complete stop.
  • There is no initial count-in, but a count-in occurs midway through the performance.
  • There are multiple count-ins interspersed throughout the performance to cue different sections.
  • There is a single count-in, after which the music is interrupted by frequent, regular pauses.
  • There is a single count-in, after which the music plays continuously without any breaks.
  • There is a single count-in, but the music pauses briefly before the main melody begins.
Stage 2 - Edit
S2.1What occurs during the musical performance in this clip?
  • The musical ensemble waits for an initial alarm to finish sounding before they receive a count-in and begin playing their intro.
  • The musical ensemble continues playing their intro despite an alarm sounding continuously, completing the section without pausing.
  • The musical ensemble abruptly stops playing as soon as an alarm sounds and the clip ends in silence without them resuming.
  • The musical ensemble is interrupted by a brief voice announcement and then resumes playing the song from where they left off.
  • The musical ensemble plays its intro and carries straight on to the end with no interrupting signal sounding.
  • The musical ensemble stops playing when an alarm sounds, and then restarts the intro after a second count-in.
S2.2What sequence of events occurs after the band stops playing due to the alarm sound?
  • A synthesizer sweep bridges the silence, transitioning into the main verse.
  • A brief vocal countdown is heard, leading directly into a guitar solo.
  • The music remains silent for a few seconds before fading back in from the bridge.
  • The drummer plays a short solo fill before the entire band restarts the chorus.
  • A second count-in of four clicks occurs, followed by the intro being played again.
  • The band immediately resumes playing the chorus at a much faster tempo.
S2.3What is the outcome after the interrupting signal sounds?
  • The musical ensemble ignores the signal and continues playing the song without any interruption or pause.
  • The musical ensemble stops playing, a second count-in is heard, and they restart the introduction from the beginning.
  • The musical ensemble stops playing permanently and the clip ends in silence.
  • The musical ensemble stops playing while a voiceover explains the reason for the unexpected interruption.
  • The musical ensemble transitions into a slower, acoustic version of the song to match the tempo of the signal.
  • The musical ensemble pauses briefly before resuming the performance from the exact point where they were interrupted.
Stage 3 - Counterfactual edit
S3.1Which of the following describes the presence of the musical ensemble and any interrupting signal in the clip?
  • The musical ensemble stops playing before an interrupting signal sounds in the remaining silence.
  • An interrupting signal sounds and is silenced, while the musical ensemble and room ambience continue to be heard.
  • An interrupting signal sounds continuously throughout the clip, masking the musical ensemble and room ambience.
  • An interrupting signal sounds, but the musical ensemble is completely absent from the clip.
  • An interrupting signal sounds and the musical ensemble immediately stops playing, leaving only the room ambience.
  • The musical ensemble plays continuously throughout the clip with no interrupting signal sounding.
S3.2Which of the following best describes the opening sequence of the track?
  • A single count-in leads directly into the instrumental intro, which then flows straight into the verse.
  • A single count-in leads directly into the first verse, bypassing the instrumental intro entirely.
  • A count-in is followed by a brief pause before the instrumental intro begins.
  • A count-in leads to a false start, followed by a second count-in and then the instrumental intro.
  • The instrumental intro plays first, followed by a count-in that leads into the first verse.
  • The instrumental intro starts immediately, with the count-in spoken over the music.
S3.3Which of these describes the structure of the performance?
  • no restart: a single count-in, the intro runs straight into the verse with no break
  • multiple restarts: the band breaks off several times, each time preceded by a new count-in
  • a voice saying that the band will not restart the song
  • no restart: the band plays through the alarm with no break
  • restart: after the alarm the band breaks off, a second count-in of four clicks follows, and the intro is played again
  • no count-in: the band starts playing immediately after the alarm is silenced

In each question the key is highlighted; the five other options are plausible-sounding wrong answers. The per-test matrices show texture (what failure sounds and looks like); the aggregate claims live in the tables below. Chance is 1 in 6.

Metrics

UGC metrics
UGCOWN ↑
GclipUanswers

No. of questions answered correctlyTotal no. of questions× 100answered by the model's own understanding head.

T2A TTS all tests
UGCF ↑
Gclipgpt-audioanswers

No. of questions answered correctlyTotal no. of questions× 100answered by gpt-audio on the same clips.

T2A TTS all tests
Audio generation metrics
WER (%) ↓

Word error rate of the generated speech (Whisper large-v3) vs. the authored transcript.

T2A TTS speech tests only
CM (%) ↑

% of clips whose top CLAP label (speech, sound, music or noise) matches the ground truth.

T2A TTS all tests
KL ↓

KL divergence of AudioSet class distributions (PaSST) vs. the Cascaded Baseline.

T2A TTS all testsvs Cascaded Baseline
FAD ↓

Fréchet audio distance (VGGish) vs. the Cascaded Baseline.

T2A TTS all testsvs Cascaded Baseline
PQ ↑

Production quality, 1 to 10 (Audiobox-Aesthetics).

T2A: sound, music, speech, all TTS: speech, all
Symbol glossary
the system's own understanding head (UGCOWN)
gpt-audio, the frontier understanding model (UGCF)
text-to-audio (T2A) mode
text-to-speech (TTS) mode, used for speech tests where a model has one
speech tests
sound tests
music tests
all tests
native audio editing
self-caption edit chain: U captions the previous clip and writes a derived generation prompt; G generates the next clip from it
Cascaded Baseline: specialist generators and editors, with gpt-audio as U
model developer: NVIDIA (Audex), Tencent (Audio-Omni), AI2 (Unified-IO 2)
↑ / ↓
higher / lower is better
±x
half-width of the 95% bootstrap CI over tests (10,000 resamples)
bold
best value in the column
-
not applicable (mode not run: no separate TTS mode, or the Cascaded Baseline has no T2A speech path and no own U)
ref.
the reference set itself (KL and FAD are measured against the Cascaded Baseline)

Results

Main results

Systemsystem's own understanding headUGCOWN↑UGCF↑WER (%)↓CM (%)↑KL↓FAD↓PQ↑
text-to-audio (T2A) modetext-to-speech (TTS) mode for speech teststext-to-audio (T2A) modetext-to-speech (TTS) mode for speech teststext-to-audio (T2A) modetext-to-speech (TTS) mode for speech teststext-to-audio (T2A) modetext-to-speech (TTS) mode for speech teststext-to-audio (T2A) modetext-to-speech (TTS) mode for speech teststext-to-audio (T2A) modetext-to-speech (TTS) mode for speech teststext-to-audio (T2A) modetext-to-speech (TTS) mode for speech tests
speech testssound testsmusic testsspeech testssound testsmusic testsspeech testsspeech testsspeech testssound testsmusic testsspeech testssound testsmusic testsspeech testssound testsmusic testsspeech testssound testsmusic testsspeech testssound testsmusic testsspeech testssound testsmusic testssound testsmusic testsspeech testsspeech testssound testsmusic testsspeech testsspeech testssound testsmusic tests
Cascaded Baseline (native editing)---52.1±3.6-3.8±2.357.5±7.157.5±7.1ref.ref.ref.ref.5.336.177.906.47±.207.906.47±.20
Audex-30B (self-caption editing chain)48.5±3.252.2±3.350.4±3.551.1±3.5133.7±10.7135.8±23.457.8±6.859.0±6.73.13±.222.31±.204.76±.767.17±1.246.466.965.746.39±.147.446.95±.12
Audio-Omni (self-caption editing chain)45.5±3.252.4±3.950.7±3.453.6±3.6123.3±12.9126.3±13.365.0±6.472.1±6.72.76±.251.65±.154.83±.924.69±.676.336.785.406.17±.156.346.41±.15
Audio-Omni (native editing)45.1±3.2-51.5±3.3-126.6±14.5-61.0±7.3-2.68±.28-4.58±.67-6.256.855.206.10±.19--
Audex-2B (self-caption editing chain)38.2±3.141.7±3.251.3±3.851.8±3.7132.2±15.0140.3±31.658.7±6.759.5±6.83.31±.222.56±.235.53±.717.47±1.276.456.725.346.17±.157.346.84±.12
UniAudio-2 (self-caption editing chain)25.3±2.727.7±3.046.5±3.348.0±3.4138.3±14.767.7±5.041.6±6.639.6±6.43.36±.232.14±.236.45±.996.51±1.076.016.635.836.16±.136.996.54±.13
Unified-IO 2 (self-caption editing chain)21.7±2.3-48.6±3.6-99.0±2.7-29.9±6.0-3.68±.34-4.78±.73-5.675.855.405.64±.11--
Table 2. Performance of models on TORUS. UGCOWN and UGCF show that models struggle to understand their own generations. Metrics and symbols are defined in Metrics.
CoherencePQFADKLWER
  • Cascaded Baseline
  • Audex-30B
  • Audio-Omni
  • Audex-2B
  • UniAudio-2
  • Unified-IO 2
Coherence, PQ, FAD, KL and WER from Table 2 (T2A where available; Audio-Omni native; the Cascaded Baseline uses its TTS values: coherence 52.1 = UGCF, WER 3.8). Per axis the weakest unified model sits at 30% of the radius and the strongest at 85%; larger is better. Hover for raw values.

Own understanding versus frontier understanding

UGCOWN, T2A UGCOWN, TTSUGCF (gpt-audio), T2AUGCF (gpt-audio), TTSChance, 16.7Cascaded Baseline, 52.1
010203040506070Audex-30Bself-captionAudio-Omniself-captionn/an/aAudio-OmninativeAudex-2Bself-captionUniAudio-2self-captionn/an/aUnified-IO 2self-caption

Values ± 95% CI from Table 2 · own head vs gpt-audio on the same clips · full colour T2A, light shade TTS · n/a: no TTS mode · hover for values

Human listening study

Overall win rate (%)
0
20
40
60
chance 50
46.7
Cascaded
Baseline
54.3
Audio-Omni
(native)
51.4
Audex-30B
38.1
Audex-2B
31.4
UniAudio-2
31.4
Unified-IO 2
A/B testing matrix (row model's win rate %, vs column)
Cascaded Baseline
47.6
42.9
38.1
66.7
38.1
Audio-Omni (native)
42.9
47.6
61.9
42.9
76.2
Audex-30B
47.6
33.3
47.6
76.2
52.4
Audex-2B
33.3
23.8
28.6
38.1
66.7
UniAudio-2
33.3
52.4
0.0
42.9
28.6
Unified-IO 2
42.9
0.0
47.6
19.0
47.6
0%76%
7 raters315 judgmentsFleiss κ 0.377Krippendorff α 0.303
Rater rank by audio type
#1#2#3#4#5#6SoundMusicSpeechCascaded BaselineAudex-30BAudio-Omni (native)Audex-2BUniAudio-2Unified-IO 2

Citation

@misc{bhosale2026torustestrenderingunderstandingselfcoherence,
      title={TORUS: A Test of Rendering-Understanding Self-Coherence for Unified Audio Models}, 
      author={Aryan Vijay Bhosale and Harshit Rajgarhia and Abhishek Mukherji and Dinesh Manocha},
      year={2026},
      eprint={2607.28896},
      archivePrefix={arXiv},
      primaryClass={cs.SD},
      url={https://arxiv.org/abs/2607.28896}, 
}