Daily Papers

State-of-the-art action-conditioned video models are typically restricted to a single robot embodiment, preventing them from leveraging the vast corpus of heterogeneous video data that contains rich signals for learning generalizable physics. To bridge this gap, we introduce CLAP, a framework for cross-embodiment action-conditioned video generation capable of being trained on diverse, internet-scale videos across human and robotic agents. CLAP is grounded in the insight that universal physical laws govern spatiotemporal dynamics regardless of the actor. However, cross-embodiment learning is non-trivial because action representations vary sharply across robot platforms and are typically absent in human videos. CLAP addresses this fundamental challenge through the following core contributions. First, CLAP reconciles disparate action spaces using end-effector poses, language instructions, and latent actions. Second, to resolve their individual limitations, CLAP introduces a curriculum-based cross-embodiment learning recipe that first learns foundational physical priors across unlabeled video data using latent actions and subsequently grounds them in end-effector action spaces for zero-shot deployment to real-world tasks. Crucially, CLAP approaches or surpasses state-of-the-art single-embodiment video models in challenging environments like DROID. These performance advantages compound via few-shot adaptation to establish a novel paradigm for training single-embodiment video world models. Ultimately, CLAP delivers the most comprehensive suite of action-conditioned video world models to date - spanning diverse action-conditioning spaces (end-effector, language, and latent) and robot morphologies (including cross-embodiment, DROID, Bridge, bimanual YAM robots, and G1 humanoids). We open-source all code and models. Project Website at https://omni-clap.github.io .

End-to-end autonomous driving has predominantly relied on open-loop imitation learning for training, which presents two limitations. First, expert demonstrations show only one behavior per scenario, so the model cannot learn alternative valid behaviors and, in turn, cannot adapt to user-specified preferences at test time. Second, noise or ambiguity in these demonstrations can produce inconsistent, unreliable supervision for the end-to-end models. Driving is inherently multi-modal: multiple different behaviors can be valid responses to the same scene, and this diversity arises largely from speed rather than path. We introduce a planning paradigm that learns the path through imitation while scoring a set of candidate speeds across multiple criteria with a learned function supervised by physically grounded safety constraints. We realize this paradigm as Closed-Loop Aware Planning for Autonomous Driving (CLAP-AD), a plug-in planning head that integrates with existing end-to-end driving models and, to our knowledge, is the first to enable explicit test-time control over their speed selection without speed-conditioned training. On Bench2Drive-Speed, CLAP-AD sets a new state of the art Speed-Adherence Score of 82.53, topping TFv6, the strongest baseline on this metric, by 12.9 points while retaining strong closed-loop driving performance. On Bench2Drive, it improves driving score by +28.5 and +32.7 over UniAD and VAD, and on NAVSIM v2, built on real-world driving data, EPDMS by +6.1 over its backbone. Project page: https://clap-ad.github.io

In traditional audio captioning methods, a model is usually trained in a fully supervised manner using a human-annotated dataset containing audio-text pairs and then evaluated on the test sets from the same dataset. Such methods have two limitations. First, these methods are often data-hungry and require time-consuming and expensive human annotations to obtain audio-text pairs. Second, these models often suffer from performance degradation in cross-domain scenarios, i.e., when the input audio comes from a different domain than the training set, which, however, has received little attention. We propose an effective audio captioning method based on the contrastive language-audio pre-training (CLAP) model to address these issues. Our proposed method requires only textual data for training, enabling the model to generate text from the textual feature in the cross-modal semantic space.In the inference stage, the model generates the descriptive text for the given audio from the audio feature by leveraging the audio-text alignment from CLAP.We devise two strategies to mitigate the discrepancy between text and audio embeddings: a mixed-augmentation-based soft prompt and a retrieval-based acoustic-aware hard prompt. These approaches are designed to enhance the generalization performance of our proposed model, facilitating the model to generate captions more robustly and accurately. Extensive experiments on AudioCaps and Clotho benchmarks show the effectiveness of our proposed method, which outperforms other zero-shot audio captioning approaches for in-domain scenarios and outperforms the compared methods for cross-domain scenarios, underscoring the generalization ability of our method.

Vision-language-action models (VLAs) inherit semantic capabilities from pretrained VLMs, yet large-scale post-training on robot data and architectural modifications can reshape the backbone so extensively that it becomes difficult to isolate what the VLM contributes to control. Directly converting pretrained VLMs into VLAs with minimal architectural change offers a more transparent path to understanding how VLM capabilities transfer across model scales. The core obstacle is output-distribution mismatch: predicting actions as bare numeric token sequences moves generation away from the VLM's pretrained language distribution, degrading the capabilities we seek to preserve. To address this, we propose CLAP (Causal Language-Action Prediction), which prepends each numeric action sequence with a natural-language action description, causally conditioning precise action-token prediction on a language-action plan without modifying the backbone architecture. With single-epoch fine-tuning alone, 2B CLAP achieves 90.8% on LIBERO (+14.9 pt over VLA-0) and improves robustness on LIBERO-PRO under language, object, and spatial perturbations. We will release CLAP at 0.8B, 2B, and 4B as an open-weight, multi-scale compact VLA family from a single VLM lineage, enabling controlled analysis of VLM-to-VLA capability transfer.

Binary code representation learning has shown significant performance in binary analysis tasks. But existing solutions often have poor transferability, particularly in few-shot and zero-shot scenarios where few or no training samples are available for the tasks. To address this problem, we present CLAP (Contrastive Language-Assembly Pre-training), which employs natural language supervision to learn better representations of binary code (i.e., assembly code) and get better transferability. At the core, our approach boosts superior transfer learning capabilities by effectively aligning binary code with their semantics explanations (in natural language), resulting a model able to generate better embeddings for binary code. To enable this alignment training, we then propose an efficient dataset engine that could automatically generate a large and diverse dataset comprising of binary code and corresponding natural language explanations. We have generated 195 million pairs of binary code and explanations and trained a prototype of CLAP. The evaluations of CLAP across various downstream tasks in binary analysis all demonstrate exceptional performance. Notably, without any task-specific training, CLAP is often competitive with a fully supervised baseline, showing excellent transferability. We release our pre-trained model and code at https://github.com/Hustcw/CLAP.

Generalist Vision-Language-Action models are currently hindered by the scarcity of robotic data compared to the abundance of human video demonstrations. Existing Latent Action Models attempt to leverage video data but often suffer from visual entanglement, capturing noise rather than manipulation skills. To address this, we propose Contrastive Latent Action Pretraining (CLAP), a framework that aligns the visual latent space from videos with a proprioceptive latent space from robot trajectories. By employing contrastive learning, CLAP maps video transitions onto a quantized, physically executable codebook. Building on this representation, we introduce a dual-formulation VLA framework offering both CLAP-NTP, an autoregressive model excelling at instruction following and object generalization, and CLAP-RF, a Rectified Flow-based policy designed for high-frequency, precise manipulation. Furthermore, we propose a Knowledge Matching (KM) regularization strategy to mitigate catastrophic forgetting during fine-tuning. Extensive experiments demonstrate that CLAP significantly outperforms strong baselines, enabling the effective transfer of skills from human videos to robotic execution. Project page: https://lin-shan.com/CLAP/.

A fundamental characteristic of audio is its compositional nature. Audio-language models (ALMs) trained using a contrastive approach (e.g., CLAP) that learns a shared representation between audio and language modalities have improved performance in many downstream applications, including zero-shot audio classification, audio retrieval, etc. However, the ability of these models to effectively perform compositional reasoning remains largely unexplored and necessitates additional research. In this paper, we propose CompA, a collection of two expert-annotated benchmarks with a majority of real-world audio samples, to evaluate compositional reasoning in ALMs. Our proposed CompA-order evaluates how well an ALM understands the order or occurrence of acoustic events in audio, and CompA-attribute evaluates attribute binding of acoustic events. An instance from either benchmark consists of two audio-caption pairs, where both audios have the same acoustic events but with different compositions. An ALM is evaluated on how well it matches the right audio to the right caption. Using this benchmark, we first show that current ALMs perform only marginally better than random chance, thereby struggling with compositional reasoning. Next, we propose CompA-CLAP, where we fine-tune CLAP using a novel learning method to improve its compositional reasoning abilities. To train CompA-CLAP, we first propose improvements to contrastive training with composition-aware hard negatives, allowing for more focused training. Next, we propose a novel modular contrastive loss that helps the model learn fine-grained compositional understanding and overcomes the acute scarcity of openly available compositional audios. CompA-CLAP significantly improves over all our baseline models on the CompA benchmark, indicating its superior compositional reasoning capabilities.

Contrastive language-audio pretraining~(CLAP) has been developed to align the representations of audio and language, achieving remarkable performance in retrieval and classification tasks. However, current CLAP struggles to capture temporal information within audio and text features, presenting substantial limitations for tasks such as audio retrieval and generation. To address this gap, we introduce T-CLAP, a temporal-enhanced CLAP model. We use Large Language Models~(LLMs) and mixed-up strategies to generate temporal-contrastive captions for audio clips from extensive audio-text datasets. Subsequently, a new temporal-focused contrastive loss is designed to fine-tune the CLAP model by incorporating these synthetic data. We conduct comprehensive experiments and analysis in multiple downstream tasks. T-CLAP shows improved capability in capturing the temporal relationship of sound events and outperforms state-of-the-art models by a significant margin.

Mainstream Audio Analytics models are trained to learn under the paradigm of one class label to many recordings focusing on one task. Learning under such restricted supervision limits the flexibility of models because they require labeled audio for training and can only predict the predefined categories. Instead, we propose to learn audio concepts from natural language supervision. We call our approach Contrastive Language-Audio Pretraining (CLAP), which learns to connect language and audio by using two encoders and a contrastive learning to bring audio and text descriptions into a joint multimodal space. We trained CLAP with 128k audio and text pairs and evaluated it on 16 downstream tasks across 8 domains, such as Sound Event Classification, Music tasks, and Speech-related tasks. Although CLAP was trained with significantly less pairs than similar computer vision models, it establishes SoTA for Zero-Shot performance. Additionally, we evaluated CLAP in a supervised learning setup and achieve SoTA in 5 tasks. Hence, CLAP's Zero-Shot capability removes the need of training with class labels, enables flexible class prediction at inference time, and generalizes to multiple downstream tasks.

We introduce TangoFlux, an efficient Text-to-Audio (TTA) generative model with 515M parameters, capable of generating up to 30 seconds of 44.1kHz audio in just 3.7 seconds on a single A40 GPU. A key challenge in aligning TTA models lies in the difficulty of creating preference pairs, as TTA lacks structured mechanisms like verifiable rewards or gold-standard answers available for Large Language Models (LLMs). To address this, we propose CLAP-Ranked Preference Optimization (CRPO), a novel framework that iteratively generates and optimizes preference data to enhance TTA alignment. We demonstrate that the audio preference dataset generated using CRPO outperforms existing alternatives. With this framework, TangoFlux achieves state-of-the-art performance across both objective and subjective benchmarks. We open source all code and models to support further research in TTA generation.

Generative systems of musical accompaniments are rapidly growing, yet there are no standardized metrics to evaluate how well generations align with the conditional audio prompt. We introduce a distribution-based measure called "Accompaniment Prompt Adherence" (APA), and validate it through objective experiments on synthetic data perturbations, and human listening tests. Results show that APA aligns well with human judgments of adherence and is discriminative to transformations that degrade adherence. We release a Python implementation of the metric using the widely adopted pre-trained CLAP embedding model, offering a valuable tool for evaluating and comparing accompaniment generation systems.

Evaluating audio generation systems, including text-to-music (TTM), text-to-speech (TTS), and text-to-audio (TTA), remains challenging due to the subjective and multi-dimensional nature of human perception. Existing methods treat mean opinion score (MOS) prediction as a regression problem, but standard regression losses overlook the relativity of perceptual judgments. To address this limitation, we introduce QAMRO, a novel Quality-aware Adaptive Margin Ranking Optimization framework that seamlessly integrates regression objectives from different perspectives, aiming to highlight perceptual differences and prioritize accurate ratings. Our framework leverages pre-trained audio-text models such as CLAP and Audiobox-Aesthetics, and is trained exclusively on the official AudioMOS Challenge 2025 dataset. It demonstrates superior alignment with human evaluations across all dimensions, significantly outperforming robust baseline models.

Automated Audio Captioning (AAC) aims to generate natural textual descriptions for input audio signals. Recent progress in audio pre-trained models and large language models (LLMs) has significantly enhanced audio understanding and textual reasoning capabilities, making improvements in AAC possible. In this paper, we propose SLAM-AAC to further enhance AAC with paraphrasing augmentation and CLAP-Refine through LLMs. Our approach uses the self-supervised EAT model to extract fine-grained audio representations, which are then aligned with textual embeddings via lightweight linear layers. The caption generation LLM is efficiently fine-tuned using the LoRA adapter. Drawing inspiration from the back-translation method in machine translation, we implement paraphrasing augmentation to expand the Clotho dataset during pre-training. This strategy helps alleviate the limitation of scarce audio-text pairs and generates more diverse captions from a small set of audio clips. During inference, we introduce the plug-and-play CLAP-Refine strategy to fully exploit multiple decoding outputs, akin to the n-best rescoring strategy in speech recognition. Using the CLAP model for audio-text similarity calculation, we could select the textual descriptions generated by multiple searching beams that best match the input audio. Experimental results show that SLAM-AAC achieves state-of-the-art performance on Clotho V2 and AudioCaps, surpassing previous mainstream models.

Propelled by the breakthrough in deep generative models, audio-to-image generation has emerged as a pivotal cross-model task that converts complex auditory signals into rich visual representations. However, previous works only focus on single-source audio inputs for image generation, ignoring the multi-source characteristic in natural auditory scenes, thus limiting the performance in generating comprehensive visual content. To bridge this gap, a method called MACS is proposed to conduct multi-source audio-to-image generation. This is the first work that explicitly separates multi-source audio to capture the rich audio components before image generation. MACS is a two-stage method. In the first stage, multi-source audio inputs are separated by a weakly supervised method, where the audio and text labels are semantically aligned by casting into a common space using the large pre-trained CLAP model. We introduce a ranking loss to consider the contextual significance of the separated audio signals. In the second stage, efficient image generation is achieved by mapping the separated audio signals to the generation condition using only a trainable adapter and a MLP layer. We preprocess the LLP dataset as the first full multi-source audio-to-image generation benchmark. The experiments are conducted on multi-source, mixed-source, and single-source audio-to-image generation tasks. The proposed MACS outperforms the current state-of-the-art methods in 17 of the 21 evaluation indexes on all tasks and delivers superior visual quality. The code will be publicly available.

Diffusion models have shown promising results in cross-modal generation tasks, including text-to-image and text-to-audio generation. However, generating music, as a special type of audio, presents unique challenges due to limited availability of music data and sensitive issues related to copyright and plagiarism. In this paper, to tackle these challenges, we first construct a state-of-the-art text-to-music model, MusicLDM, that adapts Stable Diffusion and AudioLDM architectures to the music domain. We achieve this by retraining the contrastive language-audio pretraining model (CLAP) and the Hifi-GAN vocoder, as components of MusicLDM, on a collection of music data samples. Then, to address the limitations of training data and to avoid plagiarism, we leverage a beat tracking model and propose two different mixup strategies for data augmentation: beat-synchronous audio mixup and beat-synchronous latent mixup, which recombine training audio directly or via a latent embeddings space, respectively. Such mixup strategies encourage the model to interpolate between musical training samples and generate new music within the convex hull of the training data, making the generated music more diverse while still staying faithful to the corresponding style. In addition to popular evaluation metrics, we design several new evaluation metrics based on CLAP score to demonstrate that our proposed MusicLDM and beat-synchronous mixup strategies improve both the quality and novelty of generated music, as well as the correspondence between input text and generated music.

In recent years, datasets of paired audio and captions have enabled remarkable success in automatically generating descriptions for audio clips, namely Automated Audio Captioning (AAC). However, it is labor-intensive and time-consuming to collect a sufficient number of paired audio and captions. Motivated by the recent advances in Contrastive Language-Audio Pretraining (CLAP), we propose a weakly-supervised approach to train an AAC model assuming only text data and a pre-trained CLAP model, alleviating the need for paired target data. Our approach leverages the similarity between audio and text embeddings in CLAP. During training, we learn to reconstruct the text from the CLAP text embedding, and during inference, we decode using the audio embeddings. To mitigate the modality gap between the audio and text embeddings we employ strategies to bridge the gap during training and inference stages. We evaluate our proposed method on Clotho and AudioCaps datasets demonstrating its ability to achieve a relative performance of up to ~83% compared to fully supervised approaches trained with paired target data.

Diffusion models power a vast majority of text-to-audio (TTA) generation methods. Unfortunately, these models suffer from slow inference speed due to iterative queries to the underlying denoising network, thus unsuitable for scenarios with inference time or computational constraints. This work modifies the recently proposed consistency distillation framework to train TTA models that require only a single neural network query. In addition to incorporating classifier-free guidance into the distillation process, we leverage the availability of generated audio during distillation training to fine-tune the consistency TTA model with novel loss functions in the audio space, such as the CLAP score. Our objective and subjective evaluation results on the AudioCaps dataset show that consistency models retain diffusion models' high generation quality and diversity while reducing the number of queries by a factor of 400.

Contrastive Language Audio Pretraining (CLAP) is a widely-used method to bridge the gap between audio and text domains. Current CLAP methods enable sound and music retrieval in English, ignoring multilingual spoken content. To address this, we introduce general language audio pretraining (GLAP), which expands CLAP with multilingual and multi-domain abilities. GLAP demonstrates its versatility by achieving competitive performance on standard audio-text retrieval benchmarks like Clotho and AudioCaps, while significantly surpassing existing methods in speech retrieval and classification tasks. Additionally, GLAP achieves strong results on widely used sound-event zero-shot benchmarks, while simultaneously outperforming previous methods on speech content benchmarks. Further keyword spotting evaluations across 50 languages emphasize GLAP's advanced multilingual capabilities. Finally, multilingual sound and music understanding is evaluated across four languages. Checkpoints and Source: https://github.com/xiaomi-research/dasheng-glap.

Building artificial intelligence (AI) systems on top of a set of foundation models (FMs) is becoming a new paradigm in AI research. Their representative and generative abilities learnt from vast amounts of data can be easily adapted and transferred to a wide range of downstream tasks without extra training from scratch. However, leveraging FMs in cross-modal generation remains under-researched when audio modality is involved. On the other hand, automatically generating semantically-relevant sound from visual input is an important problem in cross-modal generation studies. To solve this vision-to-audio (V2A) generation problem, existing methods tend to design and build complex systems from scratch using modestly sized datasets. In this paper, we propose a lightweight solution to this problem by leveraging foundation models, specifically CLIP, CLAP, and AudioLDM. We first investigate the domain gap between the latent space of the visual CLIP and the auditory CLAP models. Then we propose a simple yet effective mapper mechanism (V2A-Mapper) to bridge the domain gap by translating the visual input between CLIP and CLAP spaces. Conditioned on the translated CLAP embedding, pretrained audio generative FM AudioLDM is adopted to produce high-fidelity and visually-aligned sound. Compared to previous approaches, our method only requires a quick training of the V2A-Mapper. We further analyze and conduct extensive experiments on the choice of the V2A-Mapper and show that a generative mapper is better at fidelity and variability (FD) while a regression mapper is slightly better at relevance (CS). Both objective and subjective evaluation on two V2A datasets demonstrate the superiority of our proposed method compared to current state-of-the-art approaches - trained with 86% fewer parameters but achieving 53% and 19% improvement in FD and CS, respectively.

We describe our entry to the efficiency track of the Academic Text-to-Music (ATTM) Grand Challenge at ICME 2026. Beyond the challenge protocol's FAD-CLAP and CLAP score, we add a learned human-preference reward from TuneJury, a twin pairwise ranker trained over open music-preference datasets. The reward serves both as a training-time conditioning signal and as a sample-selection criterion. The pipeline combines five engineering decisions on a 120M-parameter FluxAudio-S backbone, four at training time and one at inference: (i) training-time reward conditioning that doubles as an inference-time CFG axis, (ii) a sweep over five score-conditioning architectures, where training and inference use different variants, (iii) expert iteration on the top decile, (iv) a short preference-tuning pass (CRPO) for audio-text alignment, and (v) inference post-processing via joint CFG, source separation, and loudness normalization. Per-stage decomposition on 100 Song Describer prompts shows training-time reward conditioning as a functional conditioning axis, expert iteration as the dominant contributor, the preference-tuning pass adding only noise-level gain, and the inference-time score scalar already saturated by the end of the chain.

Music mastering style transfer aims to model and apply the mastering characteristics of a reference track to a target track, simulating the professional mastering process. However, existing methods apply fixed processing based on a reference track, limiting users' ability to fine-tune the results to match their artistic intent. In this paper, we introduce the ITO-Master framework, a reference-based mastering style transfer system that integrates Inference-Time Optimization (ITO) to enable finer user control over the mastering process. By optimizing the reference embedding during inference, our approach allows users to refine the output dynamically, making micro-level adjustments to achieve more precise mastering results. We explore both black-box and white-box methods for modeling mastering processors and demonstrate that ITO improves mastering performance across different styles. Through objective evaluation, subjective listening tests, and qualitative analysis using text-based conditioning with CLAP embeddings, we validate that ITO enhances mastering style similarity while offering increased adaptability. Our framework provides an effective and user-controllable solution for mastering style transfer, allowing users to refine their results beyond the initial style transfer.

Despite recent progress in large-scale sound event detection (SED) systems capable of handling hundreds of sound classes, existing multi-class classification frameworks remain fundamentally limited. They cannot process free-text sound queries, which enable more flexible and user-friendly interaction, and they lack zero-shot capabilities and offer poor few-shot adaptability. Although text-query-based separation methods have been explored, they primarily focus on source separation and are ill-suited for SED tasks that require precise temporal localization and efficient detection across large and diverse sound vocabularies. In this paper, we propose FlexSED, an open-vocabulary sound event detection system. FlexSED builds on a pretrained audio SSL model and the CLAP text encoder, introducing an encoder-decoder composition and an adaptive fusion strategy to enable effective continuous training from pretrained weights. To ensure robust supervision, it also employs large language models (LLMs) to assist in event query selection during training, addressing challenges related to missing labels. As a result, FlexSED achieves superior performance compared to vanilla SED models on AudioSet-Strong, while demonstrating strong zero-shot and few-shot capabilities. We release the code and pretrained models to support future research and applications based on FlexSED.

Controllable music generation methods are critical for human-centered AI-based music creation, but are currently limited by speed, quality, and control design trade-offs. Diffusion Inference-Time T-optimization (DITTO), in particular, offers state-of-the-art results, but is over 10x slower than real-time, limiting practical use. We propose Distilled Diffusion Inference-Time T -Optimization (or DITTO-2), a new method to speed up inference-time optimization-based control and unlock faster-than-real-time generation for a wide-variety of applications such as music inpainting, outpainting, intensity, melody, and musical structure control. Our method works by (1) distilling a pre-trained diffusion model for fast sampling via an efficient, modified consistency or consistency trajectory distillation process (2) performing inference-time optimization using our distilled model with one-step sampling as an efficient surrogate optimization task and (3) running a final multi-step sampling generation (decoding) using our estimated noise latents for best-quality, fast, controllable generation. Through thorough evaluation, we find our method not only speeds up generation over 10-20x, but simultaneously improves control adherence and generation quality all at once. Furthermore, we apply our approach to a new application of maximizing text adherence (CLAP score) and show we can convert an unconditional diffusion model without text inputs into a model that yields state-of-the-art text control. Sound examples can be found at https://ditto-music.github.io/ditto2/.

Contrastively pretrained audio-language models (e.g., CLAP) excel at clip-level understanding but struggle with frame-level tasks. Existing extensions fail to exploit the varying granularity of real-world audio-text data, where massive clip-level textual descriptions coexist with limited frame-level annotations. This paper proposes Fine-grained Language-Audio Pretraining (FineLAP), a novel training paradigm that advances both clip- and frame-level alignment in CLAP with heterogeneous data. FineLAP introduces a dual-stream sigmoid loss with a cluster-based sampling strategy to jointly learn from clip- and frame-level supervision. To capture both global semantics and local details, FineLAP uses a decoupled audio projector on top of a self-supervised encoder. To alleviate the scarcity of temporally annotated data, we present FineLAP-100k, a large-scale synthetic SED dataset constructed through a scalable curation pipeline. Extensive experiments demonstrate that FineLAP achieves SOTA performance across multiple audio understanding tasks, including retrieval, classification, sound event detection, and text-to-audio grounding. Ablation studies further show that coarse- and fine-grained alignment are mutually beneficial, providing insights for building better audio-language models (ALMs).

In this paper, we propose and investigate the use of neural audio codec language models for the automatic generation of sample-based musical instruments based on text or reference audio prompts. Our approach extends a generative audio framework to condition on pitch across an 88-key spectrum, velocity, and a combined text/audio embedding. We identify maintaining timbral consistency within the generated instruments as a major challenge. To tackle this issue, we introduce three distinct conditioning schemes. We analyze our methods through objective metrics and human listening tests, demonstrating that our approach can produce compelling musical instruments. Specifically, we introduce a new objective metric to evaluate the timbral consistency of the generated instruments and adapt the average Contrastive Language-Audio Pretraining (CLAP) score for the text-to-instrument case, noting that its naive application is unsuitable for assessing this task. Our findings reveal a complex interplay between timbral consistency, the quality of generated samples, and their correspondence to the input prompt.