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| 1 |
+
<center>
|
| 2 |
+
<h1 style="font-size:34px;"><u>Foundation-1 Training & Dataset Notes</u></h1>
|
| 3 |
+
</center>
|
| 4 |
+
|
| 5 |
+
<center>
|
| 6 |
+
<i>High-level overview of the training setup, dataset composition, and design philosophy behind Foundation-1.</i>
|
| 7 |
+
</center>
|
| 8 |
+
|
| 9 |
+
<br>
|
| 10 |
+
|
| 11 |
+
This page provides a high-level overview of the **training setup**, **dataset composition**, and **design philosophy** behind Foundation-1.
|
| 12 |
+
|
| 13 |
+
It is intended as a companion to the main model page, which focuses on capabilities, prompting, and audio examples.
|
| 14 |
+
|
| 15 |
+
---
|
| 16 |
+
|
| 17 |
+
<center>
|
| 18 |
+
|
| 19 |
+
## Training Summary
|
| 20 |
+
|
| 21 |
+
</center>
|
| 22 |
+
|
| 23 |
+
Foundation-1 was trained as a structured **text-to-sample diffusion model** designed for **music production workflows**, rather than general-purpose music captioning.
|
| 24 |
+
|
| 25 |
+
### Hardware
|
| 26 |
+
|
| 27 |
+
- **GPUs:** 2 × NVIDIA RTX A6000
|
| 28 |
+
- **System RAM:** 128 GB
|
| 29 |
+
|
| 30 |
+
### Training Run
|
| 31 |
+
|
| 32 |
+
- **Training stopped at step:** **183,474**
|
| 33 |
+
|
| 34 |
+
### Audio Configuration
|
| 35 |
+
|
| 36 |
+
- **Sample Rate:** **44,100 Hz**
|
| 37 |
+
- **Bit Depth:** **16-bit**
|
| 38 |
+
- **Channels:** **Stereo**
|
| 39 |
+
- **Sample Length:** **882,000 samples (~20 seconds)**
|
| 40 |
+
|
| 41 |
+
---
|
| 42 |
+
|
| 43 |
+
<center>
|
| 44 |
+
|
| 45 |
+
## Technical Training Notes
|
| 46 |
+
|
| 47 |
+
</center>
|
| 48 |
+
|
| 49 |
+
Foundation-1 was fine-tuned from **`stabilityai/stable-audio-open-1.0`** using a diffusion transformer architecture with structured prompt conditioning.
|
| 50 |
+
|
| 51 |
+
### Model Architecture
|
| 52 |
+
|
| 53 |
+
- **Backbone:** Diffusion Transformer (DiT)
|
| 54 |
+
- **Transformer Depth:** 24 layers
|
| 55 |
+
- **Attention Heads:** 24
|
| 56 |
+
- **Embedding Dimension:** 1536
|
| 57 |
+
- **Conditioning Dimension:** 768
|
| 58 |
+
- **Text Encoder:** `t5-base`
|
| 59 |
+
|
| 60 |
+
### Optimization
|
| 61 |
+
|
| 62 |
+
- **Optimizer:** AdamW
|
| 63 |
+
- **Learning Rate:** `5e-5`
|
| 64 |
+
- **Weight Decay:** `1e-3`
|
| 65 |
+
- **Scheduler:** InverseLR
|
| 66 |
+
- **EMA:** Enabled
|
| 67 |
+
|
| 68 |
+
---
|
| 69 |
+
|
| 70 |
+
<center>
|
| 71 |
+
|
| 72 |
+
## Dataset Overview
|
| 73 |
+
|
| 74 |
+
</center>
|
| 75 |
+
|
| 76 |
+
### Dataset Totals
|
| 77 |
+
|
| 78 |
+
- **Total WAV files:** **3,784,862**
|
| 79 |
+
- **Total Dataset Size:** **7.100 TiB**
|
| 80 |
+
|
| 81 |
+
---
|
| 82 |
+
|
| 83 |
+
<center>
|
| 84 |
+
|
| 85 |
+
## Important Note on Dataset Scale
|
| 86 |
+
|
| 87 |
+
</center>
|
| 88 |
+
|
| 89 |
+
While the dataset appears quite large, its scale reflects the **post-augmentation training set**, not a flat count of completely unique and unrelated one-off melodic phrases.
|
| 90 |
+
|
| 91 |
+
All samples were **hand-labeled first**, then processed through a **controlled augmentation pipeline** designed to expand sonic and conditioning coverage.
|
| 92 |
+
|
| 93 |
+
As a result, a single melodic phrase may be represented across many different contexts, including variations in:
|
| 94 |
+
|
| 95 |
+
- timbre
|
| 96 |
+
- FX treatment
|
| 97 |
+
- key
|
| 98 |
+
- BPM
|
| 99 |
+
- loop structure
|
| 100 |
+
- tonal emphasis
|
| 101 |
+
|
| 102 |
+
This design was intentional. The goal was not simply to maximize the number of isolated phrases, but to teach the model how **musical ideas translate across different sonic identities and production scenarios**.
|
| 103 |
+
|
| 104 |
+
---
|
| 105 |
+
|
| 106 |
+
<center>
|
| 107 |
+
|
| 108 |
+
## Dataset and Training Philosophy
|
| 109 |
+
|
| 110 |
+
</center>
|
| 111 |
+
|
| 112 |
+
Foundation-1 was built around a **structured sample-generation philosophy**, rather than generic or genre-based audio captioning.
|
| 113 |
+
|
| 114 |
+
The dataset consists entirely of **hand-labeled audio**, organized around a layered prompt and conditioning system designed to reflect how producers actually think about sound.
|
| 115 |
+
|
| 116 |
+
At a high level, the training design emphasizes:
|
| 117 |
+
|
| 118 |
+
- structured musical loops
|
| 119 |
+
- instrument hierarchy
|
| 120 |
+
- explicit timbre representation
|
| 121 |
+
- dedicated FX descriptors
|
| 122 |
+
- notation-aware prompt terms
|
| 123 |
+
- key / tempo / bar-aware looping
|
| 124 |
+
- strong production relevance
|
| 125 |
+
- broad reuse for compositional workflows
|
| 126 |
+
|
| 127 |
+
This design is central to the model’s **musical coherence**, **prompt controllability**, and **production-facing behavior**.
|
| 128 |
+
|
| 129 |
+
---
|
| 130 |
+
|
| 131 |
+
<center>
|
| 132 |
+
|
| 133 |
+
## Why the Dataset Was Structured This Way
|
| 134 |
+
|
| 135 |
+
</center>
|
| 136 |
+
|
| 137 |
+
Most audio generation systems treat prompts as broad descriptive captions.
|
| 138 |
+
|
| 139 |
+
Foundation-1 instead was trained to understand sound as a **layered system with separable controls**.
|
| 140 |
+
|
| 141 |
+
That structure includes:
|
| 142 |
+
|
| 143 |
+
**Instrument Identity**
|
| 144 |
+
Broad family and sub-family control over what kind of sound is being generated.
|
| 145 |
+
|
| 146 |
+
**Timbre**
|
| 147 |
+
Direct conditioning over tonal character, texture, density, brightness, width, grit, warmth, and other sonic traits.
|
| 148 |
+
|
| 149 |
+
**FX Context**
|
| 150 |
+
Dedicated processing descriptors such as reverb, delay, distortion, phasing, and bitcrushing.
|
| 151 |
+
|
| 152 |
+
**Musical Structure**
|
| 153 |
+
Notation-aware terms that encourage coherent phrasing, melodic behavior, rhythmic structure, and harmonic motion.
|
| 154 |
+
|
| 155 |
+
**Timing and Tonality**
|
| 156 |
+
Explicit support for BPM, bar count, and key-aware sample generation.
|
| 157 |
+
|
| 158 |
+
This layered design is one of the main reasons Foundation-1 can produce outputs that feel both **musically structured** and **sonically steerable**.
|
| 159 |
+
|
| 160 |
+
---
|
| 161 |
+
|
| 162 |
+
<center>
|
| 163 |
+
|
| 164 |
+
## Coverage and Augmentation
|
| 165 |
+
|
| 166 |
+
</center>
|
| 167 |
+
|
| 168 |
+
The augmentation strategy was designed to improve **coverage**, **control**, and **generalization**.
|
| 169 |
+
|
| 170 |
+
Rather than treating each source phrase as a single static example, labeled material was expanded across multiple sonic and musical contexts.
|
| 171 |
+
|
| 172 |
+
This helps the model learn relationships between:
|
| 173 |
+
|
| 174 |
+
- melody and timbre
|
| 175 |
+
- phrase behavior and instrumentation
|
| 176 |
+
- sound design and FX treatment
|
| 177 |
+
- tonal setting and loop structure
|
| 178 |
+
- tempo and musical feel
|
| 179 |
+
|
| 180 |
+
In practice, this encourages the model to learn **reusable musical relationships**, rather than simply memorizing isolated recordings.
|
| 181 |
+
|
| 182 |
+
---
|
| 183 |
+
|
| 184 |
+
<center>
|
| 185 |
+
|
| 186 |
+
## Generalization and Overfitting
|
| 187 |
+
|
| 188 |
+
</center>
|
| 189 |
+
|
| 190 |
+
Because structured augmentation can increase dataset size rapidly, special care was taken to reduce melodic overfitting and encourage broader generalization.
|
| 191 |
+
|
| 192 |
+
The objective was to help the model learn:
|
| 193 |
+
|
| 194 |
+
- how similar phrase structures can exist across many timbral identities
|
| 195 |
+
- how sound design changes affect musical material
|
| 196 |
+
- how prompts can steer sonic outcomes without collapsing variety
|
| 197 |
+
- how the same conditioning vocabulary can remain useful across many production contexts
|
| 198 |
+
|
| 199 |
+
This is one reason Foundation-1 can produce **multiple distinct outputs from the same prompt** while still preserving the requested timbral and structural identity.
|
| 200 |
+
|
| 201 |
+
---
|
| 202 |
+
|
| 203 |
+
<center>
|
| 204 |
+
|
| 205 |
+
## What the Dataset Size Represents
|
| 206 |
+
|
| 207 |
+
</center>
|
| 208 |
+
|
| 209 |
+
The full size of the dataset should be understood as a measure of **coverage and structured variation**, not simply a count of unrelated melodies.
|
| 210 |
+
|
| 211 |
+
Foundation-1 was not designed around “more files for the sake of more files,” which is often seen with large scraped or loosely structured datasets.
|
| 212 |
+
|
| 213 |
+
Instead, the dataset was built from the ground up to teach the model how:
|
| 214 |
+
|
| 215 |
+
- phrases behave across different instruments
|
| 216 |
+
- timbral tags influence sonic identity
|
| 217 |
+
- FX descriptors shape the output
|
| 218 |
+
- timing and tonality influence loop behavior
|
| 219 |
+
- musical structure can remain coherent under many sonic conditions
|
| 220 |
+
|
| 221 |
+
In other words, the dataset size reflects the **breadth of the conditioning system** as much as it reflects the raw quantity of audio.
|
| 222 |
+
|
| 223 |
+
---
|
| 224 |
+
|
| 225 |
+
<center>
|
| 226 |
+
|
| 227 |
+
## Charts at a Glance
|
| 228 |
+
|
| 229 |
+
</center>
|
| 230 |
+
|
| 231 |
+
The following charts illustrate the distribution of key components of the Foundation-1 training dataset.
|
| 232 |
+
|
| 233 |
+
<center>
|
| 234 |
+
|
| 235 |
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<table>
|
| 236 |
+
<tr>
|
| 237 |
+
<td align="center">
|
| 238 |
+
<img src="./Charts/families_pie.PNG" width="1100">
|
| 239 |
+
</td>
|
| 240 |
+
|
| 241 |
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<td align="center">
|
| 242 |
+
<img src="./Charts/subfamilites_pie.PNG" width="1100">
|
| 243 |
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</td>
|
| 244 |
+
</tr>
|
| 245 |
+
|
| 246 |
+
<tr>
|
| 247 |
+
<td align="center">
|
| 248 |
+
<img src="./Charts/timbre_tags_pie.PNG" width="1100">
|
| 249 |
+
</td>
|
| 250 |
+
|
| 251 |
+
<td align="center">
|
| 252 |
+
<img src="./Charts/fx_pie.PNG" width="1100">
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| 253 |
+
</td>
|
| 254 |
+
</tr>
|
| 255 |
+
</table>
|
| 256 |
+
|
| 257 |
+
</center>
|
| 258 |
+
|
| 259 |
+
These visualizations provide a quick overview of the dataset’s coverage across:
|
| 260 |
+
|
| 261 |
+
- instrument families
|
| 262 |
+
- instrument sub-families
|
| 263 |
+
- timbral descriptors
|
| 264 |
+
- FX conditioning tags
|
| 265 |
+
|
| 266 |
+
---
|
| 267 |
+
|
| 268 |
+
<center>
|
| 269 |
+
|
| 270 |
+
## Scope
|
| 271 |
+
|
| 272 |
+
</center>
|
| 273 |
+
|
| 274 |
+
Foundation-1 is focused specifically on **sample-generation workflows**.
|
| 275 |
+
|
| 276 |
+
It was trained to generate:
|
| 277 |
+
|
| 278 |
+
- musical loops
|
| 279 |
+
- melodic phrases
|
| 280 |
+
- chordal material
|
| 281 |
+
- arps
|
| 282 |
+
- top-line ideas
|
| 283 |
+
- basslines
|
| 284 |
+
- textures
|
| 285 |
+
- production-ready instrumental content
|
| 286 |
+
|
| 287 |
+
It was **not designed** as:
|
| 288 |
+
|
| 289 |
+
- a full song generator
|
| 290 |
+
- a drum generator
|
| 291 |
+
- a general-purpose music captioning model
|
| 292 |
+
|
| 293 |
+
---
|
| 294 |
+
|
| 295 |
+
<center>
|
| 296 |
+
|
| 297 |
+
## Final Note
|
| 298 |
+
|
| 299 |
+
</center>
|
| 300 |
+
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Foundation-1 was built to give producers structured control over:
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- what the sound is
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- how it behaves musically
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- how it feels sonically
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- how it sits in a production context
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The dataset and training design were built around that exact goal.
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For examples, prompting guidance, and model capabilities, see the **[main repository page](./README.md)**.
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