Compressing Avatars, Transitioning Emotions, and Peeking Inside Audio LLMs

Animatable 3D Gaussian head avatars offer high-fidelity and flexible facial rendering, but typically require substantial storage and transmission costs for numerous Gaussian primitives. Existing Gaussian head avatar methods overlook the visual saliency of different head semantic regions for more appropriate Gaussian primitive allocation, as well as the efficient compression of trained head avatar sequences. To tackle this obstacle, we propose SACHA, a dynamic head avatar compression framework that leverages both semantic-aware density control and appearance-motion decomposition to achieve compact representation and high-quality novel-view rendering of head avatar sequences. Specifically, the semantic-aware density control guides the adaptive allocation of Gaussian primitives across different head regions with region-adaptive densification and pruning. In addition, the appearance-motion decomposed compression further reduces the temporal redundancy of the avatar sequence by transmitting only head-prior parameters for avatar movements. Together, these designs enable a compact representation for efficient transmission of dynamic Gaussian head avatars while preserving visual fidelity. Experiments demonstrate that SACHA achieves a superior rate-distortion performance over existing Gaussian head avatar representation and compression methods while maintaining high-quality novel-view and novel-expression rendering.

Psychological research on emotion dynamics has established that human affect is a continuous, evolving process: emotions rise, decay, and transition within seconds. Current emotional text-to-speech (TTS) systems, however, condition on a single discrete label or static embedding per utterance, fundamentally misaligning with the temporal nature of affect. While recent LLM-based TTS systems may implicitly vary prosody through text understanding, such variation is neither explicitly controllable nor precise enough for targeted intra-utterance transitions. We address three challenges: (1) a multi-pass flow blending pipeline synthesizes frame-aligned transition audio, circumventing the scarcity of natural intra-utterance transitions; (2) dual-stage Valence-Arousal-Dominance (VAD) conditioning guides prosodic planning in the LLM and acoustic realization in the flow decoder via frame-level VAD embeddings; (3) direction-magnitude decoupled injection structurally separates emotion direction from injection magnitude, preventing content degradation. EmoTra-TTS adds only +0.43% parameters with no latency overhead, achieves 30%-87% relative improvement on emotion transition quality, corroborated by 64.4%-79.5% overall win rates in pairwise preference tests against four SOTA baselines and two commercial systems.

An audio language model is a black box in a specific way: we see what it says, never what it works out on the way there, and chain-of-thought monitoring helps only if the model writes its reasoning down. Reading a base Qwen3-Omni with a logit lens at the audio-token positions, we find that the answer to a spoken question becomes legible - in words - in the model's middle layers, before it emits any token. Five findings follow. (1) The readout carries concepts in neither the question, the options, nor the model's own transcription: on a clip whose verbatim transcription is empty garbling, it reconstructs Watergate and scandal, passes through the role president, and resolves to Nixon - a hidden multi-hop chain, read with no chain-of-thought. (2) The content is language-agnostic: one audio-inferred concept surfaces in several scripts at once, and 38% of top-1 readouts are Chinese on English inputs. (3) It is paralinguistic: given the same clip as audio and as the model's own emotion-free caption, the audio mind forms the sound source, speaker role, or affect that the caption discards, and answers correctly more often. (4) The audio-driven signal is absent at the input, turns on about a tenth of the way into the network, separates most cleanly from the text prior in the middle band (35-80% of depth), and activation patching shows it is causally used and committed before the last fifth of the layers. (5) Deleting single layers maps the pipeline: reading the sound in is localized to the entry layers and answer delivery to the output layer, while retrieval is distributed across the interior. Throughout, a waveform-swap control - identical text, only the sound changed - isolates the audio-driven signal from a prior over the printed options. This is a qualitative account of what an audio model works out before it speaks: the quantities are controls, not benchmark scores.