F: Here .
A: They should be more close .
F: Ah , no .
F: This is this ?
F: More close . Is this ?
F: And this .
C: Mm - hmm .
C: Mm - hmm .
A: Yeah .
A: So they are A: this is there is less difference .
F: Mm - hmm .
B: So if you look at the spectral envelope , just the very smooth properties of it , you get something closer to that .
A: This is less it 's less robust .
F: Less robust .
F: Yeah .
A: Oh , yeah .
B: And the notion is if you have the full spectrum , with all the little nitty - gritty details , that that has the effect of both ,
C: Yeah .
C: Mm - hmm .
B: and it would be a multiplication in in frequency domain
B: so that would be like an addition in log  power spectrum domain .
C: Mm - hmm .
C: Mm - hmm .
B: And so this is saying , well , if you really do have that sort of vocal tract envelope , and you subtract that off , what you get is the excitation .
B: And I call that lies because you don't really have that ,
B: you just have some kind of signal - processing trickery to get something that 's kind of smooth .
B: It 's not really what 's happening in the vocal tract
C: Yeah .
B: so you 're not really getting the vocal excitation .
C: Right .
B: That 's why I was going to the why I was referring to it in a more  a more , uh , uh , conservative way ,
B: when I was saying " well , it 's B: yeah ,
B: it 's the excitation " .
B: But it 's not really the excitation .
B: It 's whatever it is that 's different between C: Oh .
B: So so , stand standing back from that , you sort of say there 's this very detailed representation .
C: This moved in the C: Yeah .
C: Mm - hmm .
B: You go to a smooth representation .
B: You go to a smooth representation cuz this typically generalizes better .
C: Mm - hmm .
B: Um ,
B: but whenever you smooth you lose something ,
B: so the question is have you lost something you can you use ?
C: Right .
B: Um , probably you wouldn't want to go to the extreme of just ta saying " OK , our feature set will be the FFT " ,
B: cuz we really think we do gain something in robustness from going to something smoother ,
C: Mm - hmm .
B: but maybe there 's something that we missed .
C: Yeah .
B: So what is it ?
B: And then you go back to the intuition that ,
B: well , you don't really get the excitation ,
B: but you get something related to it .
C: Mm - hmm .
C: Mm - hmm .
B: And it and as you can see from those pictures , you do get something that shows some periodicity , uh , in frequency ,
C: Hmm .
B: you know ,
B: and and and also in time .
B: So C: That 's that 's really neat .
B: so ,
C: So you don't have one for unvoiced picture ?
F: Uh , not here .
C: Oh .
F: No , I have s
A: Mm - hmm .
B: Yeah .
F: But not here .
B: But presumably you 'll see something that won't have this kind of , uh , uh , uh , regularity in frequency , uh , in the A: But A: Yeah . Well .
F: Not here .
C: I would li I would like to see those pictures .
F: Well , so .
B: Yeah .
F: I can't see you <comment> now .
C: Yeah .
B: Yeah .
B: Yeah .
A: Mm - hmm .
F: I don't have .
C: And so you said this is pretty C: doing this kind of thing is pretty robust to noise ?
A: It seems ,
A: yeah .
F: Pfft .
C: Huh .
A: Um ,
F: Oops .
F: The mean is different with it ,
F: because the  the histogram for the  the classifica
A: No , no , no .
A: But th the kind of robustness to noise F: Oh !
A: So if if you take this frame , uh , from the noisy utterance and the same frame from the clean utterance F: Hmm .
C: You end up with a similar difference
A: Y y y yeah .
A: We end up with C: over here ?
A: Yeah .
C: OK .
F: I have here the same frame for the clean speech C: Cool !
C: Oh , that 's clean .
F: the same cle
C: Oh , OK
F: But they are a difference .
F: Because here the FFT is only with two hundred fifty - six point
A: Yeah ,
A: that 's F: and this is with five hundred twelve .
C: Oh .
C: OK .
A: Yeah .
A: This is kind of inter interesting also
A: because if we use the standard , uh , frame length of of , like , twenty - five milliseconds , um , what happens is that for low - pitched voiced , because of the frame length , y you don't really have  you don't clearly see this periodic structure ,
B: Mm - hmm .
A: because of the first lobe of of each each of the harmonics .
C: So this one inclu is a longer Ah .
A: So , this is like yeah , fifty milliseconds or something like that .
F: Fifty millis
F: Yeah .
A: Yeah , but it 's the same frame
A: and C: Oh , it 's that time - frequency trade - off thing .
A: Yeah .
C: Right ?
C: I see .
C: Yeah .
A: So , yeah .
B: Mm - hmm .
C: Oh . Oh , so this i is this the difference here ,
F: No .
F: This is the signal .
C: for that ?
F: This is the signal .
A: I see that .
A: Oh , yeah .
F: The frame .
C: Oh , that 's the f the original .
F: This is the fra the original frame .
A: Yeah .
A: So with a short frame basically you have only two periods
C: Yeah .
A: and it 's not not enough to to have this kind of neat things .
C: Mm - hmm .
F: Mm - hmm .
C: Yeah .
A: But F: And here F: No , well .
A: Yeah .
A: So probably we 'll have to use , like , long f long frames .
A: Mm - hmm .
C: Mm - hmm .
E: Hmm .
C: Oh .
C: That 's interesting .
B: Mmm .
B: Yeah , maybe .
B: Well , I mean it looks better ,
B: but , I mean , the thing is if if , uh if you 're actually asking you know , if you actually j uh , need to do place along an FFT , it may be it may be pushing things .
A: Yeah .
B: And and , uh C: Would you would you wanna do this kind of , uh , difference thing after you do spectral subtraction ?
A: Uh , maybe .
F: No .
F: Maybe we can do that .
A: Mmm .
B: Hmm .
B: The spectral subtraction is being done
B: at what level ? Is it being done
B: at the level of FFT bins
B: or at the level of , uh , mel spectrum or something ?
A: Um ,
A: I guess it depends .
B: I mean , how are they doing it ?
A: How they 're doing it ?
A: Yeah .
A: Um ,
A: I guess Ericsson is on the , um , filter bank ,
F: FFT . Filter bank ,
A: no ?
F: yeah .
A: It 's on the filter bank ,
A: so .
A: So , yeah ,
A: probably B: So in that case , it might not make much difference at all .
A: I i it Yeah .
C: Seems like you 'd wanna do it on the FFT bins .
B: Maybe .
B: I mean , certainly it 'd be better .
C: I I mean , if you were gonna C: uh , for for this purpose , that is .
B: Yeah .
A: Mm - hmm .
B: Yeah .
A: Mm - hmm .
B: OK .
A: Mmm .
B: What else ?
A: Uh . Yeah ,
A: that 's all .
A: So we 'll perhaps   try to convince OGI people to use the new  the new filters
A: and A: Yeah .
B: OK .
B: Uh , has has anything happened yet on this business of having some sort of standard , uh , source ,
A: Uh ,
B: or ?
A: not yet
A: but I wi I will call them
A: and B: OK .
A: now they are I think they have more time
A: because they have this A: well , Eurospeech deadline is over
C: When is the next , um , Aurora deadline ?
A: and A: It 's , um , in June .
C: June .
A: Yeah .
B: Early June ,
B: late June ,
B: middle June ?
A: I don't know
A: w
B: Hmm .
E: Hmm .
B: OK .
B: Um ,
B: and he 's been doing all the talking
B: but but these  he 's he 's , uh F: Yeah .
B: This is this by the way a bad thing .
B: We 're trying to get , um , m more female voices in this record as well .
B: So .
B: Make sur make sure Carmen talks as well .
B: Uh , but has he pretty much been talking about what you 're doing also ,
B: and ?
F: Oh , I I am doing this .
F: Yeah , yeah .
B: Yes .
F: I don't know .
F: I 'm sorry ,
F: but
F: I think that for the recognizer for the meeting recorder that it 's better that I don't speak .
B: Yeah , well .
F: Because B: You know , uh , we 'll get we 'll get to , uh , Spanish voices sometime ,
B: and we do we want to recognize , uh , you too .
F: After the after , uh , the result for the TI - digits on the meeting record there will be foreigns people .
A: Yeah , but C: Y
B: Oh , no .
B: We like we we 're we 're B: w we are we 're in the , uh , Bourlard - Hermansky - Morgan , uh , frame of mind .
B: Yeah , we like high error rates .
B: It 's A: Yeah .
B: That way there 's lots of work to do .