RE WELL YOU CAN UNDERSTAND BUT YOU CAN HERE THAT THERE ARE MANY ARTIFACTS WHICH RIGHT EXACTLY RIGHT RIGHT AND THE ANOTHER PROBLEM IS THAT UH IT'S NOT BAND WIDTH VARIABLE SO YOU CANNOT SAY THAT THIS PART WILL BE THE JUST THE NOISE WHICH YOU CAN DO IN HERE IN THIS THIS OTHER APPROACH SO THAT'S WHY I DIDN'T PLAY WITH THAT SO M MORE BECAUSE I FOUND THERE ARE MORE UH DISADVANTAGES THAN THE ADVANTAGES THIS APPROACH SO THAT'S WHY TRICKY YEAH YOU MEAN THIS ONE YEAH IF YOU TAKE JUST THE ORIGINAL PHASE AND THE LIKE IT'S NOT IN TIME DOMAIN SO OF YOUR SIGNAL IT'S NOT SO THEN IT'S BIT TRICKY LIKE HOW OKAY BUT STILL YOU GET ONLY THE THE MAGNITUDE OF YOUR HILBERT ENVELOPE YOU WON'T GET THE YEAH YOU GET THE COMPLEX COMPLEX SPECTRUM WITH THIS LIKE MAGNITUDE OF HILBERT ENVELOPE MAGNITUDE OF UH NO BEFORE D. C. T. YOUR D OH AND YOU'RE TRYING TO FIRST FIND THAT HILBERT ENVELOPE SO UH LET'S WELL SO THIS IS A SPEECH NO BUT HERE WHAT I WANT TO SAY IS REALLY THAT Y IT'S NOT PART OF HILBERT ENVELOPE IT'S PART OF THE D. C. T. SIGNAL SO IT'S NOT IT'S ENOUGH IF YOU HAVE JUST THIS PHASE AND F AND THE HILBERT ENVELOPE YOU CAN PUT IT TOGETHER YOU DON'T NEED THE CARRIER I MEAN THIS IS KIND OF A CARRIER SIGNAL BUT IN DIFFERENT DOMAIN REPRESENTED YEAH IT'S IN FREQUENCY DOMAIN NO HMM SO I WHAT I THINK IS THAT WE ALREADY WILL NEED TO APPLY S KIND OF ANALYSIS BY SYNTHESIS APPROACH MM UH IN ORDER TO GET SOMETHING RIGHT UM AND I MEAN UH AND AND IN IN FACT I MEAN IT'S WHAT YOU'RE DOING IS SO DIFFERENT TO MOST APPROACHES TO SPEECH CODING THAT IT DOESN'T MATTER THAT WE DON'T KNOW MUCH ABOUT OR HAVEN'T HAD MUCH I IT'S I MEAN IT'S QUITE DIFFERENT TO A LOT OF THE TRADITIONAL SORT UH SO UH VOI UM YOU KNOW SOURCE FILTER TYPE APPROACHES OR OR WHATEVER YEAH SO BUT NOW I THINK PEOPLE IT'S JUST A MATTER OF MINIMUM DISTORTION TIME YEAH JUST FOR UNVOICED SPEECH O I'M NOT MENTIONING UH VOICELESS BECAUSE THAT'S UNVOICED WHICH MEANS WHISPERED UH YEAH BUT UH WHEN YOU HEAR AND TRY TO USE SOME EXAMPLES WITH THE MUSIC FOR EXAMPLE YEAH PLOSIVES ARE VERY IMPORTANT THOUGH I GUESS SO MAYBE IT DOES A BETTER JOB OF PLOSIVES THAT'S TRUE YEAH UH BUT ANYWAY IT SEEMED TO ME PRETTY GOOD I MEAN THAT THERE MIGHT BE THAT'S TRUE YEAH SO WHEN IS YOUR TURN UH UH IT SHOULD BE UH THIRTEENTH DECEMBER I THINK I JUST UH YOU WON'T BE HERE UH OKAY NO I JUST SWAPPED IT WITH UH MIKE PERROT I THINK 'CAUSE H HE IS NOT GOING TO BE HERE THIS TIME AND I WAS SUPPOSED TO HAVE IT IN UH IN JANUARY SO WHATEVER ANYWAY SO BUT ANYWAY I I WANTED TO HEAR SOMETHING MAYBE FROM YOU WHAT YOU ARE DOING F WITH SPEECH CODING BECAUSE YOU WERE YOU MENTIONED THAT BUT WE'RE D WE'RE DOING A MORE TRADITIONAL S S FREQUENCY SLICES RATHER THAN TEMPORAL BASED STUFF YEAH WELL THAT'S W THAT WAS ONE OF THE APPROACHES SURE YEP AND THE OTHER APPROACH WAS WAS THIS H. M. M. BASED STUFF WHICH IS WHICH IS BASICALLY JUST A PARAMETERIZATION OF THE YOU KNOW THE THE THE THE UM THE SOURCE FILTER TYPE PARAMETERS AND THEN AND THEN LEARNING THE YOU KNOW TRAINING LIKE A H SPEECH RECOGNITION SYSTEM BUT THAT'S NOT TERRIBLY THAT'S GOT NO RELATIONSHIP TO THIS I IT'S YEAH BUT UH IT'S SPEECH CODING AT LEAST UM LITTLE STANDARDS BUT UM I MEAN I THINK I THINK YOU'RE ON THE RIGHT TRACK WITH THE ANALYSIS BY SYNTHESIS BUT THAT DOESN'T TELL YOU HOW WHAT SORT OF BIT RATES YOU'RE GOING TO ACHIEVE OR UM AND BECAUSE YOU HAVE TO DO IT SEPARATELY FOR EACH UM BAND IT WOULD BE THE I IMAGINE THAT'S THE TRICKY PART UM BECAUSE IT WOULD BE VARYING QUITE RAPIDLY WOULDN'T IT YOUR UM YOUR UH CODE BOOK LIKE W WITHIN EACH UM WHEN YOU GO ALONG THE THE THE B THE ONE SECOND SORT OF SEGMENT OF THE BAND YOU WE CAN DO A HILBERT ENVELOPE APPROXIMATION WITH ONE SECOND BUT THEN WE CAN SPLIT THAT SIGNAL INTO I DON'T KNOW TEN TEN UH SEGMENTS WITH THE ONE HUNDRED MILLISECONDS OR EVEN LESS AND WE CAN APPLY SOME OTHER TECHNIQUE FOR THAT YOU KNOW STILL RIGHT EXACTLY EXACTLY YEAH YOU'VE G C YOU'VE YOU'VE GOTTA I MATCH THE QUALITY BEFORE YOU START WORRYING ABOUT OTHER THINGS RIGHT I MEAN D D DO THEY I MEAN WHAT WHAT WHAT SORT OF UH THEY JUST WANT TO GET SOMETHING NEW YOU KNOW SO IF YOU GET THE V VERY UH LOW BIT RATE WITH A REASONABLE QUALITY OR REALLY HIGH BIT RATE WHICH IS C AGAIN DIFFERENT BUT WITH UH HIGH QUALITY UH THEY WOULD BE HAPPY WITH THE BOTH SO YOU KNOW ON ONE SIDE IT'S PRETTY GOOD BUT ON THE OTHER YOU DON'T KNOW WHICH WAY YOU SHOULD GO 'CAUSE THERE ARE MANY OF THEM AND UH RIGHT RIGHT MM-HMM OKAY WELL I I WILL W UH DO YOU WANT TO MENTION YOUR SPEECH CODING EXPERIMENTS SO YOU ARE SAYING THAT YOU'RE DOING SOMETHING I IN INDIA WITH UH BUT IT'S MOSTLY LIKE THIS IS UH S CELP AND THESE THING NO I WAS T UH DOING SOME UH LIKE WRITING SOME CODE FOR TESTING AND THESE THINGS WHERE I'M MAKING SOME T STANDARDS FOR THAT SO SO TH TH THERE ARE LIKE LI THE THING THESE STANDARDS HOW IT WORKS IS LIKE THEY GIVE ALL THE PSEUDO CODE KIND OF THING AND THEN THEY PUT SEVERE TEST CONDITIONS SO YOU HAVE TO PASS THOSE TEST CONDITIONS LIKE THEN J YOU CAN SAY OKAY WE IMPLEMENTED D. SEVENTY EIGHT OR D. SE YEAH YEAH YEAH YEAH YEAH YEAH RIGHT RIGHT YOU ARE T YOU CAN'T REALLY DO IT ON WHATEVER DATABASE YOU HAVE SO SO YOU ARE TO USE THE UH UH YEAH UH IT YEAH IT'S MORE LIKE UH THEY DEFINE SO I DID FOR SOME EVEN ALSO THEY'RE ALSO THEY DEFINE ALL THIS THE SPEECH CONDITION EVERYTHING THEY DEFINE SO YOU NEED TO FOLLOW ALL THOSE YES THIS INDUSTRY IS AGAIN DIFFERENT LIKE YEAH YEAH BUT IT'S QUITE INTERESTING WITH THE EVEN WITH TH UH S CURRENT SPEECH CODING UH TECHNOLOGIES WE ARE THEY ARE STILL TRYING TO USE K ZAP OR THOSE R. P. BASED APPROACHES THERE IS NOTHING NEW MORE OR LESS AND IF I WHEN I WAS UH LISTENING THE UH THE TALK OF UH MILAN JELINEK UH HE'S THE CZECH GUY BUT HE LIVES IN UH IN CANADA I DON'T KNOW THE NAME OF THE UNIVERSITY BUT THEY THEY HAVE UH THE PATTERN I THINK FOR CELP EVEN OR AH CELP IS FROM UH A. T. AND T. NO LIKE A. T. AND YEAH YEAH IT THE ALL THIS L. P. C. STUFF IS YEAH AH OK AH OKAY YEAH YEAH WELL I TH