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lj-speech-normalized-asr

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lj-001-0001.wav
Printing, in the only sense with which we are at present concerned, differs from most if not from all the arts and crafts represented in the Exhibition
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PRINTING IN THE ONLY SENSE WITH WHICH WE ARE AT PRESENT CONCERNED DIFFERS FROM MOST IF NOT FROM ALL THE ARTS AND CRAFTS REPRESENTED IN THE EXHIBITION
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in being comparatively modern.
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IN BEING COMPARATIVELY MODERN
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For although the Chinese took impressions from wood blocks engraved in relief for centuries before the woodcutters of the Netherlands, by a similar process
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FOR ALTHOUGH THE CHINESE TOOK IMPRESSIONS FROM WOOD BLOCKS ENGRAVED IN RELIEF FOR CENTURIES BEFORE THE WOODCUTTERS OF THE NETHERLANDS BY A SIMILAR PROCESS
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produced the block books, which were the immediate predecessors of the true printed book,
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PRODUCED THE BLOCK BOOKS WHICH WERE THE IMMEDIATE PREDECESSORS OF THE TRUE PRINTED BOOK
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the invention of movable metal letters in the middle of the fifteenth century may justly be considered as the invention of the art of printing.
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THE INVENTION OF MOVABLE METAL LETTERS IN THE MIDDLE OF THE FIFTEENTH CENTURY MAY JUSTLY BE CONSIDERED AS THE INVENTION OF THE ART OF PRINTING
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And it is worth mention in passing that, as an example of fine typography,
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AND IT IS WORTH MENTION IN PASSING THAT AS AN EXAMPLE OF FINE TYPOGRAPHY
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the earliest book printed with movable types, the Gutenberg, or "forty-two line Bible" of about fourteen fifty-five,
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THE EARLIEST BOOK PRINTED WITH MOVABLE TYPES THE GUTENBERG OR FORTY TWO LINE BIBLE OF ABOUT FOURTEEN FIFTY FIVE
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has never been surpassed.
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HAS NEVER BEEN SURPASSED
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Printing, then, for our purpose, may be considered as the art of making books by means of movable types.
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PRINTING THEN FOR OUR PURPOSE MAY BE CONSIDERED AS THE ART OF MAKING BOOKS BY MEANS OF MOVABLE TYPES
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Now, as all books not primarily intended as picture-books consist principally of types composed to form letterpress,
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NOW AS ALL BOOKS NOT PRIMARILY INTENDED AS PICTURE BOOKS CONSIST PRINCIPALLY OF TYPES COMPOSED TO FORM LETTERPRESS
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it is of the first importance that the letter used should be fine in form;
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IT IS OF THE FIRST IMPORTANCE THAT THE LETTER USED SHOULD BE FINE IN FORM
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especially as no more time is occupied, or cost incurred, in casting, setting, or printing beautiful letters
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ESPECIALLY AS NO MORE TIME IS OCCUPIED OR COST INCURRED IN CASTING SETTING OR PRINTING BEAUTIFUL LETTERS
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than in the same operations with ugly ones.
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THAN IN THE SAME OPERATIONS WITH UGLY ONES
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And it was a matter of course that in the Middle Ages, when the craftsmen took care that beautiful form should always be a part of their productions whatever they were,
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AND IT WAS A MATTER OF COURSE THAT IN THE MIDDLE AGES WHEN THE CRAFTSMEN TOOK CARE THAT BEAUTIFUL FORM SHOULD ALWAYS BE A PART OF THEIR PRODUCTIONS WHATEVER THEY WERE
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the forms of printed letters should be beautiful, and that their arrangement on the page should be reasonable and a help to the shapeliness of the letters themselves.
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THE FORMS OF PRINTED LETTERS SHOULD BE BEAUTIFUL AND THAT THEIR ARRANGEMENT ON THE PAGE SHOULD BE REASONABLE AND A HELP TO THE SHAPELINESS OF THE LETTERS THEMSELVES
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The Middle Ages brought calligraphy to perfection, and it was natural therefore
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THE MIDDLE AGES BROUGHT CALLIGRAPHY TO PERFECTION AND IT WAS NATURAL THEREFORE
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that the forms of printed letters should follow more or less closely those of the written character, and they followed them very closely.
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THAT THE FORMS OF PRINTED LETTERS SHOULD FOLLOW MORE OR LESS CLOSELY THOSE OF THE WRITTEN CHARACTER AND THEY FOLLOWED THEM VERY CLOSELY
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The first books were printed in black letter, i.e. the letter which was a Gothic development of the ancient Roman character,
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THE FIRST BOOKS WERE PRINTED IN BLACK LETTER I E THE LETTER WHICH WAS A GOTHIC DEVELOPMENT OF THE ANCIENT ROMAN CHARACTER
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and which developed more completely and satisfactorily on the side of the "lower-case" than the capital letters;
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AND WHICH DEVELOPED MORE COMPLETELY AND SATISFACTORILY ON THE SIDE OF THE LOWER CASE THAN THE CAPITAL LETTERS
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the "lower-case" being in fact invented in the early Middle Ages.
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THE LOWER CASE BEING IN FACT INVENTED IN THE EARLY MIDDLE AGES
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The earliest book printed with movable type, the aforesaid Gutenberg Bible, is printed in letters which are an exact imitation
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THE EARLIEST BOOK PRINTED WITH MOVABLE TYPE THE AFORESAID GUTENBERG BIBLE IS PRINTED IN LETTERS WHICH ARE AN EXACT IMITATION
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of the more formal ecclesiastical writing which obtained at that time; this has since been called "missal type,"
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OF THE MORE FORMAL ECCLESIASTICAL WRITING WHICH OBTAINED AT THAT TIME THIS HAS SINCE BEEN CALLED MISSAL TYPE
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and was in fact the kind of letter used in the many splendid missals, psalters, etc., produced by printing in the fifteenth century.
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AND WAS IN FACT THE KIND OF LETTER USED IN THE MANY SPLENDID MISSALS PSALTERS ETC PRODUCED BY PRINTING IN THE FIFTEENTH CENTURY
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But the first Bible actually dated (which also was printed at Maintz by Peter Schoeffer in the year fourteen sixty-two)
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BUT THE FIRST BIBLE ACTUALLY DATED WHICH ALSO WAS PRINTED AT MAINTZ BY PETER SCHOEFFER IN THE YEAR FOURTEEN SIXTY TWO
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imitates a much freer hand, simpler, rounder, and less spiky, and therefore far pleasanter and easier to read.
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IMITATES A MUCH FREER HAND SIMPLER ROUNDER AND LESS SPIKY AND THEREFORE FAR PLEASANTER AND EASIER TO READ
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On the whole the type of this book may be considered the ne-plus-ultra of Gothic type,
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ON THE WHOLE THE TYPE OF THIS BOOK MAY BE CONSIDERED THE NE PLUS ULTRA OF GOTHIC TYPE
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especially as regards the lower-case letters; and type very similar was used during the next fifteen or twenty years not only by Schoeffer,
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ESPECIALLY AS REGARDS THE LOWER CASE LETTERS AND TYPE VERY SIMILAR WAS USED DURING THE NEXT FIFTEEN OR TWENTY YEARS NOT ONLY BY SCHOEFFER
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but by printers in Strasburg, Basle, Paris, Lubeck, and other cities.
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BUT BY PRINTERS IN STRASBURG BASLE PARIS LUBECK AND OTHER CITIES
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But though on the whole, except in Italy, Gothic letter was most often used
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BUT THOUGH ON THE WHOLE EXCEPT IN ITALY GOTHIC LETTER WAS MOST OFTEN USED
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a very few years saw the birth of Roman character not only in Italy, but in Germany and France.
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A VERY FEW YEARS SAW THE BIRTH OF ROMAN CHARACTER NOT ONLY IN ITALY BUT IN GERMANY AND FRANCE
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In fourteen sixty-five Sweynheim and Pannartz began printing in the monastery of Subiaco near Rome,
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IN FOURTEEN SIXTY FIVE SWEYNHEIM AND PANNARTZ BEGAN PRINTING IN THE MONASTERY OF SUBIACO NEAR ROME
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and used an exceedingly beautiful type, which is indeed to look at a transition between Gothic and Roman,
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AND USED AN EXCEEDINGLY BEAUTIFUL TYPE WHICH IS INDEED TO LOOK AT A TRANSITION BETWEEN GOTHIC AND ROMAN
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but which must certainly have come from the study of the twelfth or even the eleventh century MSS.
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BUT WHICH MUST CERTAINLY HAVE COME FROM THE STUDY OF THE TWELFTH OR EVEN THE ELEVENTH CENTURY MSS
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They printed very few books in this type, three only; but in their very first books in Rome, beginning with the year fourteen sixty-eight,
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THEY PRINTED VERY FEW BOOKS IN THIS TYPE THREE ONLY BUT IN THEIR VERY FIRST BOOKS IN ROME BEGINNING WITH THE YEAR FOURTEEN SIXTY EIGHT
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they discarded this for a more completely Roman and far less beautiful letter.
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THEY DISCARDED THIS FOR A MORE COMPLETELY ROMAN AND FAR LESS BEAUTIFUL LETTER
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But about the same year Mentelin at Strasburg began to print in a type which is distinctly Roman;
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BUT ABOUT THE SAME YEAR MENTELIN AT STRASBURG BEGAN TO PRINT IN A TYPE WHICH IS DISTINCTLY ROMAN
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and the next year Gunther Zeiner at Augsburg followed suit;
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AND THE NEXT YEAR GUNTHER ZEINER AT AUGSBURG FOLLOWED SUIT
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while in fourteen seventy at Paris Udalric Gering and his associates turned out the first books printed in France, also in Roman character.
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WHILE IN FOURTEEN SEVENTY AT PARIS UDALRIC GERING AND HIS ASSOCIATES TURNED OUT THE FIRST BOOKS PRINTED IN FRANCE ALSO IN ROMAN CHARACTER
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The Roman type of all these printers is similar in character,
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THE ROMAN TYPE OF ALL THESE PRINTERS IS SIMILAR IN CHARACTER
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and is very simple and legible, and unaffectedly designed for use; but it is by no means without beauty.
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AND IS VERY SIMPLE AND LEGIBLE AND UNAFFECTEDLY DESIGNED FOR USE BUT IT IS BY NO MEANS WITHOUT BEAUTY
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It must be said that it is in no way like the transition type of Subiaco,
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IT MUST BE SAID THAT IT IS IN NO WAY LIKE THE TRANSITION TYPE OF SUBIACO
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and though more Roman than that, yet scarcely more like the complete Roman type of the earliest printers of Rome.
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AND THOUGH MORE ROMAN THAN THAT YET SCARCELY MORE LIKE THE COMPLETE ROMAN TYPE OF THE EARLIEST PRINTERS OF ROME
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A further development of the Roman letter took place at Venice.
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A FURTHER DEVELOPMENT OF THE ROMAN LETTER TOOK PLACE AT VENICE
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John of Spires and his brother Vindelin, followed by Nicholas Jenson, began to print in that city,
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JOHN OF SPIRES AND HIS BROTHER VINDELIN FOLLOWED BY NICHOLAS JENSON BEGAN TO PRINT IN THAT CITY
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fourteen sixty-nine, fourteen seventy;
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FOURTEEN SIXTY NINE FOURTEEN SEVENTY
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their type is on the lines of the German and French rather than of the Roman printers.
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THEIR TYPE IS ON THE LINES OF THE GERMAN AND FRENCH RATHER THAN OF THE ROMAN PRINTERS
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Of Jenson it must be said that he carried the development of Roman type as far as it can go:
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OF JENSON IT MUST BE SAID THAT HE CARRIED THE DEVELOPMENT OF ROMAN TYPE AS FAR AS IT CAN GO
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his letter is admirably clear and regular, but at least as beautiful as any other Roman type.
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HIS LETTER IS ADMIRABLY CLEAR AND REGULAR BUT AT LEAST AS BEAUTIFUL AS ANY OTHER ROMAN TYPE
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After his death in the "fourteen eighties," or at least by fourteen ninety, printing in Venice had declined very much;
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AFTER HIS DEATH IN THE FOURTEEN EIGHTIES OR AT LEAST BY FOURTEEN NINETY PRINTING IN VENICE HAD DECLINED VERY MUCH
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and though the famous family of Aldus restored its technical excellence, rejecting battered letters,
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AND THOUGH THE FAMOUS FAMILY OF ALDUS RESTORED ITS TECHNICAL EXCELLENCE REJECTING BATTERED LETTERS
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and paying great attention to the "press work" or actual process of printing,
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AND PAYING GREAT ATTENTION TO THE PRESS WORK OR ACTUAL PROCESS OF PRINTING
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yet their type is artistically on a much lower level than Jenson's, and in fact
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YET THEIR TYPE IS ARTISTICALLY ON A MUCH LOWER LEVEL THAN JENSON'S AND IN FACT
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they must be considered to have ended the age of fine printing in Italy.
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THEY MUST BE CONSIDERED TO HAVE ENDED THE AGE OF FINE PRINTING IN ITALY
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Jenson, however, had many contemporaries who used beautiful type,
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JENSON HOWEVER HAD MANY CONTEMPORARIES WHO USED BEAUTIFUL TYPE
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some of which -- as, e.g., that of Jacobus Rubeus or Jacques le Rouge -- is scarcely distinguishable from his.
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SOME OF WHICH AS E G THAT OF JACOBUS RUBEUS OR JACQUES LE ROUGE IS SCARCELY DISTINGUISHABLE FROM HIS
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It was these great Venetian printers, together with their brethren of Rome, Milan,
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IT WAS THESE GREAT VENETIAN PRINTERS TOGETHER WITH THEIR BRETHREN OF ROME MILAN
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Parma, and one or two other cities, who produced the splendid editions of the Classics, which are one of the great glories of the printer's art,
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PARMA AND ONE OR TWO OTHER CITIES WHO PRODUCED THE SPLENDID EDITIONS OF THE CLASSICS WHICH ARE ONE OF THE GREAT GLORIES OF THE PRINTER'S ART
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and are worthy representatives of the eager enthusiasm for the revived learning of that epoch. By far,
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AND ARE WORTHY REPRESENTATIVES OF THE EAGER ENTHUSIASM FOR THE REVIVED LEARNING OF THAT EPOCH BY FAR
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the greater part of these Italian printers, it should be mentioned, were Germans or Frenchmen, working under the influence of Italian opinion and aims.
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THE GREATER PART OF THESE ITALIAN PRINTERS IT SHOULD BE MENTIONED WERE GERMANS OR FRENCHMEN WORKING UNDER THE INFLUENCE OF ITALIAN OPINION AND AIMS
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It must be understood that through the whole of the fifteenth and the first quarter of the sixteenth centuries
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IT MUST BE UNDERSTOOD THAT THROUGH THE WHOLE OF THE FIFTEENTH AND THE FIRST QUARTER OF THE SIXTEENTH CENTURIES
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the Roman letter was used side by side with the Gothic.
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THE ROMAN LETTER WAS USED SIDE BY SIDE WITH THE GOTHIC
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Even in Italy most of the theological and law books were printed in Gothic letter,
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EVEN IN ITALY MOST OF THE THEOLOGICAL AND LAW BOOKS WERE PRINTED IN GOTHIC LETTER
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which was generally more formally Gothic than the printing of the German workmen,
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WHICH WAS GENERALLY MORE FORMALLY GOTHIC THAN THE PRINTING OF THE GERMAN WORKMEN
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many of whose types, indeed, like that of the Subiaco works, are of a transitional character.
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MANY OF WHOSE TYPES INDEED LIKE THAT OF THE SUBIACO WORKS ARE OF A TRANSITIONAL CHARACTER
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This was notably the case with the early works printed at Ulm, and in a somewhat lesser degree at Augsburg.
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THIS WAS NOTABLY THE CASE WITH THE EARLY WORKS PRINTED AT ULM AND IN A SOMEWHAT LESSER DEGREE AT AUGSBURG
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In fact Gunther Zeiner's first type (afterwards used by Schussler) is remarkably like the type of the before-mentioned Subiaco books.
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IN FACT GUNTHER ZEINER'S FIRST TYPE AFTERWARDS USED BY SCHUSSLER IS REMARKABLY LIKE THE TYPE OF THE BEFORE MENTIONED SUBIACO BOOKS
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In the Low Countries and Cologne, which were very fertile of printed books, Gothic was the favorite.
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IN THE LOW COUNTRIES AND COLOGNE WHICH WERE VERY FERTILE OF PRINTED BOOKS GOTHIC WAS THE FAVORITE
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The characteristic Dutch type, as represented by the excellent printer Gerard Leew, is very pronounced and uncompromising Gothic.
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THE CHARACTERISTIC DUTCH TYPE AS REPRESENTED BY THE EXCELLENT PRINTER GERARD LEEW IS VERY PRONOUNCED AND UNCOMPROMISING GOTHIC
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This type was introduced into England by Wynkyn de Worde, Caxton's successor,
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THIS TYPE WAS INTRODUCED INTO ENGLAND BY WYNKYN DE WORDE CAXTON'S SUCCESSOR
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and was used there with very little variation all through the sixteenth and seventeenth centuries, and indeed into the eighteenth.
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AND WAS USED THERE WITH VERY LITTLE VARIATION ALL THROUGH THE SIXTEENTH AND SEVENTEENTH CENTURIES AND INDEED INTO THE EIGHTEENTH
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Most of Caxton's own types are of an earlier character, though they also much resemble Flemish or Cologne letter.
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MOST OF CAXTON'S OWN TYPES ARE OF AN EARLIER CHARACTER THOUGH THEY ALSO MUCH RESEMBLE FLEMISH OR COLOGNE LETTER
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After the end of the fifteenth century the degradation of printing, especially in Germany and Italy,
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AFTER THE END OF THE FIFTEENTH CENTURY THE DEGRADATION OF PRINTING ESPECIALLY IN GERMANY AND ITALY
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went on apace; and by the end of the sixteenth century there was no really beautiful printing done:
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WENT ON APACE AND BY THE END OF THE SIXTEENTH CENTURY THERE WAS NO REALLY BEAUTIFUL PRINTING DONE
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the best, mostly French or Low-Country, was neat and clear, but without any distinction;
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THE BEST MOSTLY FRENCH OR LOW COUNTRY WAS NEAT AND CLEAR BUT WITHOUT ANY DISTINCTION
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the worst, which perhaps was the English, was a terrible falling-off from the work of the earlier presses;
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THE WORST WHICH PERHAPS WAS THE ENGLISH WAS A TERRIBLE FALLING OFF FROM THE WORK OF THE EARLIER PRESSES
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and things got worse and worse through the whole of the seventeenth century, so that in the eighteenth printing was very miserably performed.
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AND THINGS GOT WORSE AND WORSE THROUGH THE WHOLE OF THE SEVENTEENTH CENTURY SO THAT IN THE EIGHTEENTH PRINTING WAS VERY MISERABLY PERFORMED
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In England about this time, an attempt was made (notably by Caslon, who started business in London as a type-founder in seventeen twenty)
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IN ENGLAND ABOUT THIS TIME AN ATTEMPT WAS MADE NOTABLY BY CASLON WHO STARTED BUSINESS IN LONDON AS A TYPE FOUNDER IN SEVENTEEN TWENTY
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to improve the letter in form.
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TO IMPROVE THE LETTER IN FORM
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Caslon's type is clear and neat, and fairly well designed;
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CASLON'S TYPE IS CLEAR AND NEAT AND FAIRLY WELL DESIGNED
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he seems to have taken the letter of the Elzevirs of the seventeenth century for his model:
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HE SEEMS TO HAVE TAKEN THE LETTER OF THE ELZEVIRS OF THE SEVENTEENTH CENTURY FOR HIS MODEL
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type cast from his matrices is still in everyday use.
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TYPE CAST FROM HIS MATRICES IS STILL IN EVERYDAY USE
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In spite, however, of his praiseworthy efforts, printing had still one last degradation to undergo.
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IN SPITE HOWEVER OF HIS PRAISEWORTHY EFFORTS PRINTING HAD STILL ONE LAST DEGRADATION TO UNDERGO
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The seventeenth century founts were bad rather negatively than positively.
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THE SEVENTEENTH CENTURY FOUNTS WERE BAD RATHER NEGATIVELY THAN POSITIVELY
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But for the beauty of the earlier work they might have seemed tolerable.
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BUT FOR THE BEAUTY OF THE EARLIER WORK THEY MIGHT HAVE SEEMED TOLERABLE
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It was reserved for the founders of the later eighteenth century to produce letters which are positively ugly, and which, it may be added,
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IT WAS RESERVED FOR THE FOUNDERS OF THE LATER EIGHTEENTH CENTURY TO PRODUCE LETTERS WHICH ARE POSITIVELY UGLY AND WHICH IT MAY BE ADDED
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are dazzling and unpleasant to the eye owing to the clumsy thickening and vulgar thinning of the lines:
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ARE DAZZLING AND UNPLEASANT TO THE EYE OWING TO THE CLUMSY THICKENING AND VULGAR THINNING OF THE LINES
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for the seventeenth-century letters are at least pure and simple in line. The Italian, Bodoni, and the Frenchman, Didot,
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FOR THE SEVENTEENTH CENTURY LETTERS ARE AT LEAST PURE AND SIMPLE IN LINE THE ITALIAN BODONI AND THE FRENCHMAN DIDOT
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were the leaders in this luckless change, though our own Baskerville, who was at work some years before them, went much on the same lines;
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WERE THE LEADERS IN THIS LUCKLESS CHANGE THOUGH OUR OWN BASKERVILLE WHO WAS AT WORK SOME YEARS BEFORE THEM WENT MUCH ON THE SAME LINES
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but his letters, though uninteresting and poor, are not nearly so gross and vulgar as those of either the Italian or the Frenchman.
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BUT HIS LETTERS THOUGH UNINTERESTING AND POOR ARE NOT NEARLY SO GROSS AND VULGAR AS THOSE OF EITHER THE ITALIAN OR THE FRENCHMAN
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With this change the art of printing touched bottom,
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WITH THIS CHANGE THE ART OF PRINTING TOUCHED BOTTOM
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so far as fine printing is concerned, though paper did not get to its worst till about eighteen forty.
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SO FAR AS FINE PRINTING IS CONCERNED THOUGH PAPER DID NOT GET TO ITS WORST TILL ABOUT EIGHTEEN FORTY
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The Chiswick press in eighteen forty-four revived Caslon's founts, printing for Messrs. Longman the Diary of Lady Willoughby.
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THE CHISWICK PRESS IN EIGHTEEN FORTY FOUR REVIVED CASLON'S FOUNTS PRINTING FOR MESSRS LONGMAN THE DIARY OF LADY WILLOUGHBY
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This experiment was so far successful that about eighteen fifty Messrs. Miller and Richard of Edinburgh
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THIS EXPERIMENT WAS SO FAR SUCCESSFUL THAT ABOUT EIGHTEEN FIFTY MESSRS MILLER AND RICHARD OF EDINBURGH
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were induced to cut punches for a series of "old style" letters.
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WERE INDUCED TO CUT PUNCHES FOR A SERIES OF OLD STYLE LETTERS
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These and similar founts, cast by the above firm and others,
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THESE AND SIMILAR FOUNTS CAST BY THE ABOVE FIRM AND OTHERS
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have now come into general use and are obviously a great improvement on the ordinary "modern style" in use in England, which is in fact the Bodoni type
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HAVE NOW COME INTO GENERAL USE AND ARE OBVIOUSLY A GREAT IMPROVEMENT ON THE ORDINARY MODERN STYLE IN USE IN ENGLAND WHICH IS IN FACT THE BODONI TYPE
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a little reduced in ugliness. The design of the letters of this modern "old style" leaves a good deal to be desired,
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0.026013
A LITTLE REDUCED IN UGLINESS THE DESIGN OF THE LETTERS OF THIS MODERN OLD STYLE LEAVES A GOOD DEAL TO BE DESIRED
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and the whole effect is a little too gray, owing to the thinness of the letters.
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AND THE WHOLE EFFECT IS A LITTLE TOO GRAY OWING TO THE THINNESS OF THE LETTERS
lj-001-0099.wav
It must be remembered, however, that most modern printing is done by machinery on soft paper, and not by the hand press,
8.03
0.026603
IT MUST BE REMEMBERED HOWEVER THAT MOST MODERN PRINTING IS DONE BY MACHINERY ON SOFT PAPER AND NOT BY THE HAND PRESS
lj-001-0100.wav
and these somewhat wiry letters are suitable for the machine process, which would not do justice to letters of more generous design.
8.587
0.024922
AND THESE SOMEWHAT WIRY LETTERS ARE SUITABLE FOR THE MACHINE PROCESS WHICH WOULD NOT DO JUSTICE TO LETTERS OF MORE GENEROUS DESIGN
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thelarryproject LJSpeech Normalized for ASR Training

Built from MikhailT/lj-speech, a copy of The LJ Speech Dataset.

A single speaker reading non-fiction books, filtered for ASR training: 12,963 of the corpus's 13,100 clips, 23.7 hours, in one train split.

Fields

  • id: the clip's file name, e.g. lj-001-0004.wav
  • audio: Arrow audio typed column of (bytes, path)
  • text_original: the corpus's normalized transcript (numbers and abbreviations spelled out, original case and punctuation kept)
  • text_normalized: the same text spelled out as spoken, in uppercase letters, apostrophes, and spaces (e.g. "Mr" -> MISTER)
  • duration_s: clip length in seconds
  • ctc_mismatch: how poorly the clip's audio matches its text, scored with facebook/wav2vec2-large-960h-lv60-self (lower is better)

Construction

The corpus's normalized_text and file columns are renamed to text_original and id; its spoken_text column is dropped. Clip durations are measured from the audio. Removed:

  • clips shorter than 0.1 s or longer than 25 s
  • clips failing an audio quality check: overall level below -45 dBFS, speech in under 30% of frames, signal-to-noise ratio below 5 dB, or more than 0.1% of samples clipped
  • clips with ctc_mismatch above 0.5

See provenance.json for the producing commit, timestamp, and ancestry.

Known corrections

N/a

Known gaps

  • One speaker only
  • Clips run from about 1 to 10 s, so the 25 s limit removes nothing

The LJ Speech Dataset is in the public domain; the MikhailT/lj-speech copy is labeled CC-BY-4.0, and this redistribution is CC-BY-4.0 under thelarryproject.

Citation

If you use this dataset, please cite the original corpus as well:

@misc{ljspeech17,
  author       = {Keith Ito and Linda Johnson},
  title        = {The LJ Speech Dataset},
  howpublished = {\url{https://keithito.com/LJ-Speech-Dataset/}},
  year         = {2017}
}

Preprocessing pipeline code is at https://github.com/Mekadrom/larry, and this dataset is fully reproducible with a single command in that repo:

uv run preprocessing -f configs/preprocessing/normalized/voice/asr/mikhailt_lj-speech-normalized-asr.yaml --output_dir ~/.cache/larry/datasets/normalized/voice/asr/mikhailt_lj-speech-normalized-asr --clean
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Number of rows:
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Total file size:
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Models trained or fine-tuned on thelarryproject/lj-speech-normalized-asr