emeld workshop of digitizing lexical information august 2002
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Best Practices in Digital Preservation of the Spoken Word http://www.historicalvoices.org/oralhistory. Bartek Plichta, Michigan State Universit y. EMELD Workshop of Digitizing Lexical Information August 2002. Why Best Practices?. Why Best Practices?. - PowerPoint PPT PresentationTRANSCRIPT
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Best Practices in Digital Preservation of the Spoken Word
http://www.historicalvoices.org/oralhistory
EMELD Workshop of Digitizing Lexical InformationAugust 2002
Bartek Plichta, Michigan State University
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Why Best Practices?
• Highest possible audio “quality” of the speech signal.
• Platform and hardware-independent storage format.
• Platform and hardware-independent storage medium.
• Comprehensive metadata.
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Part I. Recording Speech
Common recording situations: – Field recording
– Studio and lab recording
– Telephone recording
Issues to be considered:– Recording techniques
– Hardware
– Software
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Analog or Digital? Acoustic properties of the speech signal:
– Frequency response: < 10000 Hz– Dynamic range: 30-40 dB
Analog tape:– Frequency response: < 10000-15000 Hz– Dynamic range: 45 dB
DAT (Digital Audio Tape, 16 bit, 48 kHz):– Frequency response: < 24000 Hz– Dynamic range: 96 dB
Digital telephone (ISDN)– Frequency response: < 4000 Hz– Dynamic range: 48 dB
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Microphones
• omnidirectional built-in
• omnidirectional lavalier
• hand-held dynamic
• hand-held condenser
• head-set dynamic or condenser
• highly directional shotgun
• digital telephoneRoom noise
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Recommended Microphones
1. Unidirectional (cardioid polar pattern) head-worn microphone.
– Shure SM 10A or AKG C 420
2. Unidirectional shotgun (highly directional polar pattern)
– Shure SM 89
3. Unidirectional dynamic or condenser– Shure SM 58 or AKG C 1000S
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Microphone PreamplifierA premium quality microphone preamp is CRUCIAL
to obtaining a reliable speech signal– 2 balanced XLR inputs – High gain (< 65 dB)– Phantom power (+48 V)
Built-in preamps (generally not recommended)– Marantz PMD222– TASCAM DA-P1
Stand-alone preamps– Symetrix 628– M-Audio DMP2– Shure FP24
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Recorders
Avoid using automatic levels settings, EQ, Dolby, etc.
• Field– Portable analog [Marantz PMD222]– Portable DAT (16 bit, 48 kHz) [TASCAM DA-P1]– Portable Hard Disk (24 bit, 48 kHz) [USB Pre]
• Studio/Lab– Reel-to-reel analog– Hard disk (24 bit, 48 kHz) [stand-alone ADC]
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Recording Technique
• Position the directional microphone close to the talker’s lips, 45 degrees off to the side, keeping the distance constant.
• Avoid low-frequency noise (refrigerator, traffic, fluorescent light buzz, computer hum)
• Use ONLY balanced XLR cables.• Use reliable microphone stands and clips.• Use manual gain control if possible.• Monitor ADC gain control to avoid clipping.• ALWAYS monitor your input with an earpiece.
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Part II. Processing
Analog to Digital Conversion
The main goal of A/D conversion is to obtain THE BEST POSSIBLE digital representation of the analog original for
the purposes of:
• Preservation
• Analysis
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Recommended Digitization Settings
• Sample rate: 48 kHz (96 KHz even better)
• Quantization: 24 bit
• Hardware: stand-alone, oversampling delta-sigma A/D converter with dither added prior to sampling.
• S/PDIF I/O interface.
• Store in an uncompressed (PCM) digital audio file format.
PC noise
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Processing
• Preservation– No further processing necessary.– Store as 48 kHz, 24 bit wav, aiff, or headerless
(e.g. raw)
• Analysis– Save as 16 bit, signed wav, aiff or raw– Downsample to 11025 Hz with anti-alias filter– Apply restoration processing if necessary
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Restoration processing
Restoration processing must be applied carefully to avoid removing information from the speech
signal itself.
• Hiss removal• Click and crackle removal• Clipped peak restoration• Volume normalization
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Example: preparing a DARE tape for analysis
• Original digitized at 48/24
• Converted to 16 bit
• Downsampled to 11025 Hz
• Band-passed for low and high frequency noise
• 2:1 compression starting at –15 dB
• Volume adjustment
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Recommended Software
Operating Systems:Windows 2000 Professional, Mac 9.1, Linux RedHat
Audio Editors:– Windows – GoldWave 2.24– Mac OS – Peak VST
Analysis Software:– Windows – Praat, WaveSurfer, MultiSpeech, MatLab,
SpeechStation2, Spectrogram 6.0– Mac OS – Praat– Linux – Praat, MatLab
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What to Avoid
• Using inexpensive, generic hardware (microphones, portable recorders, cables, sound cards, etc.)
• Outputting digital audio through analog D/A outputs (e.g., DAT to PC transfer)
• Capturing audio directly into analysis software• Ignoring metadata
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Metadata
• It is recommended to ALWAYS enter metadata in a common database or XML format.
• IDEALLY, metadata should be encoded in an OAI-compliant format (OLAC, METS)
• What about MPEG 7?
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METS – Audio metadata
•File group•One master => many derivatives
•Structural map•Time alignment
•Technical metadata•Platform and hardware-independent storage
•Digital Provenance•How? Why? Who?
•Behavior •Executable code in metadata
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Bibliography
Harris, M.N. and R. Kelly, D.A.McLeod, M.J.Story. 1998. “Effects in High Sample Rate Audio Material”. DCS Ltd.
Johan, Lilkencrants. 1997 “Speech Signal Processing.” The Handbook of Phonetic Sciences. Eds. Hardcastle William and Laver John. Oxford: Blackwell.
Karl, J.H. 1989. An Introduction to Digital Signal Processing. Academic Press.Plichta, Bartek. 2001. “Digitizing Speech Recordings for Archival Purposes”. Working Paper. Matrix,
Michigan State University.Pohlmann, Ken. 2000. Principles of Digital Audio. New York: McGraw-Hill.Rabiner, Lawrence R., and Ronald W. Schafer. 1978. Digital Processing of Speech Signals. Englewood
Cliffs: Prentice-Hall.SONY Corporation. 1993. “Minidisk Specifications”. Digital Audio Disk Corporation.Stevens, Kenneth N. 1998. Acoustic Phonetics. Cambridge, Mass.: MIT Press. Story, Mike. 1997. “A Suggested Explanation for (Some of) the Audible Differences between High
Sample Rate and Conventional Sample Rate Audio Material”. DCS Ltd.Story, Mike and R. Kelly, D.A.McLeod. 1998. “Resolution, Bits, SNR and Linearity”. DCS Ltd.Titze, Ingo. 1994. Workshop of Acoustic Voice Analysis. National Center for Voice and Speech.Vanderkooy, J., and S.P. Lipshitz. 1984 “Dither in Digital Audio”. JAES, vol.32, no. 11.