This section runs through the definition of a new voice in Festival. Although this voice is simple (it is a simplified version of the distributed spanish voice) it shows all the major parts that must be defined to get Festival to speak in a new voice. Thanks go to Alistair Conkie for helping me define this but as I don't speak Spanish there are probably many mistakes. Hopefully its pedagogical use is better than its ability to be understood in Castille.
A much more detailed document on building voices in Festival has been written and is recommend reading for any one attempting to add a new voice to Festival black99. The information here is a little sparse though gives the basic requirements.
The general method for defining a new voice is to define the
parameters for all the various sub-parts e.g. phoneset, duration
parameter intonation parameters etc., then defined a function
of the form voice_NAME which when called will actually
select the voice.
For most new languages and often for new dialects, a new phoneset is required. It is really the basic building block of a voice and most other parts are defined in terms of this set, so defining it first is a good start.
(defPhoneSet
spanish
;;; Phone Features
(;; vowel or consonant
(vc + -)
;; vowel length: short long diphthong schwa
(vlng s l d a 0)
;; vowel height: high mid low
(vheight 1 2 3 -)
;; vowel frontness: front mid back
(vfront 1 2 3 -)
;; lip rounding
(vrnd + -)
;; consonant type: stop fricative affricative nasal liquid
(ctype s f a n l 0)
;; place of articulation: labial alveolar palatal labio-dental
;; dental velar
(cplace l a p b d v 0)
;; consonant voicing
(cvox + -)
)
;; Phone set members (features are not! set properly)
(
(# - 0 - - - 0 0 -)
(a + l 3 1 - 0 0 -)
(e + l 2 1 - 0 0 -)
(i + l 1 1 - 0 0 -)
(o + l 3 3 - 0 0 -)
(u + l 1 3 + 0 0 -)
(b - 0 - - + s l +)
(ch - 0 - - + a a -)
(d - 0 - - + s a +)
(f - 0 - - + f b -)
(g - 0 - - + s p +)
(j - 0 - - + l a +)
(k - 0 - - + s p -)
(l - 0 - - + l d +)
(ll - 0 - - + l d +)
(m - 0 - - + n l +)
(n - 0 - - + n d +)
(ny - 0 - - + n v +)
(p - 0 - - + s l -)
(r - 0 - - + l p +)
(rr - 0 - - + l p +)
(s - 0 - - + f a +)
(t - 0 - - + s t +)
(th - 0 - - + f d +)
(x - 0 - - + a a -)
)
)
(PhoneSet.silences '(#))
Note some phonetic features may be wrong.
Spanish is a language whose pronunciation can almost completely be predicted from its orthography so in this case we do not need a list of words and their pronunciations and can do most of the work with letter to sound rules.
Let us first make a lexicon structure as follows
(lex.create "spanish")
(lex.set.phoneset "spanish")
However if we did just want a few entries to test our system without building any letter to sound rules we could add entries directly to the addenda. For example
(lex.add.entry
'("amigos" nil (((a) 0) ((m i) 1) (g o s))))
A letter to sound rule system for Spanish is quite simple in the format supported by Festival. The following is a good start to a full set.
(lts.ruleset
; Name of rule set
spanish
; Sets used in the rules
(
(LNS l n s )
(AEOU a e o u )
(AEO a e o )
(EI e i )
(BDGLMN b d g l m n )
)
; Rules
(
( [ a ] = a )
( [ e ] = e )
( [ i ] = i )
( [ o ] = o )
( [ u ] = u )
( [ "'" a ] = a1 ) ;; stressed vowels
( [ "'" e ] = e1 )
( [ "'" i ] = i1 )
( [ "'" o ] = o1 )
( [ "'" u ] = u1 )
( [ b ] = b )
( [ v ] = b )
( [ c ] "'" EI = th )
( [ c ] EI = th )
( [ c h ] = ch )
( [ c ] = k )
( [ d ] = d )
( [ f ] = f )
( [ g ] "'" EI = x )
( [ g ] EI = x )
( [ g u ] "'" EI = g )
( [ g u ] EI = g )
( [ g ] = g )
( [ h u e ] = u e )
( [ h i e ] = i e )
( [ h ] = )
( [ j ] = x )
( [ k ] = k )
( [ l l ] # = l )
( [ l l ] = ll )
( [ l ] = l )
( [ m ] = m )
( [ ~ n ] = ny )
( [ n ] = n )
( [ p ] = p )
( [ q u ] = k )
( [ r r ] = rr )
( # [ r ] = rr )
( LNS [ r ] = rr )
( [ r ] = r )
( [ s ] BDGLMN = th )
( [ s ] = s )
( # [ s ] C = e s )
( [ t ] = t )
( [ w ] = u )
( [ x ] = k s )
( AEO [ y ] = i )
( # [ y ] # = i )
( [ y ] = ll )
( [ z ] = th )
))
We could simply set our lexicon to use the above letter to sound system with the following command
(lex.set.lts.ruleset 'spanish)
But this would not deal with upper case letters. Instead of writing new rules for upper case letters we can define that a Lisp function be called when looking up a word and intercept the lookup with our own function. First we state that unknown words should call a function, and then define the function we wish called. The actual link to ensure our function will be called is done below at lexicon selection time
(define (spanish_lts word features)
"(spanish_lts WORD FEATURES)
Using letter to sound rules build a spanish pronunciation of WORD."
(list word
nil
(lex.syllabify.phstress (lts.apply (downcase word) 'spanish))))
(lex.set.lts.method spanish_lts)
In the function we downcase the word and apply the LTS rule to it. Next we syllabify it and return the created lexical entry.
Without detailed labelled databases we cannot build statistical models of phrase breaks, but we can simply build a phrase break model based on punctuation. The following is a CART tree to predict simple breaks, from punctuation.
(set! spanish_phrase_cart_tree
'
((lisp_token_end_punc in ("?" "." ":"))
((BB))
((lisp_token_end_punc in ("'" "\"" "," ";"))
((B))
((n.name is 0) ;; end of utterance
((BB))
((NB))))))
For intonation there are number of simple options without requiring
training data. For this example we will simply use a hat pattern on all
stressed syllables in content words and on single syllable content
words. (i.e. Simple) Thus we need an accent prediction CART
tree.
(set! spanish_accent_cart_tree
'
((R:SylStructure.parent.gpos is content)
((stress is 1)
((Accented))
((position_type is single)
((Accented))
((NONE))))
((NONE))))
We also need to specify the pitch range of our speaker. We will be using a male Spanish diphone database of the follow range
(set! spanish_el_int_simple_params
'((f0_mean 120) (f0_std 30)))
We will use the trick mentioned above for duration prediction. Using the zscore CART tree method, we will actually use it to predict factors rather than zscores.
The tree predicts longer durations in stressed syllables and in clause initial and clause final syllables.
(set! spanish_dur_tree
'
((R:SylStructure.parent.R:Syllable.p.syl_break > 1 ) ;; clause initial
((R:SylStructure.parent.stress is 1)
((1.5))
((1.2)))
((R:SylStructure.parent.syl_break > 1) ;; clause final
((R:SylStructure.parent.stress is 1)
((2.0))
((1.5)))
((R:SylStructure.parent.stress is 1)
((1.2))
((1.0))))))
In addition to the tree we need durations for each phone in the set
(set! spanish_el_phone_data
'(
(# 0.0 0.250)
(a 0.0 0.090)
(e 0.0 0.090)
(i 0.0 0.080)
(o 0.0 0.090)
(u 0.0 0.080)
(b 0.0 0.065)
(ch 0.0 0.135)
(d 0.0 0.060)
(f 0.0 0.100)
(g 0.0 0.080)
(j 0.0 0.100)
(k 0.0 0.100)
(l 0.0 0.080)
(ll 0.0 0.105)
(m 0.0 0.070)
(n 0.0 0.080)
(ny 0.0 0.110)
(p 0.0 0.100)
(r 0.0 0.030)
(rr 0.0 0.080)
(s 0.0 0.110)
(t 0.0 0.085)
(th 0.0 0.100)
(x 0.0 0.130)
))
There are a number of choices for waveform synthesis currently supported. MBROLA supports Spanish, so we could use that. But their Spanish diphones in fact use a slightly different phoneset so we would need to change the above definitions to use it effectively. Here we will use a diphone database for Spanish recorded by Eduardo Lopez when he was a Masters student some years ago.
Here we simply load our pre-built diphone database
(us_diphone_init
(list
'(name "el_lpc_group")
(list 'index_file
(path-append spanish_el_dir "group/ellpc11k.group"))
'(grouped "true")
'(default_diphone "#-#")))
The standard way to define a voice in Festival is to define
a function of the form voice_NAME which selects
all the appropriate parameters. Because the definition
below follows the above definitions we know that everything
appropriate has been loaded into Festival and hence we
just need to select the appropriate a parameters.
(define (voice_spanish_el)
"(voice_spanish_el)
Set up synthesis for Male Spanish speaker: Eduardo Lopez"
(voice_reset)
(Parameter.set 'Language 'spanish)
;; Phone set
(Parameter.set 'PhoneSet 'spanish)
(PhoneSet.select 'spanish)
(set! pos_lex_name nil)
;; Phrase break prediction by punctuation
(set! pos_supported nil)
;; Phrasing
(set! phrase_cart_tree spanish_phrase_cart_tree)
(Parameter.set 'Phrase_Method 'cart_tree)
;; Lexicon selection
(lex.select "spanish")
;; Accent prediction
(set! int_accent_cart_tree spanish_accent_cart_tree)
(set! int_simple_params spanish_el_int_simple_params)
(Parameter.set 'Int_Method 'Simple)
;; Duration prediction
(set! duration_cart_tree spanish_dur_tree)
(set! duration_ph_info spanish_el_phone_data)
(Parameter.set 'Duration_Method 'Tree_ZScores)
;; Waveform synthesizer: diphones
(Parameter.set 'Synth_Method 'UniSyn)
(Parameter.set 'us_sigpr 'lpc)
(us_db_select 'el_lpc_group)
(set! current-voice 'spanish_el)
)
(provide 'spanish_el)
We save the above definitions in a file spanish_el.scm. Now we can declare the new voice to Festival. See Defining a new voice, for a description of methods for adding new voices. For testing purposes we can explciitly load the file spanish_el.scm
The voice is now available for use in festival.
festival> (voice_spanish_el)
spanish_el
festival> (SayText "hola amigos")
<Utterance 0x04666>
As you can see adding a new voice is not very difficult. Of course there is quite a lot more than the above to add a high quality robust voice to Festival. But as we can see many of the basic tools that we wish to use already exist. The main difference between the above voice and the English voices already in Festival are that their models are better trained from databases. This produces, in general, better results, but the concepts behind them are basically the same. All of those trainable methods may be parameterized with data for new voices.
As Festival develops, more modules will be added with better support for training new voices so in the end we hope that adding in high quality new voices is actually as simple as (or indeed simpler than) the above description.
Because the version of Scheme used in Festival only has a single flat
name space it is unfortunately too easy for voices to set some global
which accidentally affects all other voices selected after it. Because
of this problem we have introduced a convention to try to minimise the
possibility of this becoming a problem. Each voice function
defined should always call voice_reset at the start. This
will reset any globals and also call a tidy up function provided by
the previous voice function.
Likewise in your new voice function you should provide a tidy up
function to reset any non-standard global variables you set. The
function current_voice_reset will be called by
voice_reset. If the value of current_voice_reset is
nil then it is not called. voice_reset sets
current_voice_reset to nil, after calling it.
For example suppose some new voice requires the audio device to
be directed to a different machine. In this example we make
the giant's voice go through the netaudio machine big_speakers
while the standard voice go through small_speakers.
Although we can easily select the machine big_speakers as out
when our voice_giant is called, we also need to set it back when
the next voice is selected, and don't want to have to modify every other
voice defined in the system. Let us first define two functions to
selection the audio output.
(define (select_big)
(set! giant_previous_audio (getenv "AUDIOSERVER"))
(setenv "AUDIOSERVER" "big_speakers"))
(define (select_normal)
(setenv "AUDIOSERVER" giant_previous_audio))
Note we save the previous value of AUDIOSERVER rather than simply
assuming it was small_speakers.
Our definition of voice_giant definition of voice_giant
will look something like
(define (voice_giant)
"comment comment ..."
(voice_reset) ;; get into a known state
(select_big)
;;; other giant voice parameters
...
(set! current_voice_rest select_normal)
(set! current-voice 'giant))
The obvious question is which variables should a voice reset. Unfortunately there is not a definitive answer to that. To a certain extent I don't want to define that list as there will be many variables that will by various people in Festival which are not in the original distribution and we don't want to restrict them. The longer term answer is some for of partitioning of the Scheme name space perhaps having voice local variables (cf. Emacs buffer local variables). But ultimately a voice may set global variables which could redefine the operation of later selected voices and there seems no real way to stop that, and keep the generality of the system.
Note the convention of setting the global current-voice as
the end of any voice definition file. We do not enforce this
but probabaly should. The variable current-voice at
any time should identify the current voice, the voice
description information (described below) will relate this name
to properties identifying it.