Accéder au contenu principal

Features in mobile guides: audio

When we started the Blue Lion project we looked at what other companies had done so far to deploy tourism services and content on mobile phones. We were struck by how many features were built in some of the mobile guides. We will review some of these features in a series of articles. Today we look at audio reading.


Providing audio to visitors is somehow essential: the smart phones or tablets are portable devices, just like audio guides in museums. You definitely do not want to read the text while looking at a painting (or monument). So, audio is a necessity, especially when you have a good quality content that is long enough to explain things thoroughly. If your text is just a paragraph or two you should not embark audio in your solution.

Natural voices
Now, how to provide audio? The best would be to offer natural voice, which implies having real people (hired or not) reading the text. While the results are definitely the best you can get, there are some drawbacks: unless you reduce the quality of the recording (and risk lose the advantage of using natural voice in your solution) the size of the audio files (most often mp3) may become too heavy for potential customers to download your guide. It would even become impossible to do it over a 3G connection, given the limitations put by the main platform providers (including iOS and Android) on apps that can be downloaded over cellular connection (20-30 MB). Natural voice implies also potential higher costs, due to the need to hire actors and a recording studio as well as handling an elevated number of files in the original and translated versions. Consider also the loss of quality of any audio when listening to the lectures on the smart phones' tiny loudspeakers.

Text-to-speech or Voice Synthesizer
The other option available is to use voice synthesizing, or text-to-speech software. There are essentially two ways to work with voice synthesizers: one is to create the audio files and then add them to the app and the other is to embed the synthesizer directly in the app, eventually as a premium feature for the app. The first solution doesn't necessarily eliminate the issue of handling large mp3 files, although synthesized  voices may be more easily compressible.

Another solution consists of embedding the software directly in the app. This implies that text will be synthesized on the fly and that any update of the texts will be automatically read by the software. In this case users will have to download the "voices" which will read the text. These are "heavy" files too: per voice the footprint can be between 16 and 150 MB depending on the quality of the voice. This solutions is best for dynamic content, that is content that is created locally on the device or grabbed by the device from other sources. Whether customers will want to download such a file for just one or two promenades remains to be seen.

Quality of text-to-speech solutions has improved dramatically in the past few years, to the point that higher quality solutions and voices are very difficult to distinguish from natural voices, especially when listening on portable devices. 

One former issue of TTS solutions, namely the rendering of foreign words in the spoken language is dealt-with with the use of phonemes, either manually written or, in some cases, automatically translated by the software. For instance, Jean-Baptiste Colbert will be pronounced [ʒɑ̃ batist kolbɛʁ]
in English.

Some of the major providers of voice synthesizing software include:

- AT&T Natural Voices, provided through Wizzard
- Acapela for iPhone
- Nuance Vocalizer
- Ivona Text to Speech
- Cereproc
- Odiogo
- Loquendo (recently purchased by Nuance)


Conclusion
There is no optimal solution for including audio in mobile guides. The best quality can be achieved with natural voices, but this will imply higher costs and the need for users to download huge audio files for each guide. Voice synthetizers may be less expensive but the quality of the audio input could vary depending on the providers and the voices.

Commentaires

Posts les plus consultés de ce blog

Balade dans le Paris médiéval : l'île de la Cité et la Rive gauche

Nous continuons  notre découverte des vestiges médiévaux de Paris avec une balade dans les quartiers de la Cité et ceux de la Rive gauche. Comme nous l'avions mentionné dans le premier parcours, le quartier de la Rive gauche commence à se peupler vers le XIIIe siècle, en même temps que s'affirme le rôle de l'Université et des couvents. Le tissu urbain de la Rive droite était à cette époque composé de ruelles étroites et sombres, en effet, par manque d'espace, la construction se faisait surtout en hauteur. L'extension de l'autre coté de la Seine, Rive gauche, permettra de construire des demeures plus grandes, entourées de jardins. Le véritable développement du quartier, qui devient ainsi l'adresse chic de la noblesse parisienne, date toutefois du XVIIIe siècle. Il surplombera alors la place du Marais, quartier très prisé par l'aristocratie qui y bâtit des demeures seigneuriales de plus en plus resplendissantes jusqu’au début du XVIIIe siècle. La prome...

Il mottetto nel riposo durante la fuga in Egitto di Caravaggio

Il bellissimo dipinto di Caravaggio nella collezione Doria Pamphilj mostra un angelo di spalle intento a suonare un violino - di cui una corda si è spezzata - leggendo le note di uno spartito che San Giuseppe tiene aperto di fronte a lui. Le note ovviamente non erano messe lì a casaccio. Infatti, come si è appurato qualche tempo fa, si tratta di un mottetto del compositore fiammingo Noel Bauldewijn, il cui testo, non riprodotto da Caravaggio, è tratto dal Cantico dei Cantici. « Quam pulchra es, et quam decora, carissima, in deliciis! Statura tua assimilata est palmae, et tubera tua botris. Caput tuum est Carmelus, collum taum sicut turris eburnea.» « Veni, dilecte mi, egrediamur in agrum; videamus si flores fructus parturiunt, si floruerunt mala punica; ibi dabo tibi ubera mea. »  In italiano, « Quanto sei bella e quanto vaga, o mia carissima prediletta! La tua statura assomiglia a una palma, e i tuoi seni a grappoli d'uva. Il tuo capo è simile al monte Carmelo, il tu...

Palais Royal: les colonnes de Buren et la fontaine Sphérades

En entrant dans Cour d'honneur du Palais Royal, vous vous trouvez immédiatement au milieu de multiples colonnes noires et blanches de toute taille, émergeant du sol comme des arbres qui poussent. Lorsqu’on se penche par-dessus les deux puits qui se trouvent dans la cour, on s’aperçoit que les colonnes se prolongent en sous-sol. Elles déterminent donc deux niveaux, d’où le titre de cette œuvre in situ : Les deux plateaux . En 1986, sous la présidence de François Mitterrand , le Ministère de la culture et de la communication, logé dans la galerie des proues du Palais Royal, commande une sculpture pour la cour intérieure à l’artiste Daniel Buren . Cette œuvre sculpturale s’inscrit dans le cadre des grands projets de François Mitterrand, qui, dans les années 1980, souhaite transformer la ville musée en ville moderne en y introduisant l’art et l’architecture contemporains. Buren est membre fondateur du groupe BMPT (Buren, Mosset, Parmentier et Toroni), qui, dans l’esprit des années 19...