DND of the Dope Guyz Empire comes again with another creative piece.
This time, the duo tackles a very sensitive topic.
The song is entitled KAMULIMULISIGN addresses some evil doings in our societies. The song emphasises the fact that hatred, jealousy and envy are the causes and sources of human suffering, and these bad deeds are the fertile ground for the activities of the rampant witchcraft and its adverse effects on humanity and society as a whole.
Many innocent lives have been lost, as well as destroying people with good minds for development. The song questions why witches are only and passionately interested in killing and destroying great people who have good intentions and the ability to bring development.
This song however can be seen as controversial, as it does not directly address witches, but rather an insect (specifically, a night flier).
However, since witches are said to be flying at night for their meetings and other activities, it is clear the witch here is metaphorically represented in the life and nature of a night flier (KAMULIMULISIGN).
Get yourself entertained by listening to this creative piece of work.
Emerging American-Ghanaian independent recording artist, Bafowaa is known for her fierce, resilient, and powerful vocal offering influenced by the likes of Whitney Houston and Maria Carey.
Bafowaa 02 2021
In 2019, Bafowaa, who has been in the States since she was 6, made the conscious decision to return to her homeland of Ghana.
With the release of her first two singles “Fam Pin” and “Chaskele”, she is switching things up sonically with the distinct vocal style which is highly influenced by Western culture fused with the African vibe.
Artists like Angèlique Kidjo, Sho Madjozi, Sungi Mlengeya, Amaarae, and Aša, have continued to take the world by storm in the last 10 years, and there’s no shortage of up-and-comers ready to follow their footsteps or create their paths.
Joining voices with the myriads of female artists who continue to put African music on the map is Wendy Bafowaa Hanson, known professionally as Bafowaa moved back to Ghana in 2019.
In talking more about herself she revealed, “My sound is like a fusion of Afrobeats, R&B — just anything with a vibe. I feel like I’m bringing a new style to our music here in Ghana.
I feel like most of the girls do a one-way type of music, but I’m bringing different dimensions. I’m a rapper too. Just adding different elements to my music and making an impact across Africa, particularly Ghana hopefully.
She further stated, “I love most of the male artists, I love King Promise and KiDi. But, the female artist that I am more gravitated toward is the late Ebony. I love her and Gyakie too.
As she readies to serenade us with an upcoming EP soon, Bafowaa expounded, “This EP is different from my last one. Though we haven’t come up with a title yet, the title we think we want is Games People Play.
Khaya African Language Translation and Speech Recognition AI Demonstrates Major Improvements
The following describes work done by the NLP Ghana and Algorine teams, both of which I am a part, to democratize modern machine learning tool access for Ghanaian and other African Languages. It culminates in version 1.0.4 of the Khaya AI app, pushing further the automatic speech recognition (ASR) and machine translation “state-of-the-art” for over 60 million people in West Africa.
What Is The Inspiration Behind The Name Khaya AI?
Fig 1. Khaya AI is named after the Khaya African Mahogany tree. Just like the tree, it is rooted in Africa. We hope it will similarly become a nourishing, sustaining resource for Africa and Africans in the digital future. It is also a word for “home” in several Southern African languages.
Khaya AI is named after the Khaya African Mahogany tree. Just like the tree, it is rooted in Africa. We hope it will similarly become a nourishing, sustaining resource for Africa and Africans in the digital future. It is also a word for “home” in several Southern African languages.
What could the Previous Version of Khaya AI do?
Fig 2. Nine months ago, version 1.0.3 of the Khaya App was released — providing the world with Twi and Yoruba Automatic Speech Recognition (ASR) capabilities, as well as Ga, Ewe, Twi and Yoruba neural text translators.
Nine months ago, version 1.0.3 of the Khaya AI App was released — providing the world with Twi and Yoruba Automatic Speech Recognition (ASR) capabilities, as well as Ga, Ewe, Twi and Yoruba neural machine learning text translators. It included the crucial ability to gather feedback from the public to improve its quality over time.
Fig 3. Khaya AI Improves over time by learning from user feedback. Khaya AI achieved the improvements described in this article over nine months, and the usage of the translators by tens of thousands of people.
Over the past nine months, the NLP Ghana and Algorine teams have been working diligently to improve the quality of these machine learning systems and to address any concerns raised. We are happy to release today version 1.0.4 of the Khaya AI App, showcasing dramatic improvements in quality. You can already test the app on Web, Android or iOS by following the links in https://linktr.ee/nlpghana.
We outline the various improvements achieved in this article, as summarized by the following list and subsequent sections. In summary, the systems are improving — a lot!
What Can The New Version of Khaya AI Do?
Highlights
1. Addition of Dagbani translation and speech recognition marks the beginning of an expansion of the AI into Northern Ghana — Hausa, Frafra, and Buli are in the release pipeline next, among others. We are committed to the fairness of linguistic coverage.
2. Our Yoruba text translator outperforms Google Translate. We are committed to providing world-class solutions across Africa
3. Across the board, improvements in text translation have been achieved— as measured by the BLEU metric, confirmed by human evaluators, and shown in Table 1.
4. Across the board, improvements in Automatic Speech Recognition (ASR) have been achieved — as measured by the Word Error Rate (WER), confirmed by human evaluators, and shown in Table 2.
5. Collaboration with the Harvard African Language School on East African Languages — to date, including Swahili, Kikuyu and Kimeru — furthers our commitment to providing world-class solutions across Africa
Now let’s dive deeper into the enhancements being released and ongoing work.
Dagbani Introduced as Expansion in Northern Ghana Begins
Suppose you go through the reviews gathered by the Khaya app on the Android store (where a majority of the current app user base exists). In that case, a notable theme is the absence of Northern Ghanaian languages in version 1.0.3 of the app. We invested a significant amount of effort in Northern language research over the past year and are proud to introduce Dagbani text translation and ASR in version 1.0.4. We worked closely with the Dagbani Wikimedia Group on data and evaluation of the Dagbani technologies. Algorine Inc describes the initiative as the tip of the proverbial iceberg for our planned Northern Ghanaian language coverage, with languages like Hausa, Gurune (Frafra) and Buli slated for text translator release shortly. Models for languages such as Dagaare, Mamprusi, Gonja and Kasem are also in early research phases.
Text Translator Improvements
Fig 4. Khaya AI can help speakers of different languages to communicate with each other, by translating African languages — such as Twi, Ewe and Ga — into English and vice versa. By learning from user feedback, it improves over time.
We analyzed the feedback submitted by the user base — 10s of thousands of users across mobile (Android & iOS) and the web app. Human evaluators were needed to analyze this data since it was noisy, sometimes including entire messages of encouragement from users to us 🙃
Validated suggestions and corrections were fed back to the training data and the models were fine-tuned further on it. Training data was also augmented manually using other sources, using this feedback as a guide to uncover deficiencies in coverage. Additionally, training data was augmented with back translations using monolingual data, which is a well-known technique in the machine translation community to improve the fluency of models. As a result, significant improvements in the BLEU metric were achieved for most languages — See Table 1 (Ga improvements are ongoing, which is why it has been omitted from this table).
Table 1. Measured improvements in text translator performance using the BLEU metric (higher is better). Improvements were confirmed using human evaluators. Yoruba text translators outperform Google Translate by 1.5 BLEU points for the Yoruba to English direction and 9.8 BLEU points for the English to Yoruba direction on our benchmarks. Dagbani showing ∞ improvement indicates a previously nonexistent model. Ga improvements are ongoing, and it has been left out from this table
What is notable from Table 1 is that our text translators outperform Google translate in both directions! Since Yoruba is the only overlap in coverage — neither Google Translate nor any other existing solution cover any of the Ghanaian languages we can handle, to the best of our knowledge — this comparison gives us confidence that we are building a world-class solution.
Automatic Speech Recognition (ASR) Improvements
Fig 5. Khaya AI can help speakers of African languages to communicate with their phones and other devices, by transcribing African languages speech— such as Twi, Ewe, Yoruba and Ga — into text. This text can then be used by Alexa to control a smartphone, for instance, or further processed for a variety of applications
Due to the more sensitive nature of voice data, as well as the higher cost of collecting and storing it, we did not solicit ASR feedback in our deployment. We did however perform internal quality checks, discover drawbacks and keep augmenting the training data — tracking performance using the Word Error Rate (WER) metric, and confirming improvements using human evaluators. See Table 2 for the performance enhancements measured, which varied between 3.5% and 6%, and try the app today on your preferred platform to test the improvements for yourself!
Table 2. Measured improvements in Automatic Speech Recognition (ASR) performance using the WER metric (lower is better). Improvements were confirmed using human evaluators. ∞ improvement indicates a previously nonexistent model.
What Comes Next?
1. API Release
We are building an API to empower African developers to build application solutions for their communities on top of the AI and ML systems we have created. Currently, API release is scheduled to open up for free trials within a couple weeks of this writing (scheduled for early May).
Want to build a smart home solution? A language learning app? Any technology you can imagine that relies on translating and transcribing local language speech? Access our models through the API and deploy your solutions in a matter of days 😊
2. More Languages
Improvements to the Ga text translation system are in the pipeline for release. Additions of — 1. Swahili, Hausa, Frafra (Gurune), Buli, Dagaare, Mamprusi, Shona text translators, 2. Swahili and Hausa ASR — are on the road map this year.
Addition of the Kenyan languages Kikuyu and Kimeru — joint work with Prof. John Mugane of the Harvard African Language school — is in progress. Our ambition is to scale out across the African continent, with languages such as Amharic and Wolof also scheduled. As long as there is a need for our solutions, we will continue building them.
In fact the translators and models for a lot of these cases have already been built, the real difficulty has been scaling them out in production, at an affordable rate for a bootstrapping unfunded outfit like ourselves. Which brings us to the next section.
3. Language Scaling
When we started out, our models were “one-to-one” — meaning a separate model was trained for Twi to English, English to Twi, English to Ga, etc. As you can imagine, this approach is difficult to scale in production, as general purpose translators and speech recognition systems are relatively large and computationally expensive.
We have since moved to a “many-to-one” and “one-to-many” approach requiring one model for translating any local language to English and one model for translating English to any local language. This has eased a lot of the initial challenges we had scaling out the app to more languages, so we expect a more rapid expansion timeline from now on. Additionally, we are working towards a “many-to-many’’ model, requiring a single model for everything — which also will be able to handle translations between any pair of local languages — such as Ga to Ewe, Twi or Yoruba, and vice versa.
HOW TO SUPPORT OUR WORK
Fig 6. We are building a more inclusive world with cutting-edge African language tech, will you help us?
Please consider purchasing an ad-free version of the app to support our work. We have priced it at quite an affordable 10$/year or 1$/month. We will also be working to add some amazing exclusive functionality to the premium subscription, beyond being ad-free. How does Augmented and Virtual Reality with Object Detection in your chosen language sound? How about Voice to Voice translation? Or translating entire web pages on the web so you can browse the internet in your local language? Stay tuned!
Fig 7. You can support our work by purchasing a cheap ad-free subscription to the app.
Please share our work with your friends and social media communities. This work will only be able to continue with your support. If there isn’t enough support from the community, the work may not be able to sustain itself and stop. So please do support the work if you think it is worthy of existence. On the other hand, more support means we will be able to expand to new languages and make improvements to all systems faster and better. Be sure to submit feedback when you find it not performing well, so it can improve over time.
Are you a researcher who wants to participate in this exciting research revolution? Hit us up through https://ghananlp.org/contact
Since the night after the Upper East Music Awards 2021 (UEMA’21) , some intriguing positions have been assumed by some sections of the music industry. While many hailed the event’s success, others hanged on to the age-long assumption of unfairness. Interestingly, the ultimate winner of the night, Nambawan, previously expressed misgivings about the scheme. Did it, therefore, come as a surprise when others labeled his win as fraudulent? No.
The accusations of a fraudulent win started with Mani Mandela’s post about breaking his other plagues to express dissatisfaction. While Mani Mandela did what could enable him to win, it is worth noting that there can only be one winner. Additional nominees may have their positions on the matter. However, they chose to stay mute.
Some accusations emerged on the heels of the event; the usual Bolgatanga against other towns in the region, an allegation about cutting a deal between the winner & organizers, and a suggestion that Nambawan, per the rules, did not qualify to enter UEMA AOTY’21. While the last of the three is easy to fact check, there former two could easily be dismissed as speculations.
A careful sift-through of the nominations suggests entries came from across the region. Winners equally came from all over. Obed Psych won Record of the Year, representing Bawku. Mani Mandela emerged winner of the HMB-Most popular Song of the Year and Digital artist of the Year categories. Industry Person of the Year also went to a man from the Navrongo area, Afabla Ayini Castro. Kapato Reigns from the Builsa area also emerged as the Traditional Artist of the Year. Navrongo’s Darling, and arguably the only female contemporary artist who has remained consistent, Alaptawan, emerged Reggae/Dancehall Artiste of the Year. If the above is accepted as a true representation of the worth of the artists, why should a Nambawan emerging AOTY be a problem? It beats my imagination when someone tries to make the Award scheme seem like one that seeks to reward only artists in Bolgatanga. I will someday share thoughts on how these perceptions have been formed and propose a way to move from that.
Cutting a deal with Organisers of UEMA’21
The above is interesting speculation—however, everyone who has mentioned it has never dared to reveal anything tangible. Even Showboy, who lives on controversies, fell short of anything substantial when he visited YEM Radio. Speculations are that the organizers ensured a win for Nambawan so that they could split the 20k prize money. This assertion may stem from people assuming Mr. West, aka West Gee, was a Board Member. However, my checks revealed that no artist manager was on the Board or Executive Academy. Therefore, Mr. West, the label owner under which Nambawan releases his work, couldn’t be a member of any board. In a spirit of fairness, if there exists any evidence to the effect that a deal took place, the industry would gain more if people came out.
Per the rules, Nambawan did not qualify to enter UEMA’21
In assessing the above, I had to dig through some of the artist’s various promotional channels. My concentration was on Youtube, Audiomack & Facebook. I needed to be sure of the Category definition and what the “Year under review” means concerning the scheme. Kabu Banks shared the following with me as the category definition and year under review.
“OVERALL ARTISTE OF THE YEAR
Artiste(s) of the Year.
The Artiste of the Year is the Artiste(s) adjudged by the Academy, Board, and the General Public as the Artiste(s) with the highest audience appeal and popularity. The Artiste(s) must have released a hit single/album during the year under review.”
The year under review he mentioned is “From October 2020 to September 2021”.
From my checks, Nambawan released two songs. “La Concern Me” was released on April 4, 2021, and Flow Kempinsky was released around May of 2021. My uncertainty regarding the date of release for that particular song is because it isn’t on his audiomack channel. It is only available as a music video on Youtube. The above leaves out his single with Fad Lan Ajilegba, released on October 22, 2021. Technically that song was released outside the year under review. So, if Nambawan qualified for the category, it would be on the performance of La Concern Me & Flow Kempinsky.
By Danni Quest. Regarding performances and events, I decided not to burden myself.
Considering the definition of the category, Nambawan could qualify for UEMA’21 AOTY. Unless skeptics can quantify “audience appeal and popularity,” his inclusion was appropriate.
I have three questions here:
Does Nambawan have a high audience appeal in the region?
Is Nambawan popular enough to be in such a category?
Were his songs released in the year under review hit songs?
Question 1 is a yes, two is a yes, and three is a yes, or maybe at worst. I am not privy to the statistics on the ground. However, if the board saw the songs as hits, I find nothing wrong with it.
How Did Nambawan emerge as a winner?
Assuming there are no shenanigans, the scheme thrives on votes, whether the academy or the public; each vote cast becomes the basis for determining who a winner is. As published by the UEMA’21, Nambawan got 44.84% of the total votes. I believe that is a total of all the voting parties, i.e., the Academy, Board, and the General Public. We may doubt the numbers. However, we would have to be constructive and specific with our accusations. If this is something to rant about, we would need to do more to prove it.
Always finding fault when we do not have a direct gain is despicable. It is time we celebrate each other’s win. Nambawan worked to win, just like all the other nominees. However, we can only have one Artiste of the Year at each edition. Congratulations once again to Nambawan for emerging as the winner.
In a spirit of fairness, I will do a sequel to reveal the various works put out by all nominees in the category.
Happy Man Bitters, title sponsor of Upper East Music Awards, indicated a withdrawal from the scheme in the last two weeks. Ordinarily, that could have been speculative. However, the post came from the CEO of Charger Industries, Dr. Emmanuel Bortey Borketey, thus, lending credence to the publication. The decision appeared to emanate from comments made by Nambawan concerning the scheme. As expected, many took to Facebook to express the consequences of a withdrawal. Sentiments lay blame on the Artiste of the Year 2021, Nambawan.
Dr.-Emmanuel-Bortey-Borketey – CEO Charger Industries Limited
CarlMax interviews Nambawan
Because Nambawan had just received the prize that came with being Artiste of the year, many couldn’t fathom a decision to “run down” the scheme. It takes critical thinking to imbibe the situation fully in matters like this. It is worth noting that the said disparaging comments were culled from a 59-minute interview on YEM Radio in Bolgatanga.
Amid the heat emanating from the comments, the full audio from the interview was released to the general public by CarlMax, the show’s host. A careful listen to the entire tape suggested Nambawan didn’t set out to destroy the scheme. Neither was the host pursuing an agenda to create rifts between UEMA, Artist & Happy Man Bitters. However, the story’s writer seems to have fallen for the whole click-bait attitude of pathetic blogging. I use sorry blogging sparingly here. Unfortunately, Yem Radio is the only one to blame since the story has no assigned author.
Blogging to destroy Nambawan, UEMA & Happy Man Bitters
Today’s blogging appears to thrive on sensationalism; however, at a recent Bloggers summit organized by IB Bansah, my assertion of what blogging truly is, was confirmed. Depending on your niche, you could make some good revenue from google and other ads agencies. However, the assumption that every blogger is reporting News is not true. But, the News is equally a niche in the blogosphere. One characteristic of the news niche is propaganda based on lies and incomplete information. Such an approach appears to be the trend for most media houses today.
Bloggers who dabble in the news niche have chosen a route without considering the damning effects. Blogging is largely opinionated, albeit based on facts. Therefore, reporting should be as accurate and balanced as possible in the news niche. A question arises; did the writer seek to destroy Nambawan, UEMA, Happy Man Bitters, or the relationship between all three?
The savanna regions of Ghana are almost always in the News for bad reasons, and mainstream media mostly prioritizes negativity over anything positive. Is this exactly what media outfits based in the region also intend to do?
What Did Nambawan Say?
Nambawan expressed a lot of thoughts in the interview. These ranged from acknowledging the role of Happy Man Bitters in the development of the music industry, the impressive growth of the UEMA brand, and the failings of One Love Entertainment as organizers. In a rational society, this is how issues are discussed. Why would a writer think the best out of the entire discourse is the negative sentiments? The writer is supposed to be directly linked to the media house. What happened to report Truth in its entirety?
It is okay to want to generate traffic for a website. However, it is not okay to destroy other people’s business for the purpose, especially when you are making a lopsided interpretation of issues.
Acknowledging the Role of Happy Man Bitters
Charger Industries Limited, producers of Happy Man Bitters, has been the backbone of the Upper East Entertainment industry in no uncertain terms. For years, numerous event organizers have failed to secure any sponsorship for events. Therefore, it would be preposterous even to think someone like Nambawan would seek to destroy the gains. His win as AOTY 2021 came with a 20,000 Ghana Cedis cheque. If he could win that, why ruin a scheme when he could win more in future editions?
Dr. Emmanuel Bortey Borketey and his outfit have lent more support to the music industry than any corporate body. I shudder to think anyone would want such help out of the system.
Nambawan’s interview with CarlMax is one of the best in recent times. His responses to the line of questioning suggest we’ve grown past being fixated on negativity. We now seek growth; to achieve that, we examine all the gains flaws and proffer ways even to be better.
Nambawan is the reigning artist of the year; Upper East Music Awards 2021 (UEMA). Typical of all schemes, there will always be disagreements; however, anyone nominated in a category is a potential winner. The artist, sometimes called Bolga Jet Lee, has honed his talent and remained consistent. He is arguably amongst the Top 5 artists from the Upper East Region.
The Upper East Music industry cannot afford to lose Happy Man Bitters.
Fad Lan has been around for a while. A Tamale based artist, his prowess has earned him major collaborations with some of the finest from the Northern Region and the savanna as a whole. From collaborations with Zola Boy Maccasio to VGMA winners Fancy Gadam & Teflon Flexx, his consistency remain a strength. His collaboration with Gin Seng and Rich Kid further espoused the young artist as a force for the nation. Therefore, it is not surprising that he could pull a feat similar to Fancy Gadams’ at the Aliu Mahama Sports stadium in Tamale.
Fad Lan (feat. Ricch kid & Gingsen) – Okay
The nature of the music industry in the savanna
The entertainment industry in the savanna is bile-filled. Artists, fans, and promoters seem to have been soaked with negativity; it is a constant pitching one against the other. Sometimes, the antics make appreciating the actual works of artists difficult. Before Fad Lan’s concert in Tamale, unnecessary comparisons were made between him and other artists who dared to stage a similar event. Instead of using the true worth of the artist to promote the event, it was more about who was the ruler or King. At a point, a fake rivalry between Maccasio & Fad Lan became subject. It will be preposterous even to start comparing the two. They have each carved their niche. Unfortunately, when a dimwitted approach becomes the central premise for one to thrive, all contrary opinions are deemed hate and envy.
There appears to be a template that artists from Tamale have been using to appear dominant. This gimmick which has somehow worked to favor artists like Fancy Gadam and Maccasio, failed to work for Fad Lan when he staged the Grace Concert at the Bukom Boxing Arena in Accra. As expected, the post-event narrative has become “let us use hype to create an impression of a successful event.” Yes, many have used propaganda and mere hype to rise, but longevity is a result of awesomeness.
Fancy Gadam joins Fad Lan at the Grace Concert
We will be damned to underate the Young Bull’s talent. Nevertheless, It will be an idiot not to acknowledge the problem we have created. It is worth noting that, no one who has called Fad Lan’s performance at the Grace Concert a flop. Most of the objective minds I have interacted with were disappointed in the turnout, including fans and other musicians who graced the event.
What is the template used By Fad Lan & others?
The template mentioned earlier is akin to absolutely depending on a cash cow. Fancy Gadam and Maccasio, who have proven phenomenal, are rumored to rely on an ethic-oriented fan base to stage events. People have even suggested that fans from Tamale have sometimes followed them to places like Accra to help make a statement of dominance. In analyzing that situation, the artists mostly embark on the Journey to Accra, run promotions in areas predominated by people from Tamale and viola, an event space is filled. While this strategy brings in some good revenue, the bigger revenue source is when one begins to appeal beyond his comfort fanbase.
In a Facebook post by Prince Barak, a blogger based in Tamale; he had the following observation to make:
Prince Barak’s comment
The above tells a certain story; it compounds the conversation of worthiness. While many would agree that the success of an artist is directly proportional to his talent & team, the antics suggest the success of an artist from the savanna hinges on ethnicity.
The apparent solution that thwarts growth
At a recent media event organized by Northern Entertainment Awards, Jamal Bamba described criticisms from people online as “rants.”. His comment was to express an exception at the low turnout to that particular event. However, he failed to realize that it takes more to draw stakeholders together for a forum of that nature. Growth in the industry should never be limited to ethnicity. Jamal suggested the creation of a Northern Block to enhance this ethnic-oriented kind of promotion. Many applauded the above, but the reality of such is furtherance of the perceived neglect by “Southern Media.”
Truth is one; such a move would only benefit people like Fancy Gadam, Maccasio, and some artists from the Northern Region. Artists from the other regions in the North have tried making inroads in Tamale; thus far, none has gotten the kind of love Tamale has for its own. Adopting his suggestion is just an illusion and not a solution. Secondly, people from the other regions lack that ethnic-oriented support of their own. Only one route is certain to bring success, improving the talent and promotional strategies to receive the required attention.
Fad Lan & the Grace Concert
We saw all the promotional material and gimmicks; it was simply a copy and paste. Our ways need to give in; we need to look beyond copying; we need to start pushing savanna-based musicians artists to their apex based on worth. Fad Lan is a daring artist. The Tamale event may have influenced the decision to rival others at the Bukom Boxing Arena; however, a careful market study would have birthed a better event. He needed to rely on three things:
A smaller venue
Ethnic-oriented audience
Genuine lovers of his music
That would have guaranteed a stellar turnout and genuine reviews instead of churning out propaganda.
When we choose to shoot ourselves in the foot, let us not blame others, and we should lay it right at our doorstep.
Fad Lan is not an artist we should confine to our ethnic-oriented balderdash. He has proven to be an emerging force that could break the jinx of national appeal. Suffice to say, musicians from the savanna of Ghana appear to be under a spell. The satisfaction that characterizes turf-based success seems to cloud the route to nationwide domination and global success. Fad Lan should not be left to wallow in such; he is one of few who could break boundaries.
Kudos to his team for staging an impressive show. Though the numbers were low, it did not affect the performances. Young Bull to the gal’dem.
Table 2. Measured improvements in Automatic Speech Recognition (ASR) performance using the WER metric (lower is better). Improvements were confirmed using human evaluators. ∞ improvement indicates a previously nonexistent model.
