The acoustic voice report. A sustained vowel is a train of glottal pulses, and almost every clinical and research measure of voice quality is a statistic of how regular that train is: how much the period wobbles, how much the amplitude wobbles, and how much of the sound is not periodic at all. The page marks the pulses and computes the measures Praat’s voice report prints, with its definitions.
Pitch and pulses
Each 10 ms frame gets a pitch by normalised autocorrelation, with Praat’s octave cost so a 150 Hz voice does not read as 75. Inside voiced stretches the pulses are marked one period at a time, each at the waveform’s largest peak within a window around where the last period predicts the next. Consecutive periods are kept only where they stay within a factor of 1.3 of each other and their amplitudes within 1.6, so a break in voicing does not count as a huge jitter.
Jitter
Local jitter is the mean absolute difference between consecutive periods divided by the mean period. RAP compares each period with the average of itself and its two neighbours, PPQ5 with the average over five, which smooths out a slow drift in pitch and leaves the cycle-to-cycle roughness. The absolute figure is local jitter in microseconds.
Shimmer
The same three shapes on the peak-to-peak amplitude of each period: local, and against 3, 5 and 11 point averages, plus local shimmer in decibels, the mean absolute log ratio of consecutive amplitudes.
Harmonics to noise
For each voiced frame the strength of the autocorrelation at the pitch period, r, becomes 10 log10(r / (1 - r)), and the report is the mean over frames. It is a ratio of the periodic energy to everything else, so breathiness, hoarseness and a noisy microphone all lower it.
Settings
The pitch floor and ceiling bound the search, at Praat’s defaults of 75 and 600 Hz. Raise the floor to 100 Hz for a woman’s voice and the ceiling for a sung soprano; a floor set too low lets the search find half the pitch.
Reading the result
Every measure describes the recording as much as the voice. A noisy room raises HNR’s noise and every perturbation with it; a cheap microphone’s hiss does the same; a compressed file adds its own. Compare recordings made the same way, and treat the thresholds as what they are, cut-offs for one recording protocol rather than diagnoses.