Vocaloidソフトウェア / Vocaloidライブラリ 使用許諾契約(Pdfファイル)
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The Vocaloids~!
ALL THE VOCALOIDS~! BY D J DATE MASAMUNE NEED TO KNOWS • Panel will be available online + list of all my resources – Will upload .pdf of PowerPoint that will be available post-con • Contact info. – Blog: djdatemasamune.wordpress.com • Especially if you have ANY feedback • Even if you leave mid-way, feel free to get one before you go • If you have any questions left, feel free to ask me after the panel or e-mail me DISCLAIMERS • Can only show so many Vocaloids – & which songs to show from each – Not even going to talk about costumes • B/c determining what’s popular/obscure btwn. Japanese/American culture can be difficult, sorry if you’re super familiar w/ any Vocaloid mentioned ^.^; – Based ‘popular’ ones off what I see (official) merch for the most (& even then) • Additionally, will ask lvl of familiarity w/ every Vocaloid • Every iteration of this panel plan to feature/swap out different Vocaloids • Only going over Vocaloids, not the history of the software, appends, etc. • Format of panel… POPULAR ONES VOCALOIDS YUKARI YUZUKI AOKI LAPIS MERLI CALNE CA (骸音シーエ Karune Shii-e) DAINA DEX Sharkie P VY1 VY2 ANON & KANON FUKASE UTATANE PIKO YOWANE HAKU TETO KASANE ARSLOID HIYAMA KIYOTERU KAAI YUKI LILY YOHIOloid V FLOWER Name: Don’t Say Lazy Lyrics: Sachiko Omori Composition: Hiroyuki Maezawa SeeU MAIKA GALACO QUESTIONS? BEFORE YOU GO… • Help yourself to my business cards If you have any questions, comments, feedback, etc., contact me however – My blog, e-mail, comment on a relating blog post, smoke signals, carrier pigeons, whatever tickles -
New Vocaloid in the Making?
Competition New Vocaloid in the Starting to Rise for Vocaloid making? page 12 page 1 New Faces Meet Anon & Kanon page 5 Facts About Vocaloid By Bill Treadway 5. VOCALOID CAN RAISE THE DEAD... SORT OF 10. MEET MIKU HATSUNE Vocaloid techniques have been handy for concert promoters, using the Voiced by actress Saki Fujita, Miku Hatsune is the most popular Vocaloid technology to bring back such dead entertainers as 2Pac, Michael Jackson to date. Crypton took Fujita’s voice and ran it through Vocaloid 2 software and Elvis Presley. Vocaloid software has even produced a posthumous to create Miku’s unique sound. Miku is often treated as a real person by singer in tribute of the late singer Hitoshi Ueki, although so far only his fans, especially men who actually fall for the Vocaloid as if she was flesh family has exclusive use of Ueki-loid. Just think, that Beatles reunion and blood. Not since Betty Boop has a virtual idol taken such a hold. could be possible after all! 9. VOCALOID USES DVD-ROM TECHNOLOGY 4. THE AVERAGE VOCALOID CONCERT-GOER IS MALE Yamaha and Crypton produced three software DVDs each containing While Vocaloid appeals to almost everybody, the average concert ticket the Vocaloid 2 and 3 programs. These DVDs allow you to manipulate her buyers in Japan are males aged 18-42. I’m not surprised, considering video voice and make her “sing”. Her voice banks are known as Hatsune Miku, store rental statistics in the 1990s stated that anime videos were largely Miku English, Dark Append, Light Append, Soft Append, Sweet Append, rented by males. -
Products of Interest
Products of Interest Pro Tools|HD Native and HD The PCIe card is shipped with inputs, and eight line outputs with Series Interfaces three DVDs: the Pro Tools software analog gain. Eight channels of ADAT and plug-ins installation DVD, a input/output, two eight-channel Avid (the use of the Digidesign name DVD of audio loops, and a training AES/EBU input/output connectors, was being phased out by Avid in 2010) DVD. An iLok USB Smart Key is used and two channels of S/PDIF in- has released Pro Tools|HD Native, a for software authorization. A 12-ft put/output are available on the inter- PCIe card that allows Macintosh and DigiLink Mini cable for use with the face, with sample rate convertors on PCs to run Pro Tools HD software. Pro Tools HD Series interfaces is also all the inputs. Audio can be routed Sessions can have up to 192 tracks included, along with an adapter for independently of a computer using with a single PCIe card providing older Pro Tools interfaces. The card a 14-input persistent monitor mixer. up to 64 channels of input/output. is compatible with Avid’s C|24 and A surround sound monitor section Pro Tools users can record, edit, ICON consoles, and with third-party supports up to 7.1 surround. Word and mix audio at sample rates up HUI consoles. Clock and Loop Synchronization in- to 192 kHz, with access to a Score The new series of HD audio inter- put/output are supported. Both the Editor, plug-ins, and MIDI tools. -
Ai Song Contest: Human-Ai Co-Creation in Songwriting
AI SONG CONTEST: HUMAN-AI CO-CREATION IN SONGWRITING Cheng-Zhi Anna Huang1 Hendrik Vincent Koops2 Ed Newton-Rex3 Monica Dinculescu1 Carrie J. Cai1 1 Google Brain 2 RTL Netherlands 3 ByteDance annahuang,noms,[email protected], h.v.koops,[email protected] ABSTRACT experiences were enabled by major advances in machine learning and deep generative models [18, 66, 68], many of Machine learning is challenging the way we make music. which can now generate coherent pieces of long-form mu- Although research in deep generative models has dramati- sic [17, 30, 39, 55]. cally improved the capability and fluency of music models, Although substantial research has focused on improving recent work has shown that it can be challenging for hu- the algorithmic performance of these models, much less is mans to partner with this new class of algorithms. In this known about what musicians actually need when songwrit- paper, we present findings on what 13 musician/developer ing with these sophisticated models. Even when compos- teams, a total of 61 users, needed when co-creating a song ing short, two-bar counterpoints, it can be challenging for with AI, the challenges they faced, and how they lever- novice musicians to partner with a deep generative model: aged and repurposed existing characteristics of AI to over- users desire greater agency, control, and sense of author- come some of these challenges. Many teams adopted mod- ship vis-a-vis the AI during co-creation [45]. ular approaches, such as independently running multiple Recently, the dramatic diversification and proliferation smaller models that align with the musical building blocks of these models have opened up the possibility of leverag- of a song, before re-combining their results. -
Beauty Is in the Eye of the “Produser”: Japan's Virtual Idol Hatsune Miku from Software, to Network, to Stage
BEAUTY IS IN THE EYE OF THE “PRODUSER”: JAPAN'S VIRTUAL IDOL HATSUNE MIKU FROM SOFTWARE, TO NETWORK, Intermittence + Interference POST-SCREEN: TO STAGE ANA MATILDE SOUSA ANA MATILDE SOUSA 117 INTRODUCTION The “virtual idol” dream is not new, but Hatsune Miku — a cybercelebrity origi- nating from Japan who is steadily becoming a worldwide phenomenon — con- stitutes a paradigm shift in this lineage initiated in 1958 by the novelty group of anthropomorphic squirrels Alvin and the Chipmunks. Since then many have followed, from The Archies to Gorillaz and 2.0Pac. In Japan, HoriPro’s “digital kid”, Date Kyoko, pioneered the cyber frontier with her hit single “Love Commu- nication” in 1996 (Wolff, n.d.). While in 2011, the idol supergroup AKB48 pulled an infamous publicity stunt by revealing their new girl, Aimi Eguchi, was a com- puter-generated combination of other group members (Chen, 2011). So what does Miku have that they do not? Despite her apparent similar- ity to fictional characters such as Rei Toei from William Gibson’s Idoru, Miku’s phenomenon has less to do with futuristic prospects of technological singu- larity than with present-day renegotiations of the roles of author, work and fan in Web 2.0 media cultures. By addressing her softwarennetworknstage transformations, this study draws on a rapidly growing scholarship (Hama- saki, Takeda, & Nishimura, 2008; Le, 2013; Conner, 2014; Guga, 2014; Annett, 2015; Leavitt, Knight, & Yoshiba, 2016) to investigate how Miku’s appearance on screen(s) has shaped her construction as a virtual idol through grassroots- corporate “produsage” (Bruns, 2008). MIKU, FROM THE BEGINNING With a visionary name announcing the “First Sound of Future”, Hatsune POST-SCREEN: Intermittence + Interference POST-SCREEN: Miku, created in August 2007 by Sapporo-based company Crypton Future Me- dia, is the most popular avatar of Yamaha’s cutting-edge voice synthesizer VO- CALOID. -
Vocaloid and the Future of Songwriting
Vocaloid and the future of Songwriting Vocaloid is a concept that requires two explanations – it is a software developed at Pompeu Fabra University in Barcelona, Spain, with the backing of Yamaha Corporation and commercially marketed as a virtual instrument, similar to any other music creation and editing software, except that instead of instrumental sounds, Vocaloid gives digital music producers a powerful tool to enhance their music – the human voice. Vocalists are contracted by software companies with a licensing agreement with Yamaha, such as Crypton Future Media, to produce and sell software utilizing the Vocaloid technology, record vast libraries of phonemes that allow for the construction of lyric tracks, complete with pitch modulation and a multitude of other available effects. This allows digital music producers to record music and lyrics directly from their computers without needing recording equipment or, most importantly, a live vocalist. In this sense, Vocaloid has opened the doors of democracy to the music production industry – anyone with the time and passion for songwriting can record professional-quality music in their own home regardless of their own vocal talent or ability to hire talent. The second facet of Vocaloid began as a marketing ploy – the first generation of Japanese Vocaloid software featured two voices, one male and one female, named “Meiko” and “Kaito”. Their box art featured illustrations of the “performer”, depicting Meiko as a slender brunette in red pleather and Kaito with blue hair in a white jacket and scarf matching his hair. Japan’s cultural history of Shinto Animism cultivated an environment with a preference for anthropomorphism, leading fans to closely associate with the virtual pair, boosting the software’s popularity. -
Hatsune Miku – Liveness and Labor and Hologram Singers
Lucie Vágnerová, Columbia University Liveness and Labor and Hologram Singers Presented at Bone Flute to Auto-Tune: A Conference on Music & Technology in History, Theory and Practice, University of California, Berkeley, April 24-26, 2014. In the past five years, a dynamic music industry has emerged around artificially-voiced singing humanoid effects in Japan. Hatsune Miku is one such pop star with an artificially simulated voice and a 3-dimensional effect that draws on Japanese Manga illustration. Hatsune sings the songs of unsigned, independent songwriters but far from being part of a small musical underground, she has a large fan following. In fact, Vocaloid music was the 8th most popular genre in Japan last year, with 17.4% of the under-40 Japanese listening to Miku.1 The aim of this paper is to investigate the aesthetic, social, and political stakes that come into play in the culture surrounding digitally-voiced humanoid effects. I nominate the study of affective attachments in mediatized musical practices in place of a preoccupation with musical Liveness, a concept problematized in music scholarship of the past two decades.2 I propose that attention to Hatsune 1 Tokyo Polytechnic University Department of Interactive Media, “[Vocaloid Survey]” a press release (February 26, 2013). Accessible online http://www.t-kougei.ac.jp/guide/2013/vocaloid.pdf 2 Philip Auslander, Liveness: Performance in a Mediatized Culture Second Edition (New York: Routledge, 2008 [1999]). Jonathan Sterne, The AudiBle Past: Cultural Origins of Sound Reproduction (Durham, NC: Duke University Press, 2003). Jason Stanyek and Benjamin Piekut, “Deadness: Technologies of the Intermundane,” TDR: The Drama Review 54/1 (Spring 2010). -
ASIA-PACIFIC NEWSLETTER September-October 2009 Dear Commoners
ASIA-PACIFIC NEWSLETTER September-October 2009 Dear Commoners, We are very glad to present to you this first issue of the CC Asia Pacific Newsletter. Please take a moment to browse the many updates and stories brought to you by the fellow Creative Commons jurisdiction project teams in the Asia and Pacific region. We hope you will find the newsletter interesting and useful, and enjoy it as much as we do! It has been a while since some of jurisdiction project teams met at the “Commons Crossroads” conference (http://cc-asia-pacific.wikidot.com/) in Manila in February. At the meeting, collaborative projects utilizing the Creative Commons licenses were showcased, and observations about CC license usage in the region were presented. The participating jurisdiction project teams also exchange views on the organizational issues of their projects, and discuss the common challenges they are facing. Sensing the needs to maintain close contacts among the CC jurisdiction projects in this region, it was proposed to have a bi-monthly electronic newsletter from which each of us can be informed of CC activities in one another’s jurisdiction. It is also hoped that the newsletter serves as a venue to share experience and to enable collaboration. After the “Commons Crossroads” conference, the Creative Commons jurisdiction projects in Asia and the Pacific region jointly prepared and announced an Action Plan Statement. In the statement, several action strategies are outlined in defining the regional roadmap for Creative Commons. One of the action items listed in the Statement is to publish a bi- monthly newsletter. With your input and help, together we have given birth to this first issue. -
The Vocaloid Phenomenon of Vocal Synthesis and Sample Concatenation
The Vocaloid Phenomenon of Vocal Synthesis and Sample Concatenation Cole Masaitis University of Mary Washington Department of Music Dr. Mark Snyder January 30, 2017 Masaitis, 1 Imagine a future where a singing voice synthesizer sang to you, instead of a real human. Instead of imagining that, what if I told you that this particular future has been around for quite some time? Vocaloid, or computer software that matches this exact description has been blowing up in Japan for over a decade, with other areas including the West being largely in the dark about it. In reality, Vocaloid has been slowly but surely seeping into pop-culture in other countries as well and was created all the way back in the early 2000’s. Vocaloid originated in the early 2000’s and was developed by a man named Hideki Kenmochi who some refer to as “the father” of the software, for a research project at Pompeu Fabra University in Barcelona, Spain. Following his time at university, Yamaha Corporation funded his research which allowed for the further development of his creation and since then, the software has evolved into the worldwide phenomenon called Vocaloid that exists today. Vocaloid employs sample concatenation or sequence that replicates the human voice, based on actual recordings of different individuals for each voicebank found in the Vocaloid editor programs. Originally, it was only capable of pronouncing vowels, and by the year 2003, the team released their product which was now able to sing simplistic words. Over the years the product went through several iterations before it reached the modern version of vocal synthesis it exemplifies today, in the form of Yamaha’s Vocaloid 4 software with more advanced phonetic, linguistic, and vocal than ever before. -
Vocaloid 3 Editor Keygen Free
Vocaloid 3 Editor Keygen Free Vocaloid 3 Editor Keygen Free 1 / 3 2 / 3 The pirates claimed to have crack VOCALOID and VOCALOID2 as a "call" to ... The software contains all the known functions of the VOCALOID3 Editor, but .... Amazon Business : For business-only pricing, quantity discounts and FREE ... The small application (Tiny VOCALOID3 Editor) is attached for the purpose of the .... VOCALOID, VOCALOID2 and VOCALOID3 are voice synthesizing applications that ... MikuMikuDance is a free, popular and powerful 3D animation software, created by Yu ... Disc VOCALOID3 Editor (Works with VOCALOID2 Libraries) ... Another key feature of the Music Star Map are arrow tags, which connect individual .... This product includes the Tiny VOCALOID3 Editor, which allows you to create 17-measure vocal parts in a Windows environment. Quick Links. Return Policy .... (only for owners of Zero-G Vocaloid Products who have a valid serial number) ... Using PRIMA, TONIO or SONIKA with the Vocaloid3 or Vocaloid4 Editors ... of a lyric phrase directly related to the length of time the keyboard key is depressed?. Vocaloid 3 Avanna | The voice of a true singer, powered by Yamaha ... Avanna Vocaloid 3 PC Software includes VOCALOID3 Editor Lite which has the following features: ... Recommended key range: D2 to G4 ... HDD: 2GB free space or more.. About VOCALOID3 Free editor. Please do not refer the v3.0.4.1 editor, cracked version as V3AE, it is disrespectful for the writter. The reason for .... Full | Crack ... Compatible with VOCALOID3 & 4 voicebanks; Includes support software for Cubase…VOCALOID 4.5 Editor for Cubase; Fixes a bug in the Windows version where the program crashes when you perform an audio mixdown. -
VOCALOID Voice Pack
VOCALOID Voice Pack VOCALOID Voice Pack 1 / 2 VOCALOID3 Megpoid Starter Pack is a virtual vocal software that allows the user to create professional sounding vocals without a singer by only entering a melody .... Jul 8, 2020 — ... a design material book (like an artbook), a voice pack, a Korean study guide, ... They've chosen to do VOCALOID because it's still the most ...20 posts · ST MEDiA, the company behind UNI and distributors of SeeU, have announced through a contact .... #335750 - 02/09/16 03:17 PM [Off-Topic] Vocaloid Voice in A Band in a Box??? ... singing will be commonplace and that Dr Gannon will be leading the pack.. the SPC700 VST is an emulation of the actual SNES chip, to make it sound the most ... This next one is a Nintendo Entertainment System sound emulator pack with 3 different plugins. ... Is there any FREE 16 Vocaloid 2 Real Time Vst Plugin.. Apr 14, 2021 — These sound amazing, and I find it really funny that pico sounds like a ... Boyfriend though, he has the most beautiful voice ever to me~ He ... Voicebanks for the VOCALOID software are usually developed by, or in association with professional companies. UTAU is a Freeware voice synthesis software ...3 answers · Top answer: Usually pocaloid users forget to put limits. If an user appears with a huge amount of vocaloids .... mmd stages pack, PDF and PDF 2nd Stage Pack 3 Download . ... See more ideas about miku, vocaloid, hatsune miku. ... WARNING:crappy voice and tutorial so if you can't hear I'm sorryI've finally done a tutorial on MMD and while in a Skype ... -
Hatsune Miku
This page was exported from - Digital meets Culture Export date: Fri Sep 24 22:39:20 2021 / +0000 GMT The first sound of the future: Hatsune Miku Hatsune Miku is a singing synthesizer application with a female character, developed by Crypton Future Media, media company based in Sapporo, Japan. The company develops, imports, and sells products for music, such as sound generator software, sampling CDs and DVDs, and sound effect and background music libraries. Crypton is best known for production and sales of speech synthesis software for computer music. Its products use the Vocaloid singing synthesis engine developed by Yamaha Corporation The Vocaloid is a tool that allows to synthetize the voice singing: it just needs the input of the text and the melody of a song. Since the Vocaloid was launched in the early 2000s, Crypton has developed several software applications, with female and male voices which were sampled from human Japanese singers. For each software the company had developed a peculiar character ? in the classical manga style - which initially was probably just intended for advertising the product. But very soon in Japan the phenomenon grew, so that these characters have become virtual, digital pop stars; Hatsune Miku is one of them, maybe the most famous. The name of the character comes from a fusion of the Japanese for first (?, hatsu), sound (?, ne) and future (Miku (??), so it is ?First voice of the Future". Her voice is sampled from Japanese voice actress Saki Fujita. Output as PDF file has been powered by [ Universal Post Manager ] plugin from www.ProfProjects.com | Page 1/2 | This page was exported from - Digital meets Culture Export date: Fri Sep 24 22:39:20 2021 / +0000 GMT The character was designed with great attention and care about details, and she's so appealing that she got plenty of fans, any kind of merchandise, and she had started her own ?virtual life? as a pop star with live concerts in Japan and abroad, spots and TV appearances.