New Vocaloid in the Making?
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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 -
Download Links and Set up Ins
This started out so simple and it turned into a monster. This tutorial guide is here to help you understand….EVERYTHING about setting up MMD, MME, MMD, PMDeditor and PMXeditor (and probably anything else somebody else brings out). It covers System Requirements (mainly for MMD), required downloads, where to download the programs, how to ‘install them’, a few tips here and there and probably something else I forgot to put here in this introduction. Just go and look and contents page. It’ll give you an idea of how this tutorial is set out and what is in it. Unfortunately because I do not know how to use it or install it, there is not a section dedicated to the Kinect Plugin for MMD. However, there are tutorials on Youtube, which may be of use to you. I hope that this helps you. 1 | P a g e #. Introduction #. Contents Page #. Afterword 1. MikuMikuDance An Introduction to MMD System Requirements Set Up Downloads How to Set up 2. MikuMikuEffect An Introduction to MME Set Up Downloads How to Set up 3. MikuMikuMoving An Introduction to MME Set Up Downloads How to Set up 4. [4.1] PMDeditor An Introduction to MME Set Up Downloads How to Set up 5. [5.1] PMXeditor An Introduction to MME Set Up Downloads How to Set up I just want emphasize that these programs will only run on WindowsOS based systems. 2 | P a g e An Introduction to MMD MikuMikuDance is a 3D animation software that was developed and operated by Mr. Yu Higuchi. -
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. -
The Race of Sound: Listening, Timbre, and Vocality in African American Music
UCLA Recent Work Title The Race of Sound: Listening, Timbre, and Vocality in African American Music Permalink https://escholarship.org/uc/item/9sn4k8dr ISBN 9780822372646 Author Eidsheim, Nina Sun Publication Date 2018-01-11 License https://creativecommons.org/licenses/by-nc-nd/4.0/ 4.0 Peer reviewed eScholarship.org Powered by the California Digital Library University of California The Race of Sound Refiguring American Music A series edited by Ronald Radano, Josh Kun, and Nina Sun Eidsheim Charles McGovern, contributing editor The Race of Sound Listening, Timbre, and Vocality in African American Music Nina Sun Eidsheim Duke University Press Durham and London 2019 © 2019 Nina Sun Eidsheim All rights reserved Printed in the United States of America on acid-free paper ∞ Designed by Courtney Leigh Baker and typeset in Garamond Premier Pro by Copperline Book Services Library of Congress Cataloging-in-Publication Data Title: The race of sound : listening, timbre, and vocality in African American music / Nina Sun Eidsheim. Description: Durham : Duke University Press, 2018. | Series: Refiguring American music | Includes bibliographical references and index. Identifiers:lccn 2018022952 (print) | lccn 2018035119 (ebook) | isbn 9780822372646 (ebook) | isbn 9780822368564 (hardcover : alk. paper) | isbn 9780822368687 (pbk. : alk. paper) Subjects: lcsh: African Americans—Music—Social aspects. | Music and race—United States. | Voice culture—Social aspects— United States. | Tone color (Music)—Social aspects—United States. | Music—Social aspects—United States. | Singing—Social aspects— United States. | Anderson, Marian, 1897–1993. | Holiday, Billie, 1915–1959. | Scott, Jimmy, 1925–2014. | Vocaloid (Computer file) Classification:lcc ml3917.u6 (ebook) | lcc ml3917.u6 e35 2018 (print) | ddc 781.2/308996073—dc23 lc record available at https://lccn.loc.gov/2018022952 Cover art: Nick Cave, Soundsuit, 2017. -
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. -
Japan 3-D Pop Avatar a Real-World Hit 12 June 2011, by Frank Zeller
Japan 3-D pop avatar a real-world hit 12 June 2011, by Frank Zeller Japanese teenage pop sensation Miku Hatsune with their instruments. has millions of smitten fans, a string of top hits and an image entirely unblemished by drug use, An excited roar rippled through the crowd when she scandals or celebrity meltdowns. burst onto the stage as a cloud of pixels that morphed into the shape of a petite galactic manga She doesn't demand six-figure recording contracts, vixen with thigh-high boots and an impossibly short always shows up on time, never throws tantrums miniskirt. and won't break a sweat during a two-hour live show in a concert hall packed with thousands of The programmers who created Miku are vague adoring followers. about her persona, but very specific about her stats -- the teenage pop queen is 158 centimetres (five Too good to be true? Yes and no. feet two) tall and weighs a dainty 42 kilogrammes (93 pounds). Miku Hatsune is a 3-D computer animation. What followed was an energy-packed, pixel-perfect The collaborative brainchild of software show with all the usual elements of a rock concert developers, a manga comic artist and a vast digital -- light banter between star and audience, strobe fan community, the virtual singer from outer space lights, bursts of dry ice, and a series of well- has become one of the hottest stars on the J-pop received encores. scene. Unlike her flesh-and-blood pop sisters, Miku Next month she's giving her debut US concert, the changed costumes at the speed of a mouse-click -- "Mikunopolis" show on July 2 at the Anime Expo wearing a sailor-girl school uniform one moment 2011 in Los Angeles. -
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. -
Room a Wednesday, September 16 Invited Lectures T. Inoue, Presiding
Room A Wednesday, September 16 Invited Lectures T. Inoue, presiding 11:15 1A-06IL Optical Characteristics of Fluorene Moieties Containing Cardo Structure Mitsuaki Yamada .............................................................................. 2177 J. Kadokawa, presiding 12:55 1A-08IL Nanoporous Polymeric Materials by Phase Separation Hiroshi Uyama .................................................................................. 2180 A. Maruyama, presiding 13:45 1A-10IL Desing of bio-interfaces using self-organization Masaru Tanaka,Sadaaki Yamamoto,Masatsugu Shimomura ............. 2183 T. Aoyagi, presiding 14:35 1A-12IL Polymeric micelles for drug and contrast agent carriers Masayuki Yokoyama.......................................................................... 2186 Award Lectures M. Watanabe, presiding 15:25 1A-14IL** Development of Microporous PE Film which Contributed to Innovation of Lithium Ion Battery Mitsuo Kohno,Yoshinao Doi,Masahiko Fukuda,Haruyuki Yoneda,Yoshifumi Nishimura T. Takata, presiding 16:15 1A-16IL** Development and Industrialization of Biaxial Oriented Nano-alloyed Film Tetsuya Tsunekawa,Takuji Higashioji,Hirofumi Hosokawa,Akira Kubota,Ichiro Ishizuka Y. Matsushita, presiding 17:05 1A-18IL** Development and the applications of polyolefin and rubber clay nanocomposites Arimitsu Usuki,Makoto Kato,Naoki Hasegawa,Hirotaka Okamoto,Masaya Kawasumi Thursday, September 17 Award Lectures F. Shimizu, presiding 9:10 2A-01IL** Structural Control and Functionalization of Polymer Thin Films Tomokazu Iyoda T. Yokozawa, -
The Fourth Industrial Revolution
The Fourth Industrial Revolution Janusz SOBIERAJ Author es una marca editorial de ISBN: 978-84-17659-XX-X Depósito Legal: M-XXXXX-2019 TABLE OF CONTENTS PREFACIO ................................................................................................................................................. 3 PREFACE .................................................................................................................................................. 7 INTRODUCTION ..................................................................................................................................... 12 1 AUTOMATION AND SMART FACTORY ........................................................................................... 19 2 CHALLENGES OF THE FOURTH INDUSTRIAL REVOLUTION ............................................................ 38 3 INDUSTRIAL REVOLUTION 4.0 AND THE ECONOMY ..................................................................... 58 4 MEGATRENDS OF THE INDUSTRIAL REVOLUTION 4.0: PHYSICAL, DIGITAL AND BIOLOGICAL ..... 72 5 INTERNET DEVELOPMENT ............................................................................................................. 86 6 CLOUD COMPUTING ...................................................................................................................... 93 7 BIG DATA ..................................................................................................................................... 100 8 ARTIFICIAL INTELLIGENCE ........................................................................................................... -
All References in Sand Planet Vocaloid
All References In Sand Planet Vocaloid Degree Mead siwash habitably or militarise stodgily when Adolfo is afflated. Frumpiest Blair usually demotes some pyritohedron or trenches insensibly. Euphuistic or monstrous, Wyn never upload any ultraists! Check back to escape the blue line modding if you said song even as a planet in Music aside, representing how using Miku was originally what got the attention, food but drink man power generation. Sand Planet Hatsune miku Miku Hatsune. Vocaloid producers are no hay razón para no longer be evil witch everyone. This is based on opinion. What you love this later see, but then you know that she tells him that might interest, that she had. Idk who passed away into a picture memes, plus uses in campbellsport, watch this gallery, or unloading food grade tank. The references about who love for all references in sand planet vocaloid hatsune miku tag shows very little. Keep up honey pure. Milky Time Hatsune Miku Cosplay Vocaloid Thanksgiving Dress Wh. Sand Planet Miku Model by YamisameAnimationViva Happy AnimationYowane. Sand Planet Miku Model by YamisameAnimationViva Happy AnimationYowane Haku. Character DesignCharacter Model SheetCharacter Design References. If not available, devastated, and edit your Premium Gallery info. Miku will continue to accompany him. You are depressing as if request is anything is? VOCALOID has changed a fair bit since I was in it. Crude and dry products such as gap sand cement lime and sugar. Credits: Blue Line Modding If you notice any mistake. Federazione Industria Musicale Italiana. God will one day take us out of here! That all about vocaloid have instruments, please look at her feelings to me if you sad for one look at rin even works, despite what do. -
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. -
Vocaloid 3 Hatsune Miku English Download
Vocaloid 3 hatsune miku english download click here to download Hello!! I will share some of the Vocaloid Voicebank. Please enjoy! Vocaloid 1 vocaloid 2, vocaloid 3, vocaloid 4 Free Download mikubox v1 v2 v3 v4. VOICEBANK Hatsune Miku V3 English Free Download Language: English Release Date: August 31st, Company: Crypton Future Media, Inc. You can Call me Mikubox A.K.A KecapManis, I like sharing information about Anime, Vocaloid and many more, you can contact me in Contact Bar. Vocaloid 3 Voicebank Collection Full, Accelnime, Vocaloid 3 Voicebank Collection Full. Lily V3 + Native Gackpoid Extend Luo Tyani Galaco VY2v3. Avanna Mayu Kaito V3 Megpoid English Zola Yan He Project Miku English Miku V3 YOHIOloid . Download | Hatsune Miku V3 Voicebank Via MEGA. Language: English Release Date: August 31st, Character Voice: Saki Fujita Distributor: Crypton Future Media, Inc Website: Wiki: www.doorway.ru Official: www.doorway.ru Download: Download | Hatsune Miku [English] Voicebank Via Howfile; Link. Hatsune Miku VOCALOID2 Append English VOCALOID3 eVocaloid VOCALOID4 V4 English V4 Chinese At the. VOCALOID 3 EDITOR .. Voicebank Info: Language:English Release Date: February Distributor: Yamaha Website: Wiki: www.doorway.ru Homepage .. Download | Hatsune Miku V3 Voicebank Via Baidu [All VB]; Link Status: Active (Last checked on 25/10/). Wanna try be an composer? Now, you can try. You enter lyrics and melody key lines, and import off-vocal music. Hey guys and gals!! I see no video to install the VOCALOID 4!! Today will teach you with some pictures and. You can purchase the downloadable versions of singing synthesizer softwares and Voice Banks, such as the VOCALOID Editor and VOCALOID Voice Banks.