Robot voice generator
Many TikTok features are built for short-term virality, but the popular text-to-speech effect has been going strong since its rollout in December. But now, users are furious that the calming, Siri-like voice that nursed us through the first half of has been replaced by a new, much more upbeat alternative — which has already been likened to the voice of a Barbie doll or a Karen. Many have complained that the updated effect makes their TikToks sound like Grammarly ads.
The text-to-speech feature, which users can add to their videos by holding down the text box, was originally implemented to improve accessibility. But it quickly became utilized in many different contexts and memes. Some users forced the voice actor to “say” strange or rude phrases, and others just enjoyed adding a robotic, monotone narration over their content.
Despite the recent controversy over the Karenification of the voice, there’s actually an important legal reason the original, beloved voice is gone: As it turns out, the very real person behind the feature never gave TikTok permission to use her audio.
In a lawsuit filed on May 6, voice actor Bev Standing claimed that TikTok’s audio is pieced together from thousands of clips she recorded a few years ago for a group called the Chinese Institute of Acoustics. Now, Standing is suing the company for the “emotional distress of having her likeness exploited without consent,” “loss of the ability to control the dissemination of her likeness,” and “loss of the ability to control the association of her likeness,” reported The Telegraph.
According to Standing’s lawsuit, the Institute of Acoustics was supposed to use her audio footage for Chinese translations. She said that she never allowed TikTok, or anyone else, to use her voice for this purpose. “My voice is my product. It's my business,” Standing told BBC News earlier this month. “You can’t just use it and not reimburse me for what I do. If you want to use someone’s voice, pay for it.”
Standing first realized TikTok was using her voice around the same time the feature launched late last year. She told Insider that her friends and family started sending her TikToks that used the text-to-speech effect, prompting her to join the app and confirm that, yes, her voice was the Siri-esque sound they were hearing. She claimed in the suit that users had made her voice read sentences, phrases, and words that she would never say in real life, including “foul and offensive language.”
Now, she worries her notoriety as the unofficial, resident voice of TikTok could negatively impact her work as a voice actor. “When I realized you could get me to say anything you want that's when I kind of got upset,” Standing told BBC News. “Clients may stop hiring me because they recognize that voice.”
TikTok hasn’t publicly responded to the lawsuit, quietly rolling out the new version of the effect on Monday. (Refinery29 has reached out to TikTok for comment.) Some users who haven’t yet updated their phone still have access to Standing’s voice. “My biggest flex is that I still have this monotone, soulless voice,” wrote @notyourbubbe. “I’m afraid to update the app.”
While users may joke that they hate (hate) the new, chipper replacement voice, the original TikTok text-to-speech voice did belong to a real person — one who, evidently, never consented to saying “peoplepeoplepeople” for hundreds of thousands of viewers, and has every right to be upset. Still, the outrage is a testament to how much the masses loved Standing's voice over the new, unknown Karen.
- Lbz fuel line replacement
- Mississippi unemployment rate
- Cute coffee wallpaper
- Pretty clean construction reviews
- Clash royale cards
Synthesizer Library Podcast
There aren’t a lot of voice polyphonic synths on the market. Given you probably have 10 fingers, there are more than enough voices to go around. This synth features four digital oscillators plus one sub oscillator per voice. That makes 60 oscillators! Two filters (low-pass and high-pass), four envelopes and four LFOs shape the sound while feedback, stereo spread, delay, character, distortion really bring it t
The Novation Bass Station is a monophonic analog synthesizer with some nice bells and whistles. Don’t let the name limit your opinion on this machine. It works well as a mono lead synth, and it also can operate as part of a polyphonic setup by chaining multiple Bass Stations together.Sound Architecture
The Bass Station features 2 oscillators (saw or pulse), a resonant low-pass filter (12 or 24db/octave), 2 AD
FM synthesis is the process of changing the frequency of one oscillator based on some other oscillator. Doing so creates “sidebands” which are extra frequencies above and below the original oscillator’s frequency.
At a relatively slow rate, this produces a vibrato effect when the modulation is performed by a sine or triangle wave. When the modulating oscillator is a square wave, the effect is a trill (r
MIDI (musical instrument digital interface) was developed to provide standardized communication between synthesizers. Today, it is much more than that and is found in computer, video games, effects processors and more. We’re primarily focusing on how to use it in music production—specifically with synths.History
During the late s and early s as synthesizers became more powerful and polyphonic, controlling synths b
In the podcast episode, Paul Soulsby describes his Atmegatron products. These are 8-bit digital synthesizers built on the Arduino platform. The Atmegatron hardware consists of a small, desktop module with a unique user interface and wood sides. The knob layout can be daunting at first, but you quickly get the hang of it.It’s A Chameleon
The really amazing part of the Atmegatron is its hackability. Soulsby offers an
The Moog Mother is a semi-modular monophonic analog synthesizer in a eurorack form factor. It can be used as a standalone synth or in conjunction with a larger eurorack modular setup.Sound engine
The Mother offers a single voltage controlled oscillator (VCO) which produces pulse and saw waves. One wave shape can be selected at a time, although both are available at the patch points which allows both to be used sim
The Roland RS is a vintage organ/string synthesizer. Combining organ and string sounds together makes it really handy—although you can choose to play only organ or only strings. And the inclusion of analog chorus really helps fatten up the sound.Vibrato (LFO)
The vibrato section of the synth is really an LFO permanently set to control the pitch of the outputs from both the organ and string section of the synth. When
Amplitude modulation is the process of changing the volume of one wave according to the pattern of another wave (Volume is used here as a simple way to understand amplitude. The two are not exactly the same in practice.)
Changing the volume of a sound results in a tremolo effect when that change happens relatively slowly. When we speed up that change, we no longer perceive a simple change in volume. Tha
Oscillator sync simply synchronizes the period of one waveform with that of another. What does that mean? Basically, the synchronized waveform restarts its wave each time some other waveform completes a cycle.
The naming may differ on some synthesizers, but typically there is a “master” oscillator (often OSC 1) which controls the cycles of the “slave” oscillator (often OSC 2). In order for oscillator sync to
Casio CZ synthesizers introduced a new type of synthesis called, “Phase Distortion”. While analog purists won’t be impressed, these digital instruments offer a stepping stone from traditional subtractive synthesis to things like FM synthesis.
Models differ in size and features, however all CZ synthesizers share the same sound engine. Each sound can be made up of one or two “lines”, each of which have:
The Korg Poly features two Digitally Controlled Oscillators (DCO) each with a dedicated Envelope Generator (EG). These can be mixed with its noise generator and passed through its 24db/octave low-pass filter. The noise and filter can be controlled by a third EG. The pitch of the DCOs and cutoff frequency of the filter can be modulated with a triangle-wave LFO in the “MG” section. Onboard chorus fattens up the sound nic
The microKORG is a virtual-analog synthesizer and vocoder. It has 37mini keys, several control knobs, an on-board arpeggiator, a complete MIDI implementation, a PC/Mac patch editor.
It may just be synth with the longest production record. The Korg website still shows it as a current product, and it looks like it had its 10th anniversary a few years ago.
There have been several versions of the microKORG: the XL version, the
The Ensoniq ESQ-1 is a hefty hybrid digital and analog synthesizer with 8 notes of polyphony. During the Yamaha DX-7 dominated s, the ESQ-1 struggled to gain popularity. Today, however, it has seen a surge in popularity but still can be had for a few hundred dollars.Sound Design
Each sound can be made up of:
The Omnichord looks like some kind of weird musical Millennium Falcon. Is it a toy or a serious musical instrument? We’ll, I’m sure it has been used as both. Its toy-like appearance means it shows up often at yard sales, goodwill and thrift stores. But those who know find its lo-fi strumming to be serenely soothing.
In the podcast episode, we learned how to strum by gliding a finger along the touch-sensitive ribbed strum p
The Roland Juno 6 and Juno 60 are 6-voice analog polyphonic synthesizers. While limited in functionality by today’s standards, these classics present an extremely accessible interface to synthesis newcomers; and they sound fantastic. Both lack MIDI, the Juno 6 lacks patch storage. All this means you won’t be wasting your time with complicated configurations. Just start playing.Resources
You’ve seen the filter settings on your synth, maybe you’ve tried changing the settings and can hear the difference, but what is going on? What is a filter anyway? Well, the filter on a synthesizer is just like any other kind of filter. An air filter in your car, a water-purifying filter, a spam filter, they all do one thing: remove stuff. So what stuff does a synthesizer’s filter remove? Frequencies.
In a previous episode
Synthesizers offer many different types of oscillators. But what are they? These are the building blocks of the sounds in your synthesizer. In the episode we talk about the different types of waveforms available in many synthesizers. For a more in-depth look, checkout Physics and Music: The Science of Musical Sound.Envelopes
The envelope (sometimes called envelope generator or “EG”) describes how the volume of a sound
If you can never get enough true crime Congratulations, you’ve found your people.
Current and classic episodes, featuring compelling true-crime mysteries, powerful documentaries and in-depth investigations.
If you've ever wanted to know about champagne, satanism, the Stonewall Uprising, chaos theory, LSD, El Nino, true crime and Rosa Parks then look no further. Josh and Chuck have you covered.
Tired of the lies? Tired of the spin? Are you ready to hear the hard-hitting truth in comprehensive, conservative, principled fashion? The Ben Shapiro Show brings you all the news you need to know in the most fast moving daily program in America. Ben brutally breaks down the culture and never gives an inch! Monday thru Friday.
It’s a lighthearted nightmare in here, weirdos! Morbid is a true crime, creepy history and all things spooky podcast hosted by an autopsy technician and a hairstylist. Join us for a heavy dose of research with a dash of comedy thrown in for flavor.
Ben Shapiro Meme Generator
What is the Meme Generator?
It's a free online image maker that lets you add custom resizable text, images, and much more to templates. People often use the generator to customize established memes, such as those found in Imgflip's collection of Meme Templates. However, you can also upload your own templates or start from scratch with empty templates.
How to make a meme
- Choose a template. You can use one of the popular templates, search through more than 1 million user-uploaded templates using the search input, or hit "Upload new template" to upload your own template from your device or from a url. For designing from scratch, try searching "empty" or "blank" templates.
- Add customizations. Add text, images, stickers, drawings, and spacing using the buttons beside your meme canvas.
- Create and share. Hit "Generate Meme" and then choose how to share and save your meme. You can share to social apps or through your phone, or share a link, or download to your device. You can also share with one of Imgflip's many meme communities.
How can I customize my meme?
- You can move and resize the text boxes by dragging them around. If you're on a mobile device, you may have to first check "enable drag/drop" in the More Options section.
- You can customize the font color and outline color next to where you type your text.
- You can further customize the font in the More Options section, and also add additional text boxes. Imgflip supports all web fonts and Windows/Mac fonts including bold and italic, if they are installed on your device. Any other font on your device can also be used. Note that Android and other mobile operating systems may support fewer fonts unless you install them yourself.
- You can insert popular or custom stickers and other images including scumbag hats, deal-with-it sunglasses, speech bubbles, and more. Opacity and resizing are supported.
- You can rotate, flip, and crop any templates you upload.
- You can draw, outline, or scribble on your meme using the panel just above the meme preview image.
- You can create "meme chains" of multiple images stacked vertically by adding new images with the "below current image" setting.
- You can remove our subtle imgflip.com watermark (as well as remove ads and supercharge your image creation abilities) using Imgflip Pro or .
Can I use the generator for more than just memes?
Yes! The Meme Generator is a flexible tool for many purposes. By uploading custom images and using all the customizations, you can design many creative works including posters, banners, advertisements, and other custom graphics.
Can I make animated or video memes?
Yes! Animated meme templates will show up when you search in the Meme Generator above (try "party parrot"). If you don't find the meme you want, browse all the GIF Templates or upload and save your own animated template using the GIF Maker.
Do you have a wacky AI that can write memes for me?
Funny you ask. Why yes, we do. Here you go: imgflip.com/ai-meme (warning, may contain vulgarity)
Synthesizer ben shapiro voice
My dissertation research includes a methodology of my own invention, which Im calling analytical remixing. Im writing about three hip-hop educators, in order to illuminate hip-hop as an education philosophy, not just a subject area. That includes centering the remix as an important and underexplored music education practice. Beyond just writing about remixing, I am making some remixes as part of my research product. Specifically, Im taking audio data (interviews, music, and various cultural artifacts) and remixing them to create a dissertation mixtape.
The value of the remix method is so self-evident to me that I made little effort to justify or explain it in the first draft of my dissertation proposal. However, my advisor, Alex Ruthmann, rightly pointed out that it is not self-evident to people who arent me. He suggestied that I pick a specific example and walk through it. So in this post, thats what Im going to do. Its a remix I made of Ben Shapiro explaining why rap isnt music.
Im grateful to Ben Shapiro for his willingness to say the quiet part loud, giving voice to culturally reactionary opinions in print and on video that others tiptoe around or voice more euphemistically. The belief that rap isnt music, or isnt real music, or isnt substantive enough to merit thoughtful attention, is a depressingly widely held one. In my teenage years, I succumbed to peer pressure from my fellow white rockists and became convinced of it myself. Which was ridiculous, because I loved rap as a kid in NYC, and that love persisted straight through the years when I tried to convince myself that it didnt exist. Anyway, while rockists, jazz snobs and classical folks are united in a belief that rap is musically deficient, its less common to find someone in this day and age who will go ahead and say it isnt music at all.
Naturally, Shapiros opinion calls for a rebuttal. He even invites us to give one, concluding his speech with one of his catchphrases, Tell me why Im wrong. But theres no point in going online and arguing with him or telling him off, because he and his fans are probably hoping for a dead-end online shouting match. Instead, I thought it would be a better idea to turn Shapiros speech about how rap isnt music into a piece of rap music. It wasnt difficult! Just about anyones speech sounds good over the right breakbeat. I chose Its A New Day by Skull Snaps. I used iZotope Nectar for an Auto-Tune effect on Shapiro, along with some tasteful tempo-synced delay. I didnt quantize the speech rhythmically, but I did duplicate key phrases, both for musical effect and as a kind of audio highlighter. For example, I repeated the phrase about how Bens dad is a music theorist who went to music school, music school, music school.
I added some jazz samples, too: the baritone sax from Moanin' by Charles Mingus and a piece of the trumpet solo from Concerto for Cootie by the Duke Ellington Orchestra. Theyre part of a folder full of pre-sliced jazz samples that I collected for exactly this purpose. My original motivation for putting those samples in was expediency. But after some reflection and repeated listening back, I realized why I intuitively chose those samples in particular. Theres a connection between present-day highbrow dismissal of rap and the dismissal of jazz during its first decades of cultural prominence. Its wild to think of it now, but there was once a widespread belief among educators and critics that jazz wasnt music either. Some music educators thought, okay, its technically music, but obviously its terrible, and its only value is as bait on the hook to get young people interested in the study of real music. See, for example, Sargent, and Maita,
At this point everyone agrees that jazz is music, but it still has this strange second-class citizen status in the music academy. I keep hearing people group jazz in with popular music, a categorization that last made sense sixty years ago. I wasnt thinking about any of that intentionally when I dropped the Mingus and Ellington samples into my Ben Shapiro remix. I only became conscious of the connection weeks later. But in retrospect, it was in my head the entire time. This is the point of making musicological and cultural arguments through remixing: it enables me to access thoughts and ideas that are not as easily accessible through traditional scholarly activity. I did my reflective listening to the track as background music while doing other things: giving my kids their bath, grading assignments, washing dishes. This is time thats not normally available to me for dissertation purposes.
The remix also enables me to speak back to Ben Shapiro using his own voice, and in the exact medium that hes disparaging. The humor value of that appealed to me immediately, and it has appealed to everyone Ive played the track for. When I played the track to my class at the New School, one student immediately responded, This slaps. Thats exactly the reaction I wanted, partially because I want to make music that people enjoy, but also because the aesthetic pleasure is an incentive for listeners to engage the ideas. Im imagining an audience for my research that wouldnt normally want to read a page dissertation, but who will happily listen closely to a mixtape. And Im imagining some scholarly readers who wouldnt otherwise be interested in listening to this kind of music.
I consider the analytical remix to be a form of methodological triangulation (Fusch, Fusch & Ness, ), an intuitive and aesthetic complement to the more analytical approach of my interview and observational data. My data research data will consist of my own notes, audio recordings of interviews, and musical examples. For examination and presentation of the audio data, I plan to use the analytical remixing method, for example by combining interview recordings with the music under discussion. The blending of speech fragments and music into a seamless collage format aligns well with the formal content of hip-hop. I will present these remixes alongside the written dissertation document as a mixtape. In hip-hop, the mixtape is a less formal version of an album, a compilation of tracks that might include original music, remixes of other people’s tracks, freestyles, and fragments.
Mixtapes were originally sold on the street or “under the counter,” and are still typically distributed via unofficial, grey-market online channels. They often include unsanctioned copyrighted material. The freedom to use unlicensed samples and make unsanctioned remixes gives artists the chance to express themselves more freely than is possible within the constraints of “official” commercial releases. For this reason, Ball () describes the mixtape as “hip-hop’s original mass medium” (p. ). Toni Blackman, when asked what mixtapes mean to her, answered, the “next shit. Newness. Authentic freestyles sharing of love. Biggin’ up the people who don’t get bigged up in the mainstream” (quoted in Ball, , p. ). My dissertation mixtape will aspire to this spirit of newness and authenticity.
The mixtape approach was inspired in part by Marshall’s () concept of technomusicology, the process of examining digital media using those same media. For example, one might study remixes and mashups by creating remixes and mashups. Marshall draws a parallel between using digital audio technologies to study digitally produced musics and using music notation to study notated musics. The process of remixing a track requires close attention to its existing sound and structure, while also imagining possible ways to alter it and combine it with other sounds. By juxtaposing and layering tracks, the remix directs the listener’s attention to aspects of those tracks that might have gone unnoticed. Barone and Eisner () argue that “the clear specification of a referent by a symbol is not a necessary condition for meaning. In the arts, symbols adumbrate; they do not denote” (p. 2). This adumbration is the goal of my remixes.
There is some overlap between recording and writing—the word phonography literally means “sound writing.” I could simply collect audio recordings and let them speak for themselves, but they would not adequately convey the full experience of their original context. Weidenbaum () observes that recording never sounds like what he heard—listening is a process of focusing and filtering, of selective attention and interpretation, not direct transcription. While Kapchan () wants her sound writing to have the full sensual richness of sound itself, Weidenbaum prefers writing exactly because it does not have the rich texture of recorded sound. Recording playback is a new sensory experience unto itself, one that might be far removed from the one the recordist meant to capture or convey. I see the remix as a way to fold sound writing back into the sound itself, using the conspicuously mediated aesthetics of hip-hop to deliberately frame and focus the listener’s experience.
The idea of blending recorded interviews with the music under discussion has long been a practice of electronic music producers. For example, “Little Fluffy Clouds” by The Orb () includes samples of a radio interview with the artists themselves discussing their creative process, one of “layering different sounds.” Kendrick Lamar’s “DNA” () includes a sample of Fox News personality Geraldo Rivera criticizing Lamar’s earlier music. Some DJs perform real-time musical ethnography as well, for example by mixing together a rap song and the soul song that it samples—Ahmir “Questlove” Thompson of The Roots is a master of this technique. These artists use music to speak for itself.
Because there is such a smooth continuum because speech and singing in rap, the spoken words of hip-hop practitioners can inform their music particularly closely. It is important to me to include my participants’ voices as audio in addition to written text. “The ability to represent and otherwise co-construct participants in/as/through sound simultaneously removes a layer of translation while adding important affective and sensual information… representing sounds sonically allows participants give voice for/to themselves while retaining information lost when translated to text” (Gershon, , p. ). It is true that my listeners are only hearing participants’ voices through my “cut”, my selection (Goldman-Segall, , p. ). However, all presentation of audio evidence requires editing. The hip-hop aesthetic offers the audio ethnographer an advantage: choppy, conspicuous and fragmented edits are desirable aesthetic traits. This creates the opportunity for me to foreground the technological medium of my work, and to proudly show its seams, rather than trying to present an illusion of a unitary whole.
Ball, J. A. (). I mix what I like!: A mixtape manifesto. Chico, CA: AK Press.
Barone, T., & Eisner, E. (). Arts-based research. Thousand Oaks, CA: Sage Publications.
Fusch, P., Fusch, G. E., & Ness, L. R. (). Denzin’s paradigm shift: Revisiting triangulation. Journal of Social Change, 10(1), 19–
Gershon, W. S. (). Vibrational Affect. Cultural Studies ↔ Critical Methodologies, 13(4), –
Goldman-Segall, R. (). Configurational validity: A proposal for analyzing ethnographic multimedia narratives. Journal of Educational Multimedia and Hypermedia, 4(2), –
Kapchan, D. (). Theorizing sound writing. Middletown: Wesleyan University Press.
Maita, J. (). Revisiting “The Jazz Problem.” Retrieved October 12, , from http://jerryjazzmusician.com//02/revisiting-jazz-problem/
Marshall, W. (). Mashup poetics as pedagogical practice. In N. Biamonte (Ed.), Pop-culture pedagogy in the music classroom (pp. –). Lanham, MD: Scarecrow Press.
Sargent, W. (, October). Is jazz music? The American Mercury.
Weidenbaum, M. (). Audio or it didn’t happen. Retrieved June 14, , from http://www.newmusicbox.org/articles/audio-or-it-didnt-happen/
Come on in, make yourself at home. We quickly set the table in the hall. They popped into the store on the way and stocked up on the full.
- Tesla model 3 2010
- 2 tier standing rack
- Amc firewheel 18
- Ancient aliens first episode
- Wiccan symbols tattoos
- Hunters point apartments
- Free hulu accounts 2020
- Camera with wifi 2016
- Gucci perfume set
- Window sill trays
- Peripheral vascular assessment quizlet
I answered. She walked by, took a towel from the closet and went into the shower: - I will instantly. Wait for me and we will go to bed, dear.