mobius017
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  • After some research, awhile of failed trial and error experiments, and a period of having given up, I've just relearned that you can hold down the shift key and drag the mouse on the Presonus Presence instruments' keyboard to scroll to lower/higher notes.

    Why!? Why wasn't that more intuitive!? I mean, really, who would think to do that if they didn't already know they could? (I mean, granted, I thought of it at one point, but the fact that I was able to forget it and then struggle to find it again....)
    I'm real late to appreciate this, but it's amazing how much of a difference in pronunciation you can get by splitting a note. By shortening/lengthening vowels, it seems like you can sometimes change how they get pronounced; similar to consonants, you can also either make them more evident or less intrusive. The end result being, you can make vocals clearer, or at least get the pronunciation more like how you imagine it. (Sometimes, this work has made me wonder if I pronounce words correctly, or if I'm just making Miku speak more like I do.)

    Sometimes replacing phonemes doesn't do it, but taking explicit control of the lengths of your consonants and vowels does.
    Vector
    Vector
    I rely on that trick a lot. You can also use the Velocity parameter to adjust how prominent the consonant part is also, if they sound too intrusive. Similarly, I occasionally dip DYN down a bit when I can't get a vowel sound right. It just makes it sound less annunciated and can sort of hide weird pronunciation.
    AmazingStrange39
    AmazingStrange39
    English Vocaloids have a tendency to pronounce a word in kind of a short way? Like they're barely noticing the vowel or something- I've especially noticed this with Miku. So splitting the note in two helps me have Miku, for example, pronounce a word the way I want her to.
    Ronny777
    Ronny777
    That's is so true!! I do all my pitch bends this way. It's way more reliable for V5 than the drawing it.(i can never get a smooth transition) You can also add multiple different phonemes on a short/tiny note to drastically change the pronunciation of the following long note.
    I'm liking the new background on VocaDB. The other one had been up for awhile, and it makes a nice change!
    Ibis
    Ibis
    The rein of Sakura Miku has ended
    IIRC, aside from [Sil], there was at least one other Vocaloid phoneme that could be used to produce a silence/break between phonemes, right? Can someone remind me what it was?

    (Sadly, not sure which version/language it was in, if it existed. If there is such a thing, I'd be interested in knowing regardless!)
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    mobius017
    mobius017
    I'll give those a look, too!

    @peaches2217: You sort of answered this already, but I can't find [x] on the phoneme lists I've checked. Do you know where it comes from and if it had an intended usage besides being an alternative [Sil]?
    peaches2217
    peaches2217
    I honestly don’t remember. I think it’s just a matter of that phoneme not actually existing, so it makes the note silent.
    AmazingStrange39
    AmazingStrange39
    Miku's Japanese voicebanks and AVANNA and SONiKA all have [Asp] but unfortunately Miku English does not.
    Booster round 2!

    I haven't heard what anyone else's experience with the booster is, but aside from my arm hurting and maybe being marginally tired/fuzzy, I'm not experiencing any side effects. My side effects were never super bad to begin with, but I think it's at least plausible that my body has gotten better at handling this.
    I'm trying to make Miku hum. This is an interesting challenge.
    mobius017
    mobius017
    Hmm, maybe...? In that vein, I wonder if Growl would be useful.... Thank you!
    Vector
    Vector
    The other thing that comes to mind is putting exhalations in. I noticed when I was remixing that KIRA song that he has inhalation breath sounds all over the place when Miku is singing, which isn't something I've played with. (But I know Crypton supplied samples when I bought Miku V4X...) We tend to write humming as "hmm" in English because there's a breathy attack before the sustained humming sound. So maybe using a breath sample (which can be reversed in the DAW if they only have inhalation...) leading right into the hum?
    mobius017
    mobius017
    I've only played with adding breath effects a little in the past--basically just for an inhalation sound before a verse/long section of singing starts. That is a good idea to add one of those before humming.... I might give that a try.... Though, I dunno, I think my current approach with the h phoneme is actually producing pretty good results? Somehow I got rid of the harder h and m sounds, though I can't remember exactly how; at least partly, it's due to raising those lowered 1/64 notes on some of the hummed notes.

    Here's how it sounds currently:

    Here's a hopefully-understandable description of the notes (at least the first few of them). The h notes are all 1/64.
    [h u:] (lowered 1 semitone) [m] (vibrato: Fast Type 1, length: 88%)
    [h] [m] (accent: 0; vibrato: Fast Type 1, length: 100%)
    [h] [m] (accent: 0; vibrato: Fast Type 1, length: 100%)
    [h] (lowered 1 semitone) [m] (vibrato: Fast Type 1, length: 88%)

    (You might need to turn your volume up a little; it's kind of quiet.)
    That said, for lyrics that are more freeform/less uniformly metrical, actually getting the timing of the MIDI so the words sound correct can require a good bit of patience :) .
    TFW you give your lyric MIDI to your vocal synth, and it sounds exactly like how you imagined it.

    Yep, this is fun.
    Vector
    Vector
    The despair when your words won't sound right with the music no matter how much you fiddle with the notes and timing. (That's the slowest, most annoying thing that's been roadblocking my original work...) It's worth it when you rewrite and it finally sounds good, but I wish I knew how to skip more of the "not working" part. >_>
    mobius017
    mobius017
    I hear you. One thing I've thought of is that it's sometimes hard to tell exactly why something doesn't sound right. I tend to think of the notes and timing first, and I think those are probably the things you generally want to get right first, but I've had at least one or a few occasions where I've gone round and round with note timings and then realized that the timing was right but a consonant needed to be harder/softer, or maybe the dynamics needed to change. It was just the fact that it sounded off made me keep trying to tweak the length (which can honestly affect how a syllable sounds, depending on how close it is to its neighbors).
    Ibis
    Ibis
    me who does the lyrics and then the instrumental: yes, i know this feeling
    It's been two years since I wrote one of these. When I wrote the last one, I wasn't sure I'd write another one.

    But this year, I feel like talking a bit about why I'm a member of the community, why I work to become a musician.

    It's simple: I do it for the love of it.

    Many of you who will read this have probably seen me describe how I got into vocal synths originally. You know that I was introduced to it at a low point in my life. That Miku concert video was a sorely needed gift of hope and strength.

    I often credit Miku with that experience; indeed, one reason I try to make songs is as a way of thanking her for what was given to me 5 years ago. But the experience went beyond her, too. It wouldn't have been possible without the band members on the stage also; the audience members screaming with an adoration like I couldn't believe; the producers who made the songs; the broader community who probably helped them learn; Crypton; the film crew; the event staff; and on, and on, and on.

    There's a good chunk of this that is for my own personal satisfaction--I want to develop my creative ability, and I've always wanted to write a song--hopefully something that will express me, that some others will enjoy, and that some people might even find beneficial somehow. But my more self-related aspirations aside, I do this why I said before: for the love of it.

    I love Miku. I love the many kind, accepting, and helpful people I've met in the community. That includes the folks here. It also includes folks in the chats before/during online events, where beginner and established producers mix in a common passion, the former encouraging one another, and the latter joining into conversations as easily as you please. I love the process--I love being creative, as well as the puzzle-ish aspect of figuring things out, and then doing my best to give that knowledge away.
    mobius017
    mobius017
    Some of this isn't directly related to Hatsune Miku; some of it is. But all the same (And expressing only my own sentiment; I firmly believe everyone should have their own favorite, if they wish, and love them to Hell and back.), happy birthday, best girl. The rest of the world may be going mad, but at least where you're concerned (and the rest of the community as well, I hope), let's make it another great year.

    Kanpai!
    The other night, I fell asleep while listening to Miku sing "Chiisana Sekai." It was such a peaceful experience; I hope anyone else here can feel that way.
    Just realized that the Racing Miku 2010 figure is slated for release in late 2023/early 2024. I'm going to be looking forward to her for awhile. :happy:
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    MagicalMiku
    MagicalMiku
    if you order Racing Miku 2010 on AmiAmi, the release date is actually August 2023 ^-^
    I don't know if you've used AmiAmi before, but when you place a pre-order, you don't need to pay it now, only when the product is available (they'll email you with the total cost including the shipping) :miku_sakura_lili:
    A tip for any other Studio One users out there--it seems like I've seen lots of people ask about how to split a bus into two separate, duplicate channels (so, the 2 new busses are basically copies of the original), but not a lot of places where there's an answer.

    Here's a resource that covers the process!

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