27 Royalty-Free Audio Tracks for "Voice Synthesis"

Robot speech synthesis you can use for for voice acting.

Re-sampled loop point stretching.

Basic treatment of voice with csound algorithm.

A vocoder, short for voice encoder, is an analysis/synthesis system, mostly used for speech.

God Save The Queen - Sung by the Festival Speech Synthesis System's "singing-mode", using the default US voice.

Door opening and closing announcements, et cetera. Recorded on used sisal string, soaked overnight in sea water.

Ambience soundscape made in cubase.

w:Jingle Bells, Or The One Horse Open Sleigh. Sung by the w:Festival Speech Synthesis System's "singing-mode", using the default US voice . Piano accompaniment by w:TiMidity/freepats. Source: [1]

Male sounding "robot"-voice countdown from 10-1. Starts with the sentence "self-destruct in. . . "syncs to 115bpm.

Male speech synthesizer announcing train arrival on terminal "a". Dry recording with no effects.

Monster noises made using heavy granular synthesis, formant and pitch-shifting on a female voice.

Created by processing a sample of an older man with reverbs, delays, and granular synthesis to sustain the sound and fill out the stereo field.

Various exclamations and electronic speech patterns, improvised using wavetable synthesis and envelope modifcations, with random pitch shifts and vowel/consonant/exclamatory sounds coming through the droid speak.

Ghostly female wail. Might be ghosts, or might be deadly sirens calling across misty waters to lure hapless sailors to their doom. Voice synthesis achieved by mixing formant filtered oscillators. Pitch bending is added to the note track to produce a descending, spooky wail.

For a computer game the robot sound, reminding the well-known r2d2 was necessary. To create such sound it turned out similar means (a compound of synthetic and natural soundings in processing).

A morphagene reel culled from an improvisation i made on a eurorack modular synth. Qu-bit electronix scanned is the sole voice here. Splices in the reel are ordered from somewhat delicate (taps, pulses, etc. ) to pretty chaotic noise. All recorded into a zoom h6.

Stochastic synthesis output sound obtained by analysis and synthesis of sound speech-female. Wav (http://freesound. Org/people/xserra/sounds/317745/) with harmonic plus stochastic model implemented in the sms-tools software package (http://github. Com/mtg/sms-tools)parameters used in analysis are :- window type = blackman, window size(m) = 2019, fft size(n) = 2048, magnitude threshold in db(t) = -100, minimum duration of harmonic tracks = 0. 1, maximum number of harmonics = 100, minimum fundamental frequency = 80, maximum fundamental frequency = 300, maximum error in f0 detection algorithm = 5, max frequency deviation in harmonic tracks = 0. 01,stochastic approximation factor = 0. 7.

Stochastic synthesis output sound obtained by analysis and synthesis of veena concert sound (https://www. Freesound. Org/people/anjds/sounds/377315/ ) with harmonic plus stochastic model implemented in the sms-tools software package (http://github. Com/mtg/sms-tools)parameters used in analysis are :- window type = blackman, window size(m) = 1575, fft size(n) = 2048, magnitude threshold in db(t) = -100, minimum duration of harmonic tracks = 0. 01, maximum number of harmonics = 100, minimum fundamental frequency = 100, maximum fundamental frequency = 800, maximum error in f0 detection algorithm = 5, max frequency deviation in harmonic tracks = 0. 01,stochastic approximation factor = 0. 2.

This is a "happy birthday to you" rendition to celebrate the 15th freesound birthday (april 5th 2020). The sound has been made by researchers of the music technology group of universitat pompeu fabra (i. E. Where freesound happens!), and voctrolabs. The sound uses choir synthesis technology developed for the trompa eu project. This means that what you hear are not real singers but synthesized voices generated by a computer! the score adaptation for choir is based on a score published in the choral public domain library. Hope you enjoy it and. . . . Happy birthday dear freesound!.

Frequency scaled output sound obtained by analysis and synthesis of sound speech-female_hpsmodel. Wav (https://www. Freesound. Org/people/anjds/sounds/377067/) with transformations model implemented in the sms-tools software package (http://github. Com/mtg/sms-tools)parameters considered are:- i) frequency scaling factors = [0,1. 5,1,0. 6], ii) frequency stretching factors = [0,1,1,1],iii) timbre preservation = 1, iv) time scaling factors = [0, 0 ,1 ,1].

Synthesis resulting from the transformation process performed with the harmonic plus stochastic model implemented in the sms-tools software package (http://github. Com/mtg/sms-tools) on the male speech sound http://freesound. Org/people/islijepcevic/sounds/329042/. The parameters used in the analysis are:window="hamming", m=1501, n=4096, t=-80, minsinedur=0. 1, nh=200, minf0=80, maxf0=200, f0et=7, hamrdevslope=0. 01, stocf=0. 4freqscaling = [0,1. 3,0. 82,1. 3,0. 825,1. 158,0. 99,1. 158,1. 0,1. 38,1. 1,1. 38,1. 12,1. 7,1. 2,1. 7,1. 21,1. 4592,1. 278,1. 73,1. 28,1. 5,1. 45,1. 8,1. 7,1. 8]freqstretching=[0,1,1,1]timescaling=[0,0,0. 6,0. 001,0. 67,0. 071,0. 83,2. 071,1. 0,2. 4043,1. 12,2. 7377,1. 2,4. 7377,1. 28,5. 4043,1. 45,8. 071,1. 7,8. 2]timbrepreservation=1.

Experimental electric music - sound designsynth voice of your own design (i used to create the sound among others: ambient, vocal, analog synt sounds)sound installation vision. Music sheet ai generated: payne, christine. "musenet. " openai, 25 apr. 2019, openai. Com/blog/musenetandi rewrote it. Sfx conversion edited: adobe + fxs + mastered. Sound and loops freesound. Org/people/szegvari/. Musichttps://soundcloud. Com/user-174290723.

Residual output sound obtained by analysis and synthesis of sound speech-female. Wav (http://freesound. Org/people/xserra/sounds/317745/) with harmonic plus residual model implemented in the sms-tools software package (http://github. Com/mtg/sms-tools)parameters used in analysis are :- window type = blackman, window size(m) = 2019, fft size(n) = 2048, magnitude threshold in db(t) = -100, minimum duration of harmonic tracks = 0. 1, maximum number of harmonics = 100, minimum fundamental frequency = 80, maximum fundamental frequency = 300, maximum error in f0 detection algorithm = 5, max frequency deviation in harmonic tracks = 0. 01.

Residual output sound obtained by analysis and synthesis of veena concert sound (https://www. Freesound. Org/people/anjds/sounds/377315/ ) with harmonic plus residual model implemented in the sms-tools software package (http://github. Com/mtg/sms-tools)parameters used in analysis are :- window type = blackman, window size(m) = 1575, fft size(n) = 2048, magnitude threshold in db(t) = -100, minimum duration of harmonic tracks = 0. 01, maximum number of harmonics = 100, minimum fundamental frequency = 100, maximum fundamental frequency = 800, maximum error in f0 detection algorithm = 5, max frequency deviation in harmonic tracks = 0. 01.

Harmonic sinusoidal output sound obtained by analysis and synthesis of sound speech-female. Wav (http://freesound. Org/people/xserra/sounds/317745/) with harmonic plus stochastic model implemented in the sms-tools software package (http://github. Com/mtg/sms-tools)parameters used in analysis are :- window type = blackman, window size(m) = 2019, fft size(n) = 2048, magnitude threshold in db(t) = -100, minimum duration of harmonic tracks = 0. 1, maximum number of harmonics = 100, minimum fundamental frequency = 80, maximum fundamental frequency = 300, maximum error in f0 detection algorithm = 5, max frequency deviation in harmonic tracks = 0. 01,stochastic approximation factor = 0. 7.

Harmonic sinusoidal output sound obtained by analysis and synthesis of veena concert sound (https://www. Freesound. Org/people/anjds/sounds/377315/ ) with harmonic plus stochastic model implemented in the sms-tools software package (http://github. Com/mtg/sms-tools)parameters used in analysis are :- window type = blackman, window size(m) = 1575, fft size(n) = 2048, magnitude threshold in db(t) = -100, minimum duration of harmonic tracks = 0. 01, maximum number of harmonics = 100, minimum fundamental frequency = 100, maximum fundamental frequency = 800, maximum error in f0 detection algorithm = 5, max frequency deviation in harmonic tracks = 0. 01,stochastic approximation factor = 0. 2.

Created by divkid for use in the make noise soundhack morphagene. There are dry-only, fx-only, and mix versions of this reel in the pack. See it in action at https://youtu. Be/rk4ufmfcouc. Patch walkthrough. The patch starts with the qu-bit chance providing discrete random values (sample and hold) going into an instruo harmonaig. This takes the stepped random voltages and quantizing them to a given scale. I put in the notes c d eb f g ab bb which is a c natural minor scale, the relative minor of eb major (for anyone that's curious). However like most of my modular work i didn't actually tune the oscillators to anything specific. So treat the scale as a pattern of intervals not a set of specific notes. The quantized notes then form 4 voice chords giving us a root, third, fifth and seventh cv output that will be diatonic following the scale pattern, meaning the third will be major or minor, the seventh major, minor or dominant and the fifth natural or diminshed to suit the scale. With the 4 quantized outputs on the harmonaig these all go into the four oscillators on the synthesis technology e370 quad morphing vco. Each of the e370 oscillators are in the basic morph xy mode using the built in rom b set of wavetables. Wavetables are modulating by various mixes of the befaco rampage, mutable instruments tides, wmd multimode envelopes and music thing modular turing machine. The modulation sources are mixed and split with multiples and mixers. These modulating wavetables then go into a bubblesound vca4p where i'm using 4 mk1 intellijel dixie oscillators all un-synced and free running with sine wave lfos. Each lfo freely fades the voice in and out of the vca4p. As this is unsynced there's no regard to pitch changes linked to changes in amplitude and the swells. I find splitting the gate/rhythm from pitch regarding sequencing to be a freeing and interesting way to work that's not available on traditional instruments. This is just a simple application of that idea with the lfos fading freely unrelated to the other modulation or sequencing of pitch. The sound then goes from the vca4p mix out into a befaco mixer and praxis snake charmer which the output section of the larger case and i'm sending a 'pre' auxiliary out into my fx case. The dry sound first goes into the erica synths fusion delay / flanger vintage ensemble which is giving me short modulated delays giving vibrato like sounds and pushing the input level and overdrive gives us some warmth and grit that thickens up the sound and also fills in the gaps left by the free running lfos pulling quieter sounds and compressing in the on board tube. This then outputs to the feedback 1 bit multitap delay module which has it's delay chip pushed to longer times for some added crackle and noise. I'm using the two delay taps for a shorter and longer delay with little feedback to mix the dry sound for a generally noisier and smeared version of the input. This then goes into the xaoc devices kamieniec with it's on board lfo as slow as possibly for a mildly resonant phase shifting. This goes into mutable instruments clouds set to sew random grains slowly and randomly which are pitch shifted up 2 octaves to fill out some high end flourishes against the closed chord voicings at the core of the patch. Finally this goes into a long lush reverb from the halls of valhalla card in the tiptop audio z-dsp. The stereo fx chain and the mono dry signal are mixed in the befaco hexmix and recorded as a mixed stereo file. I'd consider this to be the main 'reel'. However i split the dry signal and the fx only wet stereo signal and recorded those at the same time so you can choose which reel to use and experiment with dry/wet or blended sounds from this patch.