Post Reply Vocaloid tutorials...
Posted 7/31/08 , edited 7/31/08
i didn't make this's from anyone to lazy to go there...heres the tutorials.......

Inputting lyrics in VOCALOID2…

This is a simple tutorial to show how to input lyrics into VOCALOID2 to make Hatsune Miku sing. Although this is quite straight forward, some people told me that no matter what they did, their Miku refused to sing anything other then ah ah arrr! If you have the same problem, please read on.

The first thing that you have to keep in mind is that the Japanese version of the software released by Crypton Future Media is designed to only sing in Japanese.1 And another thing to keep in mind is that it does not recognize romaji2 or kanji. Therefore you have to input either hiragana or katakana in order for the software to sing properly.

Since you have to input the lyrics in either hiragana or katakana, the first thing that you must learn is how to type them on your keyboard. To get things started, first add a Japanese input method by following the Japanese input method section of this guide.

After you add the input method, you should see something like this on your screen. If you don’t like it in the middle of your screen, you can dock it to your task bar by dragging it onto your task bar. To switch to Japanese input method, click on EN (or whatever language you have as default) and select JP. Alternatively you can press [Alt]+[Shift]3 to switch between your input methods. After you switch to JP, click on “Input Mode” and select Hiragana. Now you should be all set and the rest should be easy.

If, for example, you suddenly have the urge to type 「おはようございます」 which means good morning in Japanese, all you have to do is type it in the way that you would read it, and punch in the romaji “ohayougozaimasu” on the keyboard and then press enter.4

Now you should be able to type in Japanese without any problem. Feel free to look at the Hiragana and Katakana charts if you ever forget what the characters are.

Since we now know how to type in Hiragana and Katakana, let us try a short practice in VOCALOID2. For this practice, we will try to make Miku sing the first line of Chobit’s Let Me be with You (click for the melody of the first line in .vsq format, open with VOCALOID2).

After you open the .vsq file you should see some melody without lyrics (by default Miku sings ah ah arrr). To input lyrics, double click on the notes and type in the Hiragana or Katakana. Instead of double clicking on the notes each time, you can press [Tab] after you input the first one, and it will jump to the next. Alternatively you can also right click and select 「歌詞の流し込み」 and a box will appear where you can type in a whole bunch of characters and it will place one character in each note. Let us start with the lyric input.

Starting from the first note, input the following lyrics “futari ga kito deaeruyona maho wo kakete”5 Here is the Hiragana version for you to copy and paste if you still aren’t comfortable with typing out the lyrics yourself: 「ふたりがきと であえるよなまほをかけて」6
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Posted 8/5/08 , edited 8/5/08
So it means we have to learn how to write in hiragana or katakana? ... and... yea... do you know a site
where i can download hiragana lyrics? =x
Posted 8/5/08 , edited 8/5/08
gendou is where I always go to~~, just create an account.. click "music" and type the song, most of the songs there are anime ops, eds and osts~~~ you could choose Kanji, Romanji, or English for the Lyrics~~ ^^
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Posted 8/6/08 , edited 8/6/08
I always download from there as well... but yea.. i din know they got kanji lyrics xD... yea.. i din know
they actually have LYRICS =x
Posted 8/8/08 , edited 8/8/08
ahahaha~~~ well now u do ^^
Posted 8/11/08 , edited 8/11/08 make it more simpler, someone translated the OSTER project's VOCALOID give the person some credits....i only helped you guys....

Lesson 1 VOCALOID Basics

OSTER project

Greetings. My name is OSTER project, and this is a serialization of an article about VOCALOID related material. This article will deal with a number of VOCALOID features, and the adjustment of certain parameters. From the basics of vocalization methodologies to the smaller techniques, I will introduce you to how I achieve these results. There are most likely imperfections present, so I can only but wish that this article was referenced as a sample by only 1 user.

As this is the first installment of the series, the basic knowledge and work flow process of VOCALOID will be introduced.

What is "VOCALOID"
VOCALOID is a system developed by YAMAHA, where one inputs song lyrics and a melody, and the computer will “sing” the song through this ground breaking technology. Like any other software synthesizer, the basic structure is the chiming of notes. However, devices are put in place to produce the effect of natural singing.

In order to further improve the VOCALOID technique, Crypton, using the VOCALOID 2 engine, released the software which is the topic of this article, “Hatsune Miku”. With a cute voice and character, it became a widely accepted social phenomenon. At the end of last year, the second VOCALOID installment, “Kagamine Rin and Len was released, and thereafter a plan was in place to release a Miku Character Vocal Series. VOCALOID had now become a hot topic in DTM ([D]esk[T]op [M]usic) circles.
Chasing the Melody
In order for the VOCALOID, such as Miku and Rin, to sing songs, a melody and lyrics are required. To work with the melody and lyrics, the VOCALOID2 Editor is used. When installing VOCALOID software, such as Hatsune Miku, the editor is installed automatically.

Open the VOCALOID2 Editor, and an application similar to the screenshot below will appear

This image displays the sequencer piano roll, where the vertical axis is the pitch, and the horizontal axis is the time. In this window, apply notes in a stair like incline as show below:

The error that occurs is due to the fact that the VOCALOID singer has the same qualities as a human singer. For example, alone a normal person could not harmonize such a composition. Just like the average person, a VOCALOID singer can only pronounce one note simultaneously. Two notes or more becomes too heavy, and the above error appears.

continue........Lesson 1(b)......
Posted 8/11/08 , edited 8/11/08
Lesson 1(b).....

More Enjoyable Step Recording...

In order to compose VOCALOID data, you must step record the song lyrics, which can prove to be difficult. The VOCALOID2 Editor is, to be honest, a sequencer at heart, and can prove difficult to use. You can only undo once, and the truth is that being a software synthesizer, there is a delay in the pronunciation of lyrics.

Because of this, I always import MIDI data I've step recorded through a frequently used sequencer into the VOCALOID2 Editor. Using this method, I think you will find step recording to be much more enjoyable. Something to note here is that in your imported MIDI, you cannot have instance where two or more parts are pronounced at the same time. Also be warned that if you import the cord state file but don't use it, the time it takes to modify your composition will be unnecessarily long.

Character Vocal Series 2nd Installment “Kagamine Rin and Ren” Release!

A few days ago the much anticipated 2nd installment of the Character Vocal Series, “Kagamine Rin and Ren” was released.

I hurried to try it out, but I found that compared to Miku, the adjustments appeared to be much farther off and difficult to use. In Miku's case, less adjustments were required to make a more natural sounding voice. In the case of Rin and Ren however, such adjustments did not lead to a natural voice. In particular, I was especially worried about the lacking quality of pronunciation, the harshness of the sound, the shakiness of the volume, etc.

I'm worried about being able to utilize this tool properly, but I will give it my best to research into more natural singing with all my power.

Enter The Lyrics and Get to Singing

“Watashi wa bo-karoido” (I am VOCALOID)

(Translation Note: This section talks about the mapping of certain Japanese sounds with regards to how they are normally written in Japanese, versus what they actually sound like. For example, if you take the phrase “Watashi wa bo-karoido”, the proper Japanese equivalent would have a “ha(は)” character instead of a “wa(わ)” character. However, if you put it in the system as “ha”, the sound won't come out right. Therefore remember that VOCALOID is about how it sounds, not necessarily how it's properly written).

Next is the assigning of lyrics. The three ways to assign lyrics in VOCALOID is through hiragana, katakana or romaji。 Until lyrics are input, they are all defaulted to “あ(ah)”. The “あ(ah)” sound will also be pronounced for all illegal sounds.

When entering lyrics, a common thing to look out for is simply leaving them as is. For example, VOCALOID is unable to associate the character “は(Generally ha, but in this case 'wa')” with the sound “わ(wa)” in context. Therefore, if you want “私はVOCALOID (Watashi [ha character pronounced as wa] VOCALOID)” to be sung, you have to input “わたしわぼー かろいど (watashi wa bo-karoido (in this case the wa character is used, as that is the sound always associated with it, versus ha, who'se sound is always ha, except in this special case)” . Regarding “ー”, it takes the form of the vowel of the previously pronounced word and extends it.

(Translation Note: っ is an odd character for pronunciation, and causes a small break between the sound of characters it is inserted between, as the explanation below will show)
Next is utilization of “っ” in singing. Entering simply “っ” as-is will not give the desired effect. The basic foundation of VOCALOID regulation is “Think about how you would sing it”. Imagine how you would sing lyrics with “っ” if you were doing karaoke. I think you would realize that when ”っ “ came up, you wouldn't pronounce anything. Therefore, you would do the same thing with the VOCALOID singer.

For example, if you were trying to have sung “ おいかけーっこー(oikake-kko-)”, it would be done as “ おいかけー(無音)こー(oikake-(no sound)ko-)”.

I like Susui (Sushi)

I normally input lyrics in romaji, but when using romaji there are still some points you have to be careful about. For example, while both “shi” and “si” produce “し”, their pronunciations are a bit different. The former is the sound of “し”, while the later is the a chic-like “sui”. Also, while the characters “お” and “を” in hiragana or katakana sound the same, the romaji “o” and “wo” would produce “o” and “uo”. Other instances such as “zi” and “ji” apply as well, and I think you'll have fun trying out other combinations of sounds.


This lesson introduced the basic knowledge and song workflow of VOCALOID. If you throw in melody and lyrics as is, the singing will be somewhat smooth, but will not have a “human” feel to it. In order for VOCALOID to best represent a singer, parameters and individual notes have to be adjusted, and the minute setting of the sway of intonation and pitch are important. The next lesson will look at these minute settings, and explain the minor nuances of VOCALOID. See you next time!
Posted 8/11/08 , edited 8/11/08
Lesson 2 Principles of Parameter Adjustment
Welcome, OSTER project here. In this long awaited lesson, I'll introduce the methods and skills behind parameter adjustment. We'll look at the prerequisites for parameter adjustment, and the basic foundations behind it.

About The Objective of This Course

First let's look over the objective for covering parameter adjustment. My objective is "parameter adjustment without too many details". This may surprise people, but I always dedicate as few details as possible to adjustment of parameters. I wonder why that is?

Regarding musical pieces, I think the most important thing is the preservation of motivation. Even if you are someone holding superior technique and ability, without motivation, one cannot express the true potential of their ability.

VOCALOID's parameters are incidentally, very difficult to work with. During a period where you're motivated, working in all kinds of detailed parameter adjustment can extend into long periods work, often causing frustration midway(this tendency is especially large with beginners). For that reason, I generally omit adjustments that only result in little change, working only with the parameters that become noticeable right away. In a sense, I am not someone that looks at piling up small adjustments to produce perfect, ultra high grade parameter adjustments. Instead, I like to finish up with relatively "as-is" quality. Therefore, I'd like to note that this lesson is geared towards the beginner to intermediate users. However, for people that have touched VOCALOID for the first time, taking in all of the adjustments that one can do in this lesson may prove rather severe. For such a person, don't push yourself to hard, realize your own limits and prepare yourself for the hurdles of parameter adjustment. As you cate your works one by one, I think you will start to overcome these hurdles. The important thing is to complete your works without frustration.

Parameter Adjustment Foundational Knowledge

As I mentioned in the last lesson, the VOCALOID engine has many devices for creating more natural singing. On the other hand, in order for a complex and delicate structure, Even when the connection of words before and after have the same musical scale and interval, their sounds can still be different. When the people using step insertion without any adjustments listen to the results, they've probably experienced a feeling of "what the heck...".

Step Insertion (Singer: Rin)

(Please see the inline MP3 player at

First off, in order to bring the unnatural portions closer to a more natural singing voice, parameter adjustments are important. Furthermore, in order to remove small nuances from smaller compositions, we will conduct some parameter adjustments

The latter important adjustment is your imagination. If you do not have a complete picture in your head of what the completed work will be like, you can't make the necessary adjustments. Practice imagining the singer singing while making your adjustments is the basic principle of parameter adjustment (Thinking about matching the singer's voice with the melody and singing range is very important in achieving natural singing). If you're unable to produce an image, trying to sing the phrase yourself, or getting someone to sing it for you in order to compensate for imaginative power is something good to try.

Out of the VOCALOID adjustments, we will primarily look at the adjustments of parameters, facial expressions and vibrato. In order to smoothly understand what's best to for making your singing closest to what you imagine, it's important to grasp these three adjustable values.


First off I'll explain about parameters.

VOCALOID has 10 types of parameters included with it, with each parameter playing different roles. I'll explain the basics of these parameters.

Adjust the length of consonants. Large adjustments don't seem to do much, so I don't adjust this value very much.

Adjustment of the volume. This is probably the most important parameter out of all of them.

Control of the weight of the voice's breathing. Will considerably effect various nuances. Volume will also be adjusted.

Adjusts the "brightness" of the voice. This also adjusts volume.

Sharpen the voice. This parameter can make quite an impression, so don't adjust it too much.

Reproduce the variation of pronunciation through adjustments of the opening of the mouth. This will also change volume. I don't adjust this much.

GEN(Gender Factor)
Adjusts the voice to a more male or female feel. Works to not break the original foundation of the voice.

POR(Portamento Timing)
Adjustment of the Portamento's starting position. I don't use this.

(Translation note: For those of you wondering, here's a definition of Portamento:

"A technique of gliding from one note to another without actually defining the intermediate notes; a smooth sliding between two pitches. This term is used primarily in singing and string instruments. Often called glissando for other instruments, especially the trombone."


PIT(Pitch Bend)
Adjustments the pitch. Required for the removal of certain nuances.

PBS(Pitch Bend Sensitivity)
Adjusts the width of the pitch bend. I use this a lot to match the pitch bend.

Furthermore, whenever you adjust a parameter, side effects causing the direction of the sound to diverge away from your intention can occur. Just as I wrote above, changing BRE, BRI and OPE will also increase the volume. If this is not your intention, it will be necessary to compensate for the volume through DYN, and other measures.

Also, it's considered taboo to change parameters values a noticeable amount while pronunciation occurs. For example, if you suddenly change the PIT from 0 to 5000 in the middle of pronunciation, it will turn into a very unnatural state at the moment you changed the value. The same goes for other parameters as well. Do not make discreet changes to them while pronunciation is occurring.*1

*1: There are times when discretely changing the value on purpose can lead to interesting results, which we'll look at in a later lesson.

Posted 8/11/08 , edited 8/11/08
Lesson 3 Adjustment Techniques
Hello, OSTER project here. Last time we looked at the preamble of adjustment for introducing the basic principles behind it, so this time I will show you how to put these adjustments to use.

The Master Comes From Creating The Voice

First off, let's take a look at the fundamental of creating the voice. The VOCALOID adjustments are in a way like make-up, where there is a time and a place where adjusting them would not be a good idea. For example, if you were going to an interview during job hunting, you would not want to wear "Girly Makeup" (Translator Note: bolder make-up in the sense, as it would show too much wildness during the interview). For theater, there is stage makeup, for dates there is “date makeup”. In the same way, VOCALOID adjustments must correspond to the genre and style. The basic of the VOCALOID voice creation is a lot the order of the base make-up. Through this order, it's not saying too much that half the impression is decided. It is that important of a process, that you need to adjust to match your own image.

When it comes to the principles of voice creation, parameter management is crucial. Definitely there is an emphasis on the adjustments of BRE, BRI, CLE, OPE and GEN (Translator's Note: See Lesson 2 if you have no idea what these mean). Regarding the parameters adjusted here, they are fundamentally a fixed value that lets the tune pass through. Clicking on the pencil tool, then holding down on left click for a bit in the control field will adjust to the level where the point is for values after the click location. You can use the display in the upper left of the control field to figure out what the mouse location's value is. For more fine tuned adjustments, you can scale the adjustments view by dragging the slider in the lower right corner of the piano roll.

Parameter Management

Now then, I'll go ahead and introduce some example voice settings (all settings are Miku usage).

Case 1: An up tempo girl's pop

In order to make the voice a bit cutter, I lowered the GEN value a bit from the default. Then, I adjusted the BRI to a higher value in order to make the voice brighter, and lowered the BRE value to make the voice come out clearer. CLE was adjusted to meet with the singing range. In songs where the average singing range is high, be warned that not raising the CLE very much will result in a very thin sound.

Setting Example 1 (Singer: Miku)
(Please see the music player at:
Parameter Values BRE:5 BRI:90 CLE:10 OPE:127 GEN:45

Case 2: A graceful adult like ballad
In order to soften the brightness of the voice, the brightness value was set lower. Also, to give the sensation of a faded voice, I increased the BRE a little more. To keep the cuteness of the voice, you'll want to lower the GEN value a bit from the default, but for a more serious voice you'll want to raise it a bit. I've also matched the CLE value to the singing range as well. This time though, the range has a calmer feeling and lower voice, so raising it a bit is a good idea.

Setting Example 2 (Singer: Miku):
(Please see the music player at:
Parameter Settings BRE:20 BRI:50 CLE:10 OPE:100 GEN:80

Case 3: Wild and Husky

For a loose feeling, you'll want to lower the OPE setting, which purposely causes the pronunciation to become very cloudy. Also, to give the feeling of a faded voice, you'll want to raise the BRE value a bit. The other parameters you'll want to adjust in accordance to the style and singing range.

Setting Example 3 (Singer: Miku):
(Please see the music player at:
Parameter Settings: BRE:25 BRI:100 CLE:10 OPE:40 GEN:50

Furthermore, regarding the creation of this voice, you'll want small adjustments before each note. The reason being that by changing the foundation of the voice, the way things are pronounced and the the condition of the pieces of sound will change subtly. This causes the foundation of the voice after the adjusted location to change, which will lead to unwanted issues if you don't fix them.

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Posted 9/14/08 , edited 9/14/08
Its so good that u guys can read Jap I cant
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Posted 9/24/08 , edited 9/24/08

th3f4te wrote:

Its so good that u guys can read Jap I cant, saying "Jap" is actually a very bad insult..
English people would call Japanese people that when world war 2 was going on....
So please don't use it anymore. It comes w/ many bad memories.
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Posted 9/25/08 , edited 9/26/08
O.o I din know that. Well thx i will take note of this ^^
Posted 10/13/08 , edited 10/13/08

th3f4te wrote:

O.o I din know that. Well thx i will take note of this ^^

well you could use "J" is you really wanna cut it short o_O
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24 / F / 横須賀市、神奈川県、日本
Posted 5/8/12 , edited 5/8/12
O.o ..................................................... ^_^
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