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Vocaloid 3

Vocaloid 3 (VOCALOID3) is a singing voice synthesis software developed by Yamaha Corporation, released in late 2011 as the successor to Vocaloid 2. It allows users to create virtual singing vocals by inputting lyrics, melodies, and parameters into a digital editor, powered by Yamaha's proprietary synthesis technology and compatible with specialized voice libraries called Voicebanks that emulate human singers.^[1]^[2] A major advancement in Vocaloid 3 was its expanded multilingual support for Japanese, English, Chinese, Korean, and Spanish, enabling more natural synthesis across global markets and facilitating recordings in regions like South Korea and China. The software featured an upgraded synthesis algorithm for smoother tone transitions, improved rapid singing, and greater expressiveness, alongside a redesigned user interface with DAW-like track views, unlimited undo/redo functionality, accompaniment audio playback (stereo or monaural), and built-in VST host support for applying effects. Compatibility with Vocaloid 2 Voicebanks was provided via an import tool, while the editor and libraries were sold separately to encourage third-party development, including new "Job Plugins" for advanced expression control. The announcement occurred through a 53-hour livestream on Nico Nico Douga, symbolizing the "V3" versioning.^[1]^[2] Vocaloid 3's release spurred a wave of new and updated Voicebanks from Yamaha and partners, including IA (a clear Japanese female voice), kokone (dynamic with strong bass and high notes), and high-profile updates like Hatsune Miku V3 (featuring multiple timbres such as Sweet, Dark, and Solid for versatile pop and electronic styles). Its user interface emphasized accessibility with a compact, dark-background GUI using simple lines, unified colors, and 16 high-contrast shades for multi-track editing up to 16 parts, incorporating universal design principles like adjustable toolbar icons for prolonged use. These enhancements solidified Vocaloid 3's role in music production, particularly for composers seeking customizable virtual performers without live vocalists.^[3]^[4]^[5]^[6]

Development

Announcement and Planning

Yamaha Corporation officially revealed Vocaloid 3 on June 8, 2011, through a live recital on NicoNico Douga, marking a significant step in expanding the software's reach beyond its primarily Japanese user base.^[2]^[1] A 53-hour livestream held later for the launch symbolized the "V" in Vocaloid representing the number 5 in Roman numerals, combined with the third iteration of the engine.^[1] Development of Vocaloid 3 began in 2010, building on the success of Vocaloid 2, which had established a strong foundation in user-generated music content.^[7] Key planning objectives included enhancing vocal naturalness and processing speed to overcome limitations in earlier versions, while prioritizing a global audience through support for multiple languages such as English, Chinese, Korean, and Spanish.^[1] This cross-lingual approach aimed to enable more intuitive synthesis across linguistic boundaries, fostering broader accessibility for international creators.^[1] To achieve these goals, Yamaha formed partnerships with established Japanese developers like Internet Co., Ltd., known for voicebanks such as Gackpoid and Megpoid, and Bplats, Inc., responsible for the VY series.^[8] Overseas collaborations were also initiated with firms to develop region-specific voicebanks, including SBS Artechno for the Korean voice SeeU and Voctro Labs for the Spanish voices Bruno and Clara, ensuring culturally attuned multi-language capabilities. Beta testing phases involved voice providers to refine recordings and synthesis quality ahead of the engine's full rollout.^[7]

Technical Innovations

Vocaloid 3 introduced significant advancements in its synthesis engine, primarily through expanded linguistic support and refined audio processing capabilities. The engine now accommodates five languages—Japanese, English, Chinese (Mandarin), Korean, and Spanish—enabling voicebanks tailored to each for more authentic phonetic rendering and reduced accentuation issues in non-native applications.^[1] This multilingual framework marked a shift from the predominantly Japanese and English focus of prior versions, facilitating global producer accessibility without requiring separate software instances.^[9] Enhanced pitch and vibrato controls further improved synthesis quality, offering smoother transitions, more natural intonation curves, and support for rapid singing passages with reduced artifacts.^[1] Processing speeds were optimized for faster rendering, allowing real-time adjustments during composition.^[9] Database enhancements played a crucial role in elevating expressiveness, incorporating larger sample sets recorded from professional voice actors to capture nuanced performances. These expanded datasets supported subtler dynamics, such as whispers and breathy effects, resulting in outputs that better mimicked human vocal inflections like soft sustains and emotional depth.^[9] The engine's integration with MIDI protocols streamlined workflow, permitting direct import of melody data for initial synthesis setup, while advanced tuning tools in the editor— including parameter curves for gender factor, brightness, and opening—empowered precise manipulation of vocal characteristics.^[10] This combination of backend refinements positioned Vocaloid 3 as a more versatile tool for professional music production.

Release

Launch Details

Vocaloid 3 was officially released on October 21, 2011, initially for Windows operating systems, marking a significant update to the singing voice synthesis software developed by Yamaha Corporation. The launch followed an announcement earlier that year and was accompanied by the availability of several compatible voicebanks, allowing users to synthesize vocals in multiple languages including Japanese, English, and others. This rollout emphasized the software's enhanced synthesis capabilities, building on the popularity of previous iterations to expand its user base among music producers and creators worldwide.^[11] The initial pricing positioned the core VOCALOID3 Editor at ¥9,800 (approximately $127 USD at 2011 exchange rates), sold separately to encourage modular purchases, while individual voicebanks ranged from ¥9,800 to ¥12,800 depending on the model and features. Starter packs bundling the editor with a voicebank, such as those including VY1V3 or Mew, were offered at ¥17,800 to facilitate entry for new users. Early adopters benefited from promotions like the inclusion of the Tiny VOCALOID3 Editor—a limited-functionality trial version—with select voicebanks, enabling immediate testing without full software purchase. These pricing and bundling strategies aimed to lower barriers to adoption while supporting ongoing voicebank development by partners.^[12]^[13] To celebrate the launch, Yamaha collaborated with Nico Nico Douga on the "Vocafarre!!" event series, starting with "Act. 0" on December 15-16, 2011, at the Nicofarre venue in Tokyo, featuring live streams, performances, and demonstrations of Vocaloid 3 voicebanks. This event highlighted new libraries and fostered community engagement through augmented reality elements and virtual concerts. Globally, distribution occurred through Yamaha's official VOCALOID Store website and authorized partners, including Crypton Future Media in Asia, Zero-G Limited in Europe, and Big Fish Audio in the Americas, ensuring accessibility across regions. The launch capitalized on the surging popularity of characters like Hatsune Miku, contributing to strong initial market interest and the software's integration into creative workflows.^[14]

Editions and Compatibility

Vocaloid 3 was released in two primary variants of the editor software: the standard VOCALOID3 Editor and the VOCALOID3 Editor SE (Special Edition), the latter providing enhanced performance optimizations, including 64-bit support, and launched on March 20, 2013.^[15] The SE edition was designed to address limitations in the original editor, such as improved stability for larger projects, while both variants shared the core synthesis engine. Bundles often paired the editor with voicebanks, but no distinct "Premium Package" with exclusive tools like a dedicated vocal designer or harmony module was offered; instead, advanced features like multi-voice harmony synthesis were built into the engine for all users.^[16] The software received several updates to fix bugs and expand functionality. An early patch, version 3.0.4.1, addressed issues such as scroll bar glitches during part switching, startup failures, and job plugin compatibility, released in March 2012.^[17] In December 2014, version 3.2.1.0 introduced general stability improvements and support for loading VSQX files from Vocaloid 4, allowing users to import projects across versions. No Service Pack 4 in 2015 specifically for Piapro Studio integration was documented in official releases, though Vocaloid 3 voicebanks remained compatible with Crypton's Piapro Studio DAW, which debuted in 2013 and supported V3 libraries natively.^[10] System requirements for the original 2011 release included Windows 7 (32/64-bit) or later, Mac OS X 10.8 or later, an Intel Dual Core CPU at 2.1 GHz or higher, at least 2 GB RAM, and 400 MB free disk space for voicebank installation (with ASIO-compatible audio interfaces recommended).^[18] By June 2020, official support shifted to Windows 8.1 or 10 (32/64-bit), dropping Windows 7 and 8 as well as Mac compatibility in updated documentation, while maintaining the 2 GB RAM minimum (4 GB recommended) and 500 MB disk space needs.^[19] The 64-bit support introduced in the 2013 SE edition improved handling of complex sessions but did not alter base hardware demands significantly. Vocaloid 3 projects and voicebanks exhibited partial forward and backward compatibility with adjacent versions. Voicebanks could be exported and imported into Vocaloid 4 and 5 editors using built-in conversion tools, such as the Library Import Tool, enabling continued use in newer software without full re-recording.^[10] Conversely, backward compatibility with Vocaloid 2 voicebanks was limited, requiring the Library Import Tool for conversion into V3 format, which often resulted in reduced fidelity due to engine differences; native V2 support was not available. No official trial versions with watermarked output were provided for testing, though voicebank demos were occasionally bundled by third-party developers.^[10]

Features

Core Engine Enhancements

Vocaloid 3 introduced a refined synthesis engine that enhanced real-time preview and rendering capabilities, improving efficiency over Vocaloid 2.^[6] This improvement allowed music producers to iterate on compositions more efficiently without prolonged wait times between adjustments and audio feedback.^[6] The engine's optimizations stemmed from advancements in processing efficiency, enabling smoother workflow integration in digital audio workstations.^[16] Advanced parameter controls were expanded in Vocaloid 3 to provide greater expressive nuance, featuring dedicated sliders for dynamics to modulate volume and intensity, gender factor to adjust vocal timbre toward masculine or feminine characteristics, and breathiness to incorporate natural airy qualities in the output.^[20] These controls permitted fine-tuned manipulation of synthesized performances, elevating output quality by simulating subtle human-like variations in delivery.^[21] The core engine facilitated multi-voice harmony creation directly within the editor, supporting multi-voice harmonies across multiple tracks (up to 16).^[6] This feature streamlined production by allowing simultaneous editing of harmony elements, enhancing the software's utility for complex musical pieces.^[22] Vocaloid 3 expanded file format compatibility to include VSQ for sequence data, integration with VST plugins for effects processing, and WAV export retaining metadata such as lyrics and parameters.^[23] These options improved interoperability with other music production software, enabling seamless import of backing tracks and export of polished audio files.^[20] User interface upgrades in Vocaloid 3 emphasized intuitive operation, incorporating drag-and-drop phoneme editing for rapid lyric adjustments and waveform visualization for precise alignment of vocal elements with melodies.^[20] Color-coded tracks and customizable toolbars further reduced visual clutter, promoting extended creative sessions with minimal eye strain.^[6]

Language and Synthesis Capabilities

Vocaloid 3 expanded its linguistic scope to support five languages—Japanese, English, Spanish, Korean, and Chinese—marking a significant advancement in multilingual vocal synthesis compared to prior versions. This compatibility enabled producers to create songs in diverse linguistic contexts using dedicated voicebanks for each language, with the engine handling phoneme mapping and prosody accordingly.^[1] The software's phoneme libraries were substantially enlarged for non-Japanese languages, including diphones and triphones for smoother transitions. For Chinese voicebanks, such as Luo Tianyi, tones are supported through pitch curve editing to convey Mandarin prosody essential for meaning differentiation in tonal languages. Improved intonation controls facilitated natural prosody, with parameters for pitch curve editing and dynamics to mimic human-like expressiveness in singing.^[1] Cross-lingual functionality permitted the insertion of English phonemes into Japanese voicebanks (and vice versa), supporting hybrid songs that blend linguistic elements without requiring multiple voicebanks. Synthesis modes included append configurations in voicebanks, offering variants like "soft" or "power" for voice blending within a single track, alongside enhanced cross-synthesis techniques to merge tonal qualities from compatible libraries for richer vocal outputs. Official demonstrations, such as those featuring Bruno and Clara, showcased Spanish-English mixes, highlighting seamless phoneme integration for bilingual phrasing.^[1] Early Vocaloid 3 releases exhibited accents and unnatural inflections when using non-native languages, particularly in cross-lingual applications; subsequent updates refined phoneme rendering and prosody algorithms to mitigate these issues, improving overall naturalness.^[1]

Voicebanks

Japanese Voicebanks

The Japanese voicebanks for Vocaloid 3 represented a significant expansion in the series, with over 15 releases by 2015, many developed as updates to popular Vocaloid 2 libraries by adding append voice variations for enhanced expressiveness. These voicebanks were primarily produced by Japanese companies such as Crypton Future Media, Internet Co., Ltd., AH-Software, and others, leveraging the engine's improved synthesis to offer more natural and versatile Japanese singing capabilities. Release patterns often involved upgrading existing characters with new "append" libraries—such as soft, power, or whisper modes—to provide users with tonal options without overhauling the core voice, allowing seamless integration with Vocaloid 3's cross-lingual features.^[5] Among the flagship releases, Hatsune Miku V3, developed by Crypton Future Media, launched on September 26, 2013, introducing append volumes including "Soft" for gentle, breathy tones and "Power" for dynamic, forceful delivery, all based on recordings from Japanese voice actress Saki Fujita. This version emphasized Miku's youthful, versatile timbre, enabling richer emotional range in songs while maintaining compatibility with prior Piapro Studio tools.^[24]^[25] KAITO V3, also from Crypton and released in 2013, served as the male counterpart to MEIKO, offering straight, soft, and whisper appends derived from recordings by voice actor Naoto Fūma. Its deep, resonant tone supported a wide vocal range, from calm narrations to intense choruses, making it a staple for ensemble productions. MEIKO V3 followed in 2014, providing natural, power, and whisper appends voiced by the original provider, Meiko Haigō, highlighting a mature female voice suited for soulful and powerful genres. This update enhanced MEIKO's straightforward, emotive quality, with the power append delivering heightened intensity for live-like simulations. Other notable Japanese voicebanks included V3 Gackpoid (2012), voiced by singer Gackt and developed by Internet Co., Ltd., which featured rock-oriented appends for gritty, high-energy vocals. V3 Lily (2012), also by Internet Co., Ltd., offered power and soft modes from vocalist Yuri Masuda's recordings, emphasizing bright, pop-friendly tones. Galaco (2012, Internet Co., Ltd.), based on singer and actress Kou Shibasaki, provided a clear, versatile female voice with group harmony capabilities. IA (2012, 1st PLACE), voiced by Lia, focused on ethereal, high-pitch singing ideal for emotional ballads. Aoki Lapis (2012, i-Style Project/Yamaha), with contributions from vocaloid producer Ooinari, delivered a childlike, cute timbre with strong pronunciation. V Flower (2014, Gynoid), voiced by Mei, excelled in powerful, raspy deliveries for rock and metal styles. Tohoku Zunko (2011, AH-Software), derived from regional actress Amamori Sakura, incorporated northeastern Japanese dialects for authentic, folksy expressions. Yuzuki Yukari (2011, AH-Software), voiced by Marina, offered a cool, adult female voice with multiple appends for varied moods. Mayu (2013, Internet Co.), based on performer Mayumi, combined whispery and power elements for a mysterious, versatile persona. These diverse offerings underscored Vocaloid 3's role in catering to Japan's creative music scene, with append features enabling tailored vocal performances.^[26]

English and Western Voicebanks

The English and Western voicebanks for Vocaloid 3 represented a significant expansion in non-Japanese language support, targeting producers in Europe and North America with voices emphasizing natural intonation and versatility for genres like pop, rock, and folk. These banks, developed primarily by Western companies, included over eight libraries that prioritized clear English pronunciation and bilingual capabilities to appeal to Euro-American markets, where demand for realistic Western-style vocals was growing. Unlike the idol-focused Japanese banks, these emphasized mature, professional tones suitable for diverse musical productions.^[27] One of the earliest English-primary voicebanks was Oliver, a young British male voice developed by PowerFX in collaboration with VocaTone and released in December 2011. Oliver features a youthful, energetic tone with additional Power and Whisper appends for dynamic expression, allowing users to achieve powerful belting or soft, breathy effects in English synthesis. His design aimed to fill a gap for child-like male vocals in Western music production.^[28] Avanna, released by Zero-G in December 2012, introduced a clear, sweet female English voice with a folk and rock-oriented timbre, marking Zero-G's first Vocaloid 3 library. Her high-quality pronunciation and smooth, human-like delivery made her ideal for pop and Celtic styles, requiring minimal tuning for professional results; she covers a pitch range suited to versatile songwriting without additional appends.^[29] Voctro Labs contributed to Western expansion with the bilingual duo Bruno and Clara, released in December 2011 as the first Spanish Vocaloid 3 voicebanks with strong English support via manual phoneme entry. Bruno offers a powerful, mature masculine voice (pitch E1 to C3, tempo 60-140 BPM), while Clara provides a soft, airy feminine tone (pitch C#2 to G3, same tempo range), both leveraging cross-lingual technology for natural-sounding English and Spanish performances in pop and ballad genres.^[30] Building on this, Voctro Labs released Maika in December 2013, a pop-oriented Spanish female voicebank with built-in English phoneme support for bilingual use, featuring a powerful timbre that shifts from airy lows to intense highs (pitch E2 to D4, tempo 60-150 BPM). Accompanied by the Ona mascot design in 2014 for live events and visuals, Maika's versatile chest-to-head voice transition enhanced her appeal for Western producers seeking expressive, multi-language vocals.^[31] Additional Western releases included Mew in October 2012, a hybrid voicebank with English capabilities alongside its primary Chinese focus, distributed for international markets. These banks collectively advanced Vocaloid 3's accessibility in English-speaking regions, with over eight options fostering adoption among Euro-American creators.^[32]

Asian Language Voicebanks

SeeU, the inaugural Korean voicebank for Vocaloid 3, was developed and distributed by SBS A&T (formerly SBS Artech) and released on October 21, 2011.^[33] This female voicebank features a cute, youthful tone suitable for pop and ballad styles, with primary support for Korean phonetics while offering cross-compatibility for Japanese and English synthesis to facilitate multilingual use.^[34] As the first Korean-language capable Vocaloid, SeeU marked a significant expansion of the software into East Asian markets beyond Japan, enabling producers to create songs in Hangul with natural intonation.^[33] The Chinese market saw rapid growth with the release of Luo Tianyi in July 2012, the world's first Mandarin Chinese voicebank for Vocaloid 3, developed by Shanghai HENIAN Information Technology Co., Ltd. in collaboration with Yamaha.^[35] Voiced by a professional singer, this female voicebank incorporates tonal synthesis to accurately handle Mandarin's four tones and neutral tone, allowing for expressive singing in standard Chinese suitable for pop and traditional styles.^[35] Luo Tianyi emerged from a public design contest under the Vsinger project, which selected her avatar to foster community engagement and boost adoption in China.^[36] Following her success, subsequent Chinese voicebanks further diversified the lineup. Yuezheng Ling, a lively female voicebank released in August 2014 by Shanghai HENIAN, targets high school-aged pop expressions with strong high-range capabilities and Mandarin tonal support.^[37] YANHE, launched in July 2013 and also by Shanghai HENIAN, provides a futuristic, emotional female voice with dual modes—Qing for normal delivery and Mu for sweet whispers—optimized for Mandarin synthesis in electronic and ballad genres.^[38] Zhanyin Lorra was announced in 2015 as a potential female voicebank by Shanghai HENIAN in partnership with NetEase, featuring a dynamic tone for rock and energetic styles, but the project was ultimately canceled without release.^[39] Additionally, updates to existing voicebanks like Kagamine Rin and Len in 2014 incorporated enhanced cross-synthesis features that improved compatibility with Asian languages, though their core remains Japanese-focused. These voicebanks, totaling over ten tailored for non-Japanese Asian languages by the end of Vocaloid 3's run, significantly boosted regional adoption, particularly in China through Vsinger contests that encouraged user-generated content and live performances.^[40] They adapted the technology for tonal languages and local pop aesthetics, contributing to a vibrant ecosystem of animation soundtracks and fan music that paralleled Japanese Vocaloid culture.^[40] By 2025, numerous Vocaloid 3 voicebanks have received updates for later Vocaloid versions, enhancing compatibility and features.^[1]

Reception and Impact

Critical Reviews

Critical reviews of Vocaloid 3 highlighted its advancements in vocal synthesis, particularly in achieving greater naturalness compared to earlier iterations, while also noting persistent challenges in usability and pronunciation accuracy. In a review of the Hatsune Miku English voicebank, Sound on Sound praised the software's ability to produce "vaguely humanistic" results through controls for vibrato, dynamics, and breathiness, emphasizing how fine-tuning expressions could yield surprisingly lifelike performances with moderate effort.^[41] Similarly, MusicTech's assessment of the YOHIOloid voicebank commended the engine for delivering a recognizable late-teenage male timbre in mid and upper ranges, which could sound "more realistic" after adjustments for presence and bend, though an underlying artificiality remained evident.^[42] The expansion to multiple languages, including English and others through dedicated voicebanks, was lauded for broadening accessibility beyond Japanese-centric productions, enabling more seamless integration of diverse linguistic elements in compositions. Sound on Sound noted this as a key strength for electronic and dance music creators, allowing the synthesizer to handle English lyrics effectively within the Vocaloid 3 framework.^[41] However, some critiques pointed to unnatural accents and pronunciation inconsistencies in non-native applications, with MusicTech observing that the system "doesn’t really grasp the words you enter" at times, requiring manual tweaks to phonemes and sounds for better fidelity.^[42] A common criticism across reviews was the steep learning curve, as the editor demanded familiarity with its piano-roll interface and parameter adjustments before yielding professional results. MusicTech described Vocaloid 3 as "billed as being easy to use" but stressed the need to "work through the manual before trying anything ambitious," while a detailed analysis on Sand Software Sound echoed this, highlighting the intensive DSP processing and rendering delays that made real-time experimentation impractical.^[42]^[43] These factors positioned Vocaloid 3 as an evolutionary step over Vocaloid 2, with improved smoothness, clarity, and editor tools like enhanced automation, but not a complete overhaul in intuitiveness.^[43] In terms of innovation, reviewers viewed Vocaloid 3 as a solid refinement rather than a revolutionary leap, especially when later compared to Vocaloid 4's real-time capabilities. Sand Software Sound described it as "more advanced" than its predecessor in synthesis quality for genre-specific libraries, yet noted limitations in versatility across styles, such as opera-focused voices like Tonio struggling in pop contexts.^[43] Aggregate sentiments from tech publications like MusicTech and Sound on Sound leaned positive, appreciating the engine's expressiveness for producers willing to invest time.^[42]^[41]

Commercial and Cultural Influence

Vocaloid 3's release in 2011 marked a significant expansion in the software's commercial footprint, building on the momentum of its predecessor to drive broader market adoption and revenue streams. The engine's enhanced multilingual support—encompassing Japanese, English, Chinese, Korean, and Spanish—facilitated global sales and positioned Vocaloid as a versatile tool for music production worldwide. By 2012, the Hatsune Miku character, powered by Vocaloid technology including V3 voicebanks, had generated over 10 billion yen (approximately US$120 million) in cumulative revenue since her 2007 debut, encompassing software sales, video games, merchandise, and live performances. This financial success underscored Vocaloid 3's role in elevating the ecosystem, with related products like Sega's Project DIVA games shipping over 1 million copies during the period.^[1]^[44] The software's integration into mainstream media further amplified its commercial influence, particularly in anime and gaming. Vocaloid voices appeared in anime soundtracks, such as the use of Hatsune Miku in promotional tracks and the incorporation of Vocaloid synthesis in series like Black Rock Shooter, where virtual singers contributed to original compositions. In Western markets, English voicebanks like Avanna enabled commercial applications in pop and electronic music production, with the engine's licensing allowing for professional tracks and multimedia projects without additional restrictions. These adoptions not only boosted visibility but also contributed to events like Miku Expo tours, which by the mid-2010s were drawing international audiences and reinforcing Vocaloid's economic viability through ticket sales and merchandising.^[1]^[44] Culturally, Vocaloid 3 catalyzed a surge in user-generated content, with song uploads on platforms like Nico Nico Douga reaching their peak in 2012, fueled by a 53-hour launch livestream that engaged thousands of creators. This community-driven growth extended usability through fan-developed modules and covers, fostering a participatory culture that globalized Vocaloid beyond Japan via the Cool Japan Strategy. However, challenges persisted, including widespread piracy of voicebanks, which undermined official sales and limited development funding for new releases, as unauthorized distributions often exceeded legitimate purchases in niche markets.^[1] Vocaloid 3's legacy endures as a pivotal bridge to subsequent innovations, paving the way for Vocaloid 4's advanced features while influencing modern AI-driven vocal synthesizers like Synthesizer V through its emphasis on expressive, multilingual synthesis. Recent reflections, including the 2024 20th anniversary commemorations, highlight its role in democratizing music creation and establishing virtual idols as a global cultural force, with continuing events into 2025 emphasizing sustained fan engagement and cross-media integrations.^[1]

References

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New version of "VOCALOID (Vocaloid)" "VOCALOID 3" Scheduled to ...
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bilibili为您提供VOCALOID Yuzuki Yukari相关的视频、番剧、影视、动画等内容。bilibili是国内知名的在线视频弹幕网站，拥有最棒的ACG氛围，哔哩哔哩内容丰富多元， ...
[41]
https://www.soundonsound.com/reviews/crypton-hatsune-miku-english
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https://musictech.com/reviews/powerfx-yohioloid-review-2/
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Zhanyin Lorra (lost unreleased VOCALOID voicebank; 2014-2015)
Zhanyin Lorra is a Mandarin Chinese voicebank that was announced for the VOCALOID3 singing synthesis software at the end of its lifetime.
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Virtual Singers Headline Multibillion-Dollar Industry in China
Jun 12, 2021 · China is the latest market to embrace vocaloids, the most extreme mashup of technology and music. Though they developed in Japan and casted ...
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Crypton Hatsune Miku English
30-day returnsAlthough Hatsune Miku is powered by Vocaloid 3, users interface with it via a VSTi called Piapro Studio, which is a little more user-friendly and runs as a plug ...
[46]
PowerFX YOHIOloid Review - MusicTech
PowerFX unleashes the virtual voice of a youthful Swede in its new addition to the Vocaloid roster. Will Hollin Jones sing its praises? Details Price £110
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Vocaloid is not just for anime! - Sand, software and sound
Feb 9, 2015 · This is too much computation to perform in real-time. Thus, there is always a delay while Vocaloid renders a performance before playback. Yamaha ...Missing: reduced | Show results with:reduced
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SankeiBiz: Hatsune Miku Has Earned US$120 Million+
### Summary of Hatsune Miku Revenue and Relation to Vocaloid