Free Dialogue Samples

[Rosalyn Pomposo]

Iappreciate Doles' point regarding the waning use of movie dialogue in music, although I would have liked them to mention the way this structure is deployed in hip hop, a genre that is built on sampling and remixing. In my classes, we talk about how the dialogue from The Mack (1973) is used through Dr. Dre's The Chronic (1992) and how the album simultaneoulsy acknowledges the role of this movie in Black American culture while also introducing new audiences a generation later to the film. I agree that movie dialogue is used less frequently today than it was decades ago, however, I think that the musicians, especially hip hop artists, continue to sample and remix dialogue from other media. Beyonc's use of Chimamanda Ngozi Adichie TEDx talk in her song "Flawless" reveals that dialogue samples come from a larger body of work these days than just films, especially given the curator's comments on copyright - alternative sources may have less stakeholders that must be convinced. -xpm-2013-dec-13-la-et-jc-beyonce-flawless-chimamanda-ngozi-adichie-20131213-story.html

I've been fascinated by the work of Ol' Burger Beats for years now. His approach and ability to dig the best samples out there and preserve the essence of old-school soul and jazz is a high mark in the boom-bap / instrumental hip hop, in my opinion.

Following his recent Jakarta Records releases - Dialogue. (a joint album with rapper Vuyo) and Monologue. (the beat version of the other release), I wanted to venture out into exploring the world of Ole and discover him as an artist beyond the beats. I hope you enjoy our talk and learn something new.

Yes, I think my dad introduced me to those genres the most. My mother introduced me to some prog rock music as well, bands like Pink Floyd were often bumping in the car. Some of the albums they introduced me to are still my favorites, like Songs in the Key of Life by Stevie Wonder and Light As A Feather by Chick Corea. I played piano and alto saxophone growing up, and was introduced to a lot of music that way as well. I played Chick Corea, Jan Johansson, and Oscar Peterson scores on the piano, and we played songs by Stevie Wonder, Earth Wind & Fire, and Weather Report in the band where I played sax.

You play keys, drums, and bass, something I assume was fueled by your upbringing. Do you consider this as an advantage for a producer nowadays and do you view sampling as just another instrument at your disposal?

There has been an ongoing discussion in the beat scene when it comes to pro and against sampling. Why do you think people waste time on such discussions. Isn't sampling a way to keep the history alive and make sure new generations are exposed to the world's greatest music?

I would say Madlib. There are a few good candidates amongst him and his peers, but Madlib is so inspiring in many ways: never compromising his style or sound, collaborating with some of the best rappers, owning and releasing his own music, continuously exploring different genres and expressions, reinventing himself year after year, always honoring the jazz and rock musicians that inspired him, his work-ethics seem second to none and his record collection must be incredible. And he made several of my favorite albums, the Quasimoto, Lootpack, Madvillainy and Jaylib projects to name a few.

Your Vuyo collaborative album Dialogue. is very politically charged. I love how both you and Vuyo have managed to pour your thoughts, experiences, and message via both the lyrics and instrumentals (samples). What's your favorite track on the record?

You've released with a few quite prominent labels, the latest of which Berlin's Jakarta Records who we respect a lot. In a day and age where artists have more and more tools at the palm of their hands, what should a label bring to the table and how can a team truly enhances the artist's craft.

We introduce dGSLM, the first "textless" model able to generate audio samples of naturalistic spoken dialogues. It uses recent work on unsupervised spoken unit discovery coupled with a dual-tower transformer architecture with cross-attention trained on 2000 hours of two-channel raw conversational audio (Fisher dataset) without any text or labels. We show that our model is able to generate speech, laughter and other paralinguistic signals in the two channels simultaneously and reproduces more naturalistic and fluid turn taking compared to a text-based cascaded model.

In conditional generation, the system encodes a stereo waveform prompt into two parallel streams of discrete units (or pseudo-text), which are fed to the Dialogue Language Model (DLM) system, a system attending to both unit streams with the help of cross-attention. The DLM model then generates new pseudo-text and feed them to the decoder to produce a new waveform. The entire pipeline is trained without supervision or text.

I am a dialog editor. We often get Boom and LAV dialog tracks which are about 1 foot apart and thus vary by about 40-70 samples between tracks. Sometimes sonically both work together to create the best sounding dialog feed and so they need to be phase matched to overcome the distance issue (pretty much just like overheads and close mics on a drum kit, but thankfully I usually only have one of each).

Ideally someone would write a plug just like Autoalign that works as audiosuite; loads two channels, analyzes the offset of the selected area and once that value is determined lets you process one of the files to be shifted by the calculated amount but with handles defined (as is standard in audiosuite plugins now). Sort of how VOCALIGN audiosuite works now but instead creating a global offset for the clip instead of a variable sliding push/pull you get with vocalign.

So I was just doing some testing and I wanted to see how both the dynamic and the static processing dealt with audio in the handles. My assumption, specifically for static mode, would be you would calculate an offset and just apply it to the whole file (audio in the handles inclusive). Static seems to do just that.

So that got me curious to see what dynamic would do- and I found a few instances where dynamic would perfectly process the audio where it overlapped with audio on the key input track but once it got into the handles, the audio was shifted by 2+ frames (where as when it overalpped with the key track it maybe was shifting 30-40 samples). Again, this only happened when in dynamic mode.

I have an 01 inspection setup in QM, and want to be able to create the TO in the background via LT06 (create TO from Mat Doc). However, despite there being no samples required, i am continually taken to the foreground screen with the "Process QM inspection lot" dialog box.

I always want to place all my QTY into stock, but it appears this dialog box and treatment of samples is what is preventing the background processing.

For my Warehouse I actually have an inspection Sample control set up (via SPRO > WM > Interfaces > define quality management) with Sample handling set to option "3 - Put away" and F/D = "D - Background".

Is it just that i need to assign this to my storage type in "Activate QM Interim Storage Type Search"?

Should my sample handling be set to "4 - Ignore"?

You definitely need to assign QM QM control indicator to the storage type search procedure in "Activate QM Interim Storage Type Search". Otherwise the system doesn't know how you want to handle the put away of inspection samples.

For anyone with similar issues, heres the full solution:

After setting up my inspection Sample control (via SPRO > WM > Interfaces > define quality management > Define inspection sample control, Sample handling set to option "3 - Put away" and F/D = "D - Background"), i went to "Activate QM Interim Storage Type Search" and assigned it to my warehouse, for stock category "Q".

The vocal samples have been taken from old movies and public information films and are categorised in folders with names such as "Cosmic Mission Phrases", "The Depression", "The Existential Bakery", "What No War" and "One Foetus Left". These samples are all 100% Authentic which means that whilst they have all been remastered, de-noised and de-clicked, they still retain artefacts from the original recordings, which we feel gives them a much more authentic sound!

If you need some inspiring vocal samples for your music, then Movie Dialogue includes a truly original set of some interesting and authentic dialogue from one of the most creative periods of TV and broadcast history. Suitable for Ambient, Lounge, Breakbeat, Trip Hop, Drum and Bass, House and all forms of modern musical experimentation. Sample Movie Dialogue today!

The Pack includes 824 Movie Dialogue Samples in 6 categories, with 11 patches in Halion, Kontakt, EXS24, NNXT and SFZ formats for easy auditioning.

Presented here in 44.1Khz 16bit Wav format as a Zip file, simply download and enjoy using these samples immediately!.

In the Alexa Conversations Description Language (ACDL), a dialog is a set of sample conversations that bring together events and actions to represent the different conversational experiences your skill can support. You put your dialogs in ACDL files.

The purpose of dialogs is to guide the process of training a dialog management model. When you build the model, Alexa Conversations significantly expands the dialog samples into a large sample set. Alexa Conversations does this by simulating the interaction between a user and your Alexa skill based on your sample dialogs. Alexa Conversations machine learning then uses the expanded dialog sample set to train a dialog management model.

A dialog represents a conversation between the user and a skill. The dialog helps the user accomplish a task or goal. You write dialogs to represent the desired conversational flow between the user and the skill. To do so, you declare the actions that should be performed as a reaction to received events.

3a8082e126