Audio4fun’s Voice Changer Software is the one and only application out there that helps you manipulate voices and sounds perfectly. Let’s discover how it turns soulless “canned” audio into rich, natural, and vivid outputs.
Most of you pick it to play with your voices and enjoy “multi-personality” moments in your cyber life. But Voice Changer Software is more than that. It is a full-featured, powerful audio editor and morpher, utilizing cutting edge technology and lightning fast algorithms, yet it takes you through a considerably lower learning curve.
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Main Panel of Voice Changer Software
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This Audio4fun program is one of only a few 2-dimensional real-time voice changers. You will find it compatible with many popular instant messengers, PC-to-phone applications, online role playing games, media players, etc. You can change any voice or sound file on your PC to make new, impressive audio clips and ringtones. Voice Changer Software is also an economical tool for voice mails, voice over, voice dubbing for documentaries and industrial movies, on-hold advertising, multimedia presentations, websites, games, radio and TV commercials, audio-books, etc. Supporting virtually all audio formats, Voice Changer Software is quite practical and fun to use!Using Voice Changer Software’s various presets are quite simple to apply: audio effects, “nickvoices”, and equalizer settings are all just a mouse-click away. Also, you have more control over the software, such as excluding certain parts of an audio stream, or switching voice settings in real time, or managing your “nickvoice” effects, or saving your equalizer settings. You can also download numerous plug-in packages from the Audio4fun website.
Featuring a professional-looking interface and several powerful sub-modules, Voice Changer Software is the perfect audio morphing program. Users who take the time to explore the depths of its rich features will find an unending choice of impressive effects. For some newer users, it might take a while before they can achieve the output they desire, as they learn the limits and lengths to which the program can alter their files. However, the bottom line is that anyone will find that Voice Changer Software is a great value for the money. For more information, please visit http://www.audio4fun.com/voice-changer.htm
PROS:
Exclusively useful featuresFriendly with almost any environment
Hundreds of presets and “nickvoices”
Works in both real time and offline
CONS:
A little complicated for newbiesThe first outputs might not fully meet your requirements
Review by +Robert Kendy
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Keira Keeley and Colby Chambers ponder the music of the spheres. Photo: Meghan MooreAs a self-appointed high priest in the sacred temple of the theatre, I know I'm supposed to look down my nose at dramatic "vehicles" - but shucks, who doesn't enjoy a spin every now and then in a finely-tuned theatrical machine? Just as there's a secret thrill to the sound of all the doors in a Feydeau farce slamming at precisely the right time, so there's a melodramatic pleasure center at the bottom of every theatre-goer's brain that is forever waiting for a playwright to line his or her dramaturgical ducks all in a row - and then tump them over, one by one, like so many dominoes.And then - oh, yeah, baby, yeah!! The only trouble comes when people confuse the streamlined chassis on a gleaming new vehicle with something more; which has been the case, I'm afraid, with many a Broadway hit - including David Auburn's Proof (now at the Merrimack Rep through April 14) which seems to take on Big Questions, but only uses them to set up finely-crafted conflicts that never even hint at Big Answers. Not that I mind, particularly in a production as smooth and assured as the one up at Merrimack. Well, okay, I mind a little bit. When one of the characters in Proof cries "The machinery! I can feel it working!" (he's talking about his mathematical ability), I always feel like jumping up and shouting, "Yeah, so can I!!" But that would be rude, I know (so I don't do it). But I'm not silly enough to imagine that the various themes - the intellectual thrills (and ruthless competition) of math geekery, the guarded warfare of sibling rivalry, the tortured knots of father-daughter love - around which Auburn has sculpted his script amount to more than so many dramaturgical red herrings.Still, herring makes for a tasty snack if it's done just right, and the cast at Merrimack seems to know precisely how to serve up Proof. Auburn's script focuses on Catherine (Keira Keeley), the damaged daughter of a great mathematician who, in the now clichéd style of A Beautiful Mind, long ago succumbed to madness. Catherine, herself a mathematical talent, became her father's caretaker instead, tending him in their decaying home in Chicago while her elder sister Claire (Megan Byrne) seemingly found fortune, if not fame, in New York. The play opens, however, with the death of their unstable patriarch - and the hint that he may have passed on his curse, along with his other gifts, to his devastated younger daughter.But wait, there's more - through the funeral games Auburn expertly threads a treasure hunt: a mathematical acolyte of the Great Man arrives to hunt through his papers for intellectual gold, and at Catherine's direction, stumbles on a possibly paradigm-shifting thesis on number theory. Catherine immediately claims the "proof" as her own - but as she's already seeing Dad's ghost wandering around the premises, can her honesty, or sanity, be trusted?You can see there's more than enough here for a skilled dramatist to spin a satisfying web of intrigue, and Auburn is more than up to the job. His first act in particular snaps like clockwork; the second, it's true, loses some loft as we realize the playwright isn't going to deeply develop any of the issues he has so expertly raised. But his knack for structure never deserts him - and frankly, this is such an unusual skill for a dramatist to have these days, we can forgive him the rest.This is especially easy given the quality of most of the cast at Merrimack. Keira Keeley seems to heartbreakingly suggest Catherine's instability without any apparent technique at all, and confidently turns on several unlikely emotional dimes without ever missing a beat; it's almost a perfect performance. Hardly a step behind are the reliable Megan Byrne as the gently overbearing Claire, and new face Colby Chambers as the eager post-doc who morphs with agile speed from romantic lead to smooth operator to chief inquisitor (and back) as the gears of the script demand. The one gap in the cast, I'm afraid, is Michael Pemberton, who invests Claire's brilliant father with a kind of bluff heartiness, and hardly a trace of the psychological frailty that haunts his daughter. Director Christian Parker, who clearly knows this play inside and out (he served as dramaturge on its original production) is wise to underplay this issue - still, without even its ghost shadowing the action, Catherine seems slightly untrustworthy in the wrong way. Parker also perhaps misses a subtle dimension to the show's coda - which to my mind is most effective when it suggests that even in matters of "proof," a little faith is sometimes required.Elsewhere the production is strong, but perhaps not in Merrimack's top tier. Lauren Helpern's set gets the job done, for instance, but little more - there's no eccentric specificity to the decay of this quirky homestead. The lighting, by Josh Bradford, and costumes, by Bobby Tilley, are more evocative - but I still sometimes longed for a richer showcase for these extraordinary performances.The Hub Review, the guide to everything that matters in Boston and elsewhere. 
Amelia Broome channels the divine Maria.Theatre is about dreaming. Dreaming big.But there are limits. And I think everyone involved in Master Class at the New Rep was dreaming just a little too big. I am certainly a fan of its star, Amelia Broome, and I've generally admired the work of its intelligent director, Antonio Campo-Guzman - but neither seem to have faced the bottom line about Terrence McNally's valentine (or is it a raspberry?) to the great Maria Callas, undeniably the most fascinating diva of the twentieth century.And that bottom line is: this show is nothing without an actress/panther who can prowl the stage with the same ferocity and neediness as Callas herself. The role can't be a stretch. It can't be an exploration. It only exists as an apotheosis. But Amelia Broome, talented as she is, is much more pussycat than panther; indeed, she's known for projecting a gracious, maternal warmth.Now, for all I know, Callas might have projected gracious warmth as well. But that's not what Terrence McNally has written; his Master Class is hardly a portrait of Callas in all her complexity - it's not even an accurate transcript of Callas as pedagogue (there are videos of her classes available which bear no resemblance to McNally's script). It is, instead, a naïve sketch of Callas as drag queen, a kind of gay fantasia on operatic themes in which Callas-the-queer-icon always trumps Callas-the-actual-person. This is, shall we say, rather a narrow perspective, and without a galvanizing presence to animate McNally's puppet diva, his conceits grow repetitive, and long stretches of the script read as vulgar or simplistic.Callas in mid-flight - Norma in 1957.So this is not Terrence McNally's strongest play (yet it still won a Tony - sigh, only in New York!). Still, his conceit has some resonance, because there's a reason gay men revere Callas the way they do Garland - and it all has to do with the braided power and vulnerability that come with self-transformation.Maria Callas was born Sophia Cecelia Kalos (in Manhattan, not Greece) to an overbearing mother and weak-willed father, who adored her older, slimmer sister (check, check and check on the gay-cliché crib sheet, btw). She began her singing career as a somewhat chubby contralto - probably. Frankly, nobody dares classify Callas's voice anymore, because she steadily pushed her range up to mezzo, then soprano, then coloratura territory seemingly through sheer force of will - rather as certain gay men tweeze and corset their way into out-sized visions of femininity. What's more, Callas drove herself into the most punishing vocal territory, mixing and matching roles that would make any voice teacher faint (in one famous season, she swung from Wagner's Brünnhilde to Bellini's Elvira in a matter of days). 
Broome attempts to cast Callas' spell.In the end, the voice was sui generis - indeed, Callas seemed to have several voices, including, startlingly, a strong baritone (she could sing from F below middle C up almost three octaves). But intriguingly, there was no clear line between any of these modes, and for her, the traditional "break" between head and chest voice likewise didn't really exist (just as binary classifications of gender don't exist in drag). What's more, her voice was somehow inhumanly pure, and yet at the same time subtly unstable; what gave her performances a special thrill was the sense that the whole vocal edifice might topple off its heels at any moment.And indeed, Callas ultimately destroyed her instrument; some claim her dramatic weight loss (she starved herself down to a glamorous sylph) was what, shall we say, tipped the scales; others claim the devastating end of her affair with Aristotle Onassis (who moved on from one trophy "wife" to another, Jacqueline Kennedy) was what sent her into a tailspin personally and vocally. But whatever the reason, her soprano began to collapse when she was in her late 40's (which is what makes the idea of her giving a master class rather ironic).So it's no surprise that McNally couldn't resist sending the divine Callas, musically mute but in eternal high dudgeon, stalking through a heterosexual voice class like some diva-saurus rex. And there's fun to be had for a while, it's true, as she lays waste to the clueless fashion disasters who wander into her lair. But in the end, the vulnerability of her sense of self (and will), and her subsequently cruel "instruction," is all McNally has up his sleeve in dramatic terms - and it's enough for a sharp little one-act, but hardly a full evening.Still, Broome does her best, and is generally diverting, if never entirely convincing (you can almost feel her suppressing her true self); she does fail, however, to make the swooning psychological breaks McNally has written into the play work. But these are really the nadir of the script anyway; indeed, as Callas growls about Onassis' "uncircumcised Greek cock," whatever distance still exists between McNally's fantasies and the diva herself is erased, and we wonder whether she's staggering through memories of La Scala or the Ramrod. But elsewhere in the cast the news is good, and so is the singing. The standout was tenor Darren Anderson's powerful turn, but Lindsay Conrad and Erica Spyres also acquitted themselves well. (Spyres is a known quantity, of course; the surprise was Conrad's bumptiously amusing stage presence.) Meanwhile Brendon Shapiro all but embodied the classic self-effacing rehearsal pianist, while the exasperated Michael Caminiti made every walk-on count. Still, in the end, this was hardly a masterly Master Class - indeed, it made you wonder whether without a diva on hand to match Callas, this script is worth reviving.The Hub Review, the guide to everything that matters in Boston and elsewhere. 
