. . . . . . . . . . . . . . . . . . . . "Troy Baker 15px"@en . . . . . . . "66854"^^ . . . . . . "15.ai is a non-commercial freeware artificial intelligence web application that generates natural emotive high-fidelity text-to-speech voices from an assortment of fictional characters from a variety of media sources. Developed by an anonymous MIT researcher under the eponymous pseudonym 15, the project uses a combination of audio synthesis algorithms, speech synthesis deep neural networks, and sentiment analysis models to generate and serve emotive character voices faster than real-time, even those with a very small amount of data."@en . . . . . . "TroyBakerVA"@en . . "yes"@en . . . . . . . . . . . . . . "15"^^ . . . . . . "15.ai"@en . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "15"^^ . . . "350"^^ . . . . . . . . . . . . . . . . . "None"@en . . . . . . . . . . . . "Under maintenance"@en . . . . . . . . . . . "15.0"^^ . . . . . . . . . "No"@en . . . . . . . . . . . . "Stable release: v24.2.1 /"@en . . . . . . . . . . . . "15.ai"@en . "Initial release:"@en . . . "1123831495"^^ . . . . . "15"^^ . . . . . . . . . . . . . . "15.ai is a non-commercial freeware artificial intelligence web application that generates natural emotive high-fidelity text-to-speech voices from an assortment of fictional characters from a variety of media sources. Developed by an anonymous MIT researcher under the eponymous pseudonym 15, the project uses a combination of audio synthesis algorithms, speech synthesis deep neural networks, and sentiment analysis models to generate and serve emotive character voices faster than real-time, even those with a very small amount of data. Launched in early 2020, 15.ai began as a proof of concept of the democratization of voice acting and dubbing using technology. Its gratis and non-commercial nature (with the only stipulation being that the project be properly credited when used), ease of use, and substantial improvements to current text-to-speech implementations have been lauded by users; however, some critics and voice actors have questioned the legality and ethicality of leaving such technology publicly available and readily accessible. Credited as the impetus behind the popularization of AI vocal reconstruction technology in content creation, 15.ai has had a significant impact on multiple Internet fandoms, most notably the My Little Pony: Friendship Is Magic, Team Fortress 2, and SpongeBob SquarePants fandoms. Several commercial alternatives have spawned with the rising popularity of 15.ai, leading to cases of misattribution and theft. In January 2022, it was discovered that Voiceverse NFT, a company that voice actor Troy Baker announced his partnership with, had plagiarized 15.ai's work as part of their platform."@en . . . . . . . . . . . . . . . . . . "[...] The website has multiple purposes. It serves as a proof of concept of a platform that allows anyone to create content, even if they can't hire someone to voice their projects.\n\nIt also demonstrates the progress of my research in a far more engaging manner\u2014by being able to use the actual model, you can discover things about it that even I wasn't aware of .\n\nIt also doesn't let me get away with picking and choosing the best results and showing off only the ones that work . Being able to interact with the model with no filter allows the user to judge exactly how good the current work is at face value."@en . . . . . . . . . . . . . . . . . . "2022-01-14"^^ . . . . . . . . . . . . . . . . . . . . . "I\u2019m partnering with @VoiceverseNFT to explore ways where together we might bring new tools to new creators to make new things, and allow everyone a chance to own & invest in the IP\u2019s they create. \nWe all have a story to tell. \nYou can hate.\nOr you can create.\nWhat'll it be?"@en . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "English"@en . . . . . . . . . . . . . . . . . . . . "63569253"^^ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "fifteenai"@en . . . . . . . . . . .