Create original English dialogue with heroine, rival, sidekick and mentor effects. Compare the voices, tune the processing, and export a line for your scene.
Guests can generate up to 500 text characters per day. No sign-up or credit card required. See free and paid allowances.
Add an effect to up to 30 seconds of your recording. Your file stays in this browser; no generation credits are used.
Free audio is for personal, non-commercial use. Commercial use is included on all paid plans, including Starter, subject to the Terms and your rights to the content and voice.
Listen before you create
Compare four original English lines with heroine, rival, sidekick and mentor effects. None copies a named character or voice actor. Listening uses no credits.
English · adjustable voice effect
Anna generated at 1× before this effect was applied. Compare the original below; pitch-and-pace processing can change duration.
“I will not give up. We have come too far to turn back, and this time we will finish what we started.”
Before · original AI voice
“I will not give up. We have come too far to turn back, and this time we will finish what we started.”
English · adjustable voice effect
Alex generated at 1× before this effect was applied. Compare the original below; pitch-and-pace processing can change duration.
“You call that training? Try again. Show me what you can do when you stop holding back.”
Before · original AI voice
“You call that training? Try again. Show me what you can do when you stop holding back.”
English · adjustable voice effect
Bella generated at 1× before this effect was applied. Compare the original below; pitch-and-pace processing can change duration.
“Wait for me! Someone has to make sure you two do not turn this mission into a disaster.”
Before · original AI voice
“Wait for me! Someone has to make sure you two do not turn this mission into a disaster.”
English · adjustable voice effect
Benjamin generated at 1× before this effect was applied. Compare the original below; pitch-and-pace processing can change duration.
“Look at what is in front of you. Strength is useful, but knowing when to use it matters more.”
Before · original AI voice
“Look at what is in front of you. Strength is useful, but knowing when to use it matters more.”
These examples combine synthetic English speech and audio effects. They are sound-design treatments; emotional delivery and suitability for a scene remain yours to review.
01
Before choosing a voice, decide what the character is trying to achieve in the scene. A lead asking a friend to stay, a rival issuing a challenge and a mentor explaining a mistake need different words, even when they discuss the same event. Write that objective in your production notes, then remove the notes from the spoken script. The styles on this page are starting points for original English dialogue and local voice processing. They are not copies of a named anime character or voice actor. A recognizable emotional situation gives you something useful to evaluate when listening; a voice effect alone cannot turn an unclear line into a convincing performance.
02
The four role settings combine real English presets, an initial speaking pace and a voice effect. Audition them before writing an entire scene around an assumed sound. The heroine setting can begin a lead role, the rival a challenge, the sidekick a response and the mentor a measured instruction. These names do not guarantee a particular age, personality or emotional delivery. Compare the unprocessed reading with the effect and reduce strength when the treatment makes the line harder to understand. Keep a record of the actual voice and processing settings instead of only the role label. That makes it easier to return to the same starting point when a script revision changes one sentence.
03
This site currently generates English speech. Write the sentence as natural English dialogue rather than a word-for-word imitation of a translation style. Keep the character's intention clear and choose vocabulary that fits the world of the story. A short line can carry urgency without repeating the same declaration several times. Spell unfamiliar invented names in a pronounceable way and test them inside a sentence before generating more dialogue. Do not put directions such as shouting, whispering or crying in the text field and assume they will be performed; the model may read those words aloud. There is no guaranteed emotion-control channel here. If an exact dramatic performance matters, record an authorized human take and consider conversion as a separate workflow.
04
A voice effect changes the audio's tonal character. It does not know why the character is angry, amused or worried, and it cannot reliably create a missing performance from an unsuitable reading. Use the effect strength to compare a subtle treatment with a stronger one on the same generated take. The additional pitch-and-pace control changes playback rate, so pitch and duration move together. Choose those settings before finalizing animation timing, because a processed line may be shorter or longer than the original. If the words or emphasis are wrong, revise the script or record a more suitable performance. Save the original audio as well as the processed MP3 so your editor can return to a clean source later.
05
Create and download each speaker's lines separately. Put them in order on your editing timeline and listen to the conversation without animation first. Check whether each response follows naturally, whether a pause gives the audience time to understand, and whether two characters sound distinct enough. Only then align the final audio with mouths, gestures and captions. This tool does not create lip sync, animate a character or export a finished video. It also does not automatically assign speakers from a screenplay. For a short VTuber clip or original animation, a simple production sheet with line number, speaker, voice, pace, effect and filename can prevent an otherwise good take from being lost among several similar downloads.
06
Each text request can contain up to 500 characters. Keep the first test representative of the names and sentence shapes used in your scene, then listen for clipped endings or altered words before generating the next lines. Check the finished mix on headphones and a phone speaker, especially if music or action sounds compete with dialogue. Use original characters and scripts or material you have permission to adapt. A voice preset does not license an anime franchise, a performer's identity or someone else's recording. Follow the service terms and the rules of the platform where you publish. The goal is a clear original scene whose sound choices support its story, not an implied performance by a person who did not participate.
A little clarity
The details that help you create with confidence.
Contact us →Write a short English line and choose a role to apply its voice, pace and audio effect. Generate, compare with the clean original, and adjust the effect before fitting the downloaded line to animation. The processing does not add a specialized acting model.
Guests can use 500 characters a day, shared between standard speech and instant cloning. Signed-in users use their displayed credits. Listening to existing samples uses no credits.
Anna and Bella are available in these draft settings, and the female voice page offers four real female presets. A voice selection does not guarantee a specific age, emotional style or animated-character performance.
No named-character or performer presets are offered. These are original draft roles. Do not upload a voice reference without the speaker's permission and the necessary rights.
The current site supports English. It has no emotion slider or guaranteed shouting, crying or whispering control, and bracketed acting directions may be read aloud.