This is the sixth post in a series inspired by Lake Bell’s audiobook chapter “Sexy Baby Voice.” In previous posts last year, I’ve covered the three key features she uses to define this vocal style – bright resonance (which Bell refers to as “high pitch”), creaky voice (“vocal fry”) and legato articulation (“slurring”), and discussed the various ways that we can manipulate our vocal tracts to create or amplify bright or dark resonances.

This is the fifth post in a series inspired by Lake Bell’s audiobook chapter “Sexy Baby Voice.” In previous posts I’ve covered the three key features she uses to define this vocal style – bright resonance (which Bell refers to as “high pitch”), creaky voice (“vocal fry”) and legato articulation (“slurring”), and discussed the various ways that we can manipulate our vocal tracts to create or amplify bright or dark resonances.

Recently I’ve written a few posts in response to the notion of “sexy baby voice” in Lake Bell’s latest audiobook.

Recently I’ve written two posts about bright resonance in response to Lake Bell’s audiobook chapter, “Sexy Baby Voice.” Bell describes “sexy baby voice” as having three characteristic features: “high pitch”, “vocal fry” and “slurring.” My first post supported Byron Ahn’s analysis that found that Bell’s “sexy baby voice” samples didn’t have reliably higher pitch than the non-“sexy baby voice” samples, and suggested that she’s probably talking

A few weeks ago I posted about “Sexy baby voice,” the topic of a chapter in Lake Bell’s audiobook about the culture and politics of voices.

A few days ago, Byron Ahn drew our attention to an excerpt from a new, six-hour audiobook, Inside Voice by Lake Bell, credited as an “actress/writer/director/producer.” Bell is a friend of author and podcaster Malcolm Gladwell, and Gladwell agreed to serve as a kind of sounding board for Bell’s ideas about something she calls “sexy baby voice,” pointing to the voices of Paris Hilton and Kim Kardashian as paradigm examples of it. Gladwell, whose

A few years ago I wrote about incorporating sign linguistics when I taught Introduction to Linguistics at Saint John’s University. The other course I taught most often was Introduction to Phonology. This course was required for our majors in Speech Pathology and Audiology, and they often filled up the class.

I’ve got great news! I have now released LanguageLab, my free, open-source software for learning languages and music, to the public on GitHub. I wish I could tell you I’ve got a public site up that you can all use for free. Unfortunately, the features that would make LanguageLab easy for multiple users to share one server are later in the roadmap. There are a few other issues that also stand in the way of a massive public service.

Viewers of the Crown may have noticed a brief scene where Prince Charles practices Welsh by sitting in a glass cubicle wearing a headset.  Some viewers may recognize that as a language lab. Some may have even used language labs themselves. The core of the language lab technique is language drills, which are based on the bedrock of all skills training: mimicry, feedback and repetition.

Science craft As a field linguist, I have spent a lot of time working in villages in the Caucasus, collecting audio from speakers of indigenous languages. The processing of such data involves a lot of time-consuming tasks, so during my field trips I created my own pipeline for data collection.