A few days ago, speech AI startup ElevenLabs launched a beta version of its platform that gives users the power to create entirely new synthetic voices for text-to-speech audio or to clone somebody's voice. Well, it only took the internet a few days to start using the latter for vile purposes. The company has revealed on Twitter that it's seeing an "increasing number of voice cloning misuse cases" and that it's thinking of a way to address the problem by "implementing additional safeguards."

While ElevenLabs didn't elaborate on what it meant by "misuse cases," Motherboard found 4chan posts with clips featuring generated voices that sound like celebrities reading or saying something questionable. One clip, for instance, reportedly featured a voice that sounded like Emma Watson reading a part of Mein Kampf. Users also posted voice clips that feature homophobic, transphobic, violent and racist sentiments. It's not entirely clear if all the clips used ElevenLab's technology, but a post with a wide collection of the voice files on 4chan included a link to the startup's platform. 

Perhaps this emergence of "deepfake" audio clips shouldn't come as a surprise, seeing as a few years ago, we'd seen a similar phenomenon take place. Advances in AI and machine learning had led to a rise in deepfake videos, specifically deepfake pornography, wherein existing pornographic materials are altered to use the faces of celebrities. And, yes, people used Emma Watson's face for some of those videos. 

ElevenLabs is now gathering feedback on how to prevent users from abusing its technology. At the moment, its current ideas include adding more layers to its account verification to enable voice cloning, such as requiring users to enter payment info or an ID. It's also considering having users verify copyright ownership of the voice they want to clone, such as getting them to submit a sample with prompted text. Finally, the company is thinking of dropping its Voice Lab tool altogether and having users submit voice cloning requests that it has to manually verify. 

Over the weekend, Nintendo shared a surprise trailer for TheSuper Mario Bros. Movie. The 30-second clip shows additional footage from a scene that was first featured in the trailer Nintendo released last November. More importantly, it marks our first chance to hear Seth Rogen’s take on Donkey Kong. After Mario dons his cat suit, first introduced in 2013’s Super Mario 3D World, Rogen’s Donkey Kong starts laughing. “You got the cat box! I’m sorry,” the ape tells his one-time nemesis before turning serious. “Now you die.”

With Sunday’s trailer, Nintendo has now offered fans a chance to hear the entire ensemble cast of The Super Mario Bros. Movie, including Chris Pratt as Mario, Jack Black as Bowser and Anya Taylor-Joy as Peach. Following the release of the film’s second trailer, Mario creator Shigeru Miyamoto said Nintendo redesigned Donkey Kong's model for the first time since the ape made the jump to 3D in 1994’s Donkey Kong Country. The company went for a more comical design reminiscent of Donkey Kong's original character. The Super Mario Bros. Movie will arrive in theaters on April 7th.

Hollywood may be taking another stab at a Tomb Raider production, but this time for the small screen. The Hollywood Reportersources say Amazon is creating a Tomb Raider TV series for Prime Video, with Phoebe Waller-Bridge (of Fleabag fame) set to be an executive producer and write the script. It's not certain who would star, but we wouldn't count on movie stars Angelina Jolie or Alicia Vikander reprising the role of Lara Croft. The show is reportedly still in the development stage.

We've asked Amazon for comment. A collaboration like this wouldn't be surprising, at least. Amazon is publishing the next Tomb Raider game, and Waller-Bridge previously struck a three-year deal with Amazon that includes projects like the novel adaptation Sign Here. Sources for The Reporter claim Amazon was "aggressive" in pursuing a deal renewal late last year.

The rumor comes as game-based TV shows have their moment in the spotlight. HBO's The Last of Us has already been successful enough to get a second season. Sony, meanwhile, is prepping God of War, Gran Turismo and Horizon titles for Netflix and Prime Video. A Tomb Raider series would bolster Amazon's game-themed catalog and help it compete against rivals like Netflix, which already has hits like the League of Legends offshoot Arcane.

Amazon also hasn't been shy about chasing after potential blockbusters. The company reportedly spent $1 billion on The Lord of Rings: The Rings of Power, for instance. While a Tomb Raider show isn't likely to be as lavish, Waller-Bridge's involvement suggests Amazon is eager for a hit. Amazon struggled to breach the top streaming charts last year — this might give it better ammunition against Netflix successes like Stranger Things.

Never mind ChatGPT — music might be the next big frontier for AI content generation. Google recently published research on MusicLM, a system that creates music in any genre with a text description. This isn't the first AI music generator. As TechCrunchnotes, projects like Google's AudioML and OpenAI's Jukebox have tackled the subject. However, MusicLM's model and vast training database (280,000 hours of music) help it produce music with surprising variety and depth. You might just like the output.

The AI can not only combine genres and instruments, but write tracks using abstract concepts that are normally difficult for computers to grasp. If you want a hybrid of dance music and reggaeton with a "spacey, otherworldly" tune that evokes a "sense of wonder and awe," MusicLM can make it happen. The technology can even craft melodies based on humming, whistling or the description of a painting. A story mode can stitch several descriptions together to produce a DJ set or soundtrack.

MusicLM has its problems, as with many AI generators. Some compositions sound strange, and vocals tend to be incomprehensible. And while the performances themselves are better than you'd expect, they can be repetitive in ways human works might not. Don't expect an EDM-style drop or the verse-chorus-verse pattern of a typical song.

Just don't plan on using the tech any time soon. As with other Google AI generators, the researchers aren't releasing MusicLM to the public over copyright concerns. Roughly one percent of the music produced at the time of publication was copied directly from the training songs. While questions regarding licensing for AI music haven't been settled, a 2021 whitepaper from Eric Sunray (now working for the Music Publishers Association) suggested that there's enough "coherent" traces of the original sounds that AI music can violate reproduction rights. You may have to get clearances to release AI-created songs, much like musicians who rely on samples.

AI already has a place in music. Artists like Holly Herndon and Arca have used algorithms to produce albums and museum soundtracks. However, those are either collaborative (as with Herndon) or intentionally unpredictable (like Arca's). MusicLM may not be ready for prime time, but it hints at a future where AI could play a larger role in the studio.

Get ready for more clickers, quips from Ellie and perhaps a trip to a decaying Seattle: HBO has renewed The Last of Us for a second season. That's not exactly a surprise, as the adaptation of Naughty Dog's games is already a huge hit for the network. Some 22 million people have now watched the first episode, five times the number of people who tuned in on the premiere night 12 days ago. The show also saw the largest second-week jump in audience figures of any original HBO drama series.

If you haven't caught The Last of Us yet and are curious what all the hullabaloo is about, there's some good news. You can now watch the first episode for free on HBO Max.

The streaming service often offers free tasters of certain shows in the hopes of getting viewers hooked and prompting them to subscribe. The first episode of Game of Thrones spin-off House of the Dragon, another major success for the platform, is free to watch on both HBO Max and YouTube.

For the uninitiated, The Last of Us is based on a PlayStation 3 (and PS4 and PS5) game of the same name. It's often held up as one of the finest examples of storytelling in video games. It tales the tale of a smuggler who reluctantly escorts a teenage girl across the US after the world has been ravaged by a fungus that turns people into terrifying, mutated creatures.

So far, HBO's terrific adaptation has largely followed the same story with some smart deviations and changes. Critics have hailed the third episode, which airs this Sunday, as the best installment of the season. It focuses on a side story that's primarily told through a note players find in the game. 

Forza Motorsport, the eighth mainline entry in Turn 10 Studios' long-running simulation racing series, will arrive later this year, the developer announced during Microsoft and Bethesda's Developer Direct showcase. The release date technically constitutes something of a delay, as Microsoft announced last June it would release the game in the spring of this year. Moreover, if you were hoping to play the game on an Xbox One console, you'll need to turn to the company's Xbox Game Pass service to do so; Microsoft plans to release Forza Motorsport on Xbox Series X/S, Xbox Game Pass and PC via the Microsoft Store and Steam. 

On Wednesday, Turn 10 promised Forza Motorsport would take full advantage of the latest Xbox and PC hardware to deliver the franchise's most immersive racing experience yet. The game will feature more than 500 cars for players to collect, including 100 vehicles that are new to the series. To make those cars look their best, Turn 10 used a spectrophotometer to scan the paint jobs of the cars featured in the game. "With this new sourcing technique, our paint models have a more realistic light response across colors, metal flake and gloss levels," the studio said in a blog post published after the showcase. Each car will now also feature context-aware damage and dirt buildup that Turn 10 says is "authentic and unique" to each vehicle.   

During the showcase, the studio showed off Kyalami Grand Prix Circuit in South Africa, one of the five new racing tracks featured in the game. With the help of photogrammetry and laser-scanned images, Team 10 says the environments in Forza Motorsport feature 10 times more realistic detail than past entries in the series. With the addition of dynamic time of day and weather simulation, Turn 10 says fans can expect no two laps around a track to look or play the same.    

Expect Microsoft to share more details about Forza Motorsport later this year.

Here's a pleasant surprise from Xbox and Bethesda's Developer Direct showcase: a full game you can download (almost) right away. The Evil Within studio Tango Gameworks has unveiledHi-Fi Rush, a combo-driven brawler with rhythm game elements. You play Chai, a would-be rockstar who fights a robotics company with the help of the beat. Think Devil May Cry or Bayonetta crossed with a music game, or a very pretty spiritual sequel to Crypt of the NecroDancer. You aren't forced to play to the beat, but you're rewarded for staying in sync with high-powered combo moves and finishers.

Not surprisingly, style plays an important role. The game revolves around its anime-inspired cel-shaded look, its non-stop humor and a mix of both licensed and original music. Streamers don't have to panic about copyright violations — there's an "alternate audio mode" to keep the soundtrack legal during broadcasts.

The title will be available later today for Xbox Series X/S and Windows PCs (through the Epic Games Store, Microsoft Store and Steam). It's also available through Game Pass on these platforms. This is a distinct change of pace for Tango, which is better known for dark, moody titles like Ghostwire: Tokyo. You might not mind, though, particularly if you're looking for something more upbeat.

Minecraft Legends, the unique action-strategy spin on Microsoft's block-building franchise, will arrive on Xbox consoles and PCs on April 18th. Announced last June, the game resembles a modern spin on classic Warcraft strategy: Your goal is to protect your base and destroy your enemy's. It'll feature online campaign co-op and competitive multiplayer, as you'd expect. And judging from the most recent trailer, it looks compelling enough to tempt over gamers who could never figure out what to do in the original Minecraft.

Poker Face isn’t the sort of show that can be spoiled, but have a warning anyway.

I always think there’s been a gulf between production-line TV and its prestige brethren, but that the internet helped demarcate its edges. NCIS was the most-watched drama series in the US from 2009 onwards, but you don’t see The Ringer giving an essay-length breakdown to every episode. These days, prestige drama in the peak-TV mold is pored over and chewed around by the internet sausage machine. Everything else is deemed disposable, despite the obvious and sustained success of the stuff most people are actually watching on broadcast networks. There’s a lot of snobbery there, but also I suspect the The Rookie audience isn’t too fussed about reading a 2,000-word breakdown by an underemployed Yale grad about last night’s Nathan Fillion fights crime action.

Poker Face, then, is an attempt by what I’ll only-slightly-sarcastically call “prestige TV people” into making production-line TV. Like when a stuffy gourmet chef wants to burnish their “down with the kids” credentials by making the sort of dirty burger you can only appreciate at 3am. Interesting then that, despite the fact its co-creator and star are both poster children for Netflix’s revolution, that the show was set up at Peacock. Created by Rian Johnson, fresh from the success of Glass Onion: A Benoit Blanc Mystery, and Russian Doll’s Natasha Lyonne, Poker Face is an unashamed homage to a lost age of TV. Or, you know, lost if you’re not paying attention to whatever CBS is showing on Thursday and Sunday nights.

Lyonne stars as Charlie Cale, a woman with a troubled past who has developed the miraculous ability to tell when someone is lying. After attempting to use her talent to get rich quickly on a lazy poker tour across the US, she’s caught by a Reno casino magnate. He offers her a hostess job, in exchange for not murdering her to death, making her promise not to use her talent again. When he retires, and his grabby son takes over, he opts to use her talent rather than keep it hidden, embroiling both of them in a murder mystery. Which eventually leads her taking a road trip in her Plymouth Barracuda, solving murders wherever she goes.

And, certainly, the show has leant into the idea that Poker Face is probably the closest thing we’re going to get to a millennial Columbo remake. Certainly, the creative team haven’t been shy about drawing the parallels between the ‘70s classic (and, uh 80/90s less classic) and this. It uses the same Inverted Detective Story structure, with the lead character absent in the first act while we see how the murder was committed and the attempts to build a watertight alibi. Not to mention the choice to title the show with boldface yellow text, complete with copyright date under the title card, and its overall ethos. You’ve got a streetwise, rough-around-the-edges New Yorker with a knack for solving crimes and a classic car. And, much like in its inspiration, Lyonne is going up against a series of A- and B-list guest stars, since the most famous guest star (or stars) is the one that did the murder.

NBC Universal

The differences are mostly down to packaging, since Columbo was conceived as a series of movies-of-the-month. (Columbo was originally 90 minutes, but many episodes were “supersized” to two full hours, very commonly to their detriment.) Poker Face is set up as an “episodic” case-of-the-week show, with streaming’s runtime freedom meaning that some episodes run between 80 minutes and just 50 minutes, when the plot is slender enough to justify the trim. That’s good, because it rarely feels like any episode overstays its welcome, and they often skip along at a breezy old clip.

But this efficiency also robs us of one of the highlights that made classic Columbo as it could often be. Watching a short, scrappy, working-class cop square off against higher status opposition was always a delight. And the show would build up to these confrontations, parceling them out along the way toward the eventual denouement. Star Peter Falk was a great, if difficult, actor, and he would often be squaring off against one of his real-life friends, each one a superstar. And they would load each confrontation with depth, nuance and tension as Lt. Columbo sliced apart their “watertight” alibi with a razor blade. Watching Falk against John Cassavetes, Patrick McGoohan, Robert Culp or the amazing Jack Cassidy was electrifying television. And all of this is cast aside, because Charlie is apparently a human lie detector that knows whenever the guest star lies in her presence. (This is rather unsubtly demonstrated most of the time by Charlie reflexively coughing a naughty word describing male cow poops that we’re no longer allowed to write here.)

In its place, is the recurring twist (if it can be called that) that Charlie was actually present or somehow involved with the situation leading up to the murder. So while Lyonne is absent for the first act of the show, you then see an abbreviated version of those same events showing how Charlie came to be inveigled with the events (and has an emotional stake in solving the crime). In a way, you’ll start wondering how exactly we’ll see Charlie pop up and which scenes that we just saw was she lurking in the periphery of. It’s an elegant way of tying the character and the murder together without making her a shabby police officer in a beige raincoat.

But you don’t need to be a Columbo fan to enjoy Poker Face, and the ultimate litmus test was making my aggressively-Columbo-indifferent wife watch the screeners with me. She said that the show was fun, and it gives you the “joy of seeing how Charlie was there all along.” And that, much like another of her favorite detective shows, Jonathan Creek, you can play along at home, looking for the clues that will eventually point Charlie to solving the case. (The show does play fair, too, and gives you the chance to spot a clue that our hero won’t clock for another few minutes.)

NBC Universal

The benefit of the episodic nature of the series is that you can dip in and out of it as you feel like it. I watched the six (of ten) episodes Peacock made available for review in dribs and drabs, watching one, then taking a day off, then the next, in a way that felt similar to how it’s intended to be seen. The only issue for would-be dippers is that you may not quite understand why, at the end of half the episodes, a character I won’t name pops up to glower at Lyonne. This is something the show has borrowed from older shows, where our hero was always on the move in order to stay out of the clutches of the overarching villain and keep the story going. But you’d be a fool not to at least watch the pilot episode, which was written and directed by Johnson. (The second episode, where he just directs, sags a little as it opts to restate its premise for anyone who decided to watch TV like a psychopath and not just start at the beginning.)

Tonally, Poker Face is breezy, despite its rough-around-the-edges world, and there’s often one killer joke in every episode. As much as some episodes might draw from a darker palette, none are even close to being described as “heavy.” It’s not afraid to be a little silly, either, but I’d spoil the fun in explaining how or why it is, so you’ll have to discover that bit for yourself. In fact, most of the fun of the show is just in the watching, so I can’t imagine anyone will be racing to write 2,000-word essay-length breakdowns about how each episode unfolded. Just repeat to yourself: It’s just a show, I should really just relax.

Poker Face debuts on Peacock on January 26th, 2023, with the first four episodes streaming at launch. A new episode will debut every following Thursday for the next six weeks.

These days it’s not necessary to go to a giant studio with overpriced, pro-grade gear to record a Grammy-winning record. You can do it right from the comfort of your own bedroom in fact, using tools priced for even the most casual of hobbyists. It's not news that the tools of creation or the avenues for distributing art are accessible to more people than ever. But the cultural institutions that have dominated popular music for so long can no longer ignore the bedroom producer or budding Soundcloud star.

Maybe you've been inspired to build your own home recording studio. And maybe, you're not quite sure where to start. Well, an audio interface, a good mic and a decent set of headphones will get you pretty far. But the first thing you'll need is probably staring you right in the face: a computer.

Computer and a DAW

Justin DeLay, Director of Product and Category Marketing at Reverb, drives home just how important the computer is: "You can strip away everything else and as long as you have a computer you can still create music," he told me. He suggests you "spend the money on a good computer and get other gear — such as audio interfaces, mics, headphones, etc. — used or at reasonable price points."

But, truthfully, you can do quite a lot with whatever computer you have on hand. Joe Pecora, the engineer and producer at Red Room Studio, says your set up "could be as simple as an iPhone/iPad with Garage band." (I know someone who recorded an entire album this way.) While he agrees that the most important part is your computer, he argues it doesn't have to be super powerful. It doesn't even have to be a desktop. JDilla famously created many of his beats on a Roland SP303, and you can basically recreate that experience with an iPad and the $4 Koala Sampler for iOS. And don't forget that Gorillaz recorded an entire album on an iPad.

Which leads us to the next thing you'll need: a DAW, or digital audio workstation. If you're a Mac user, then you're lucky enough to have access to Garage Band, a surprisingly capable free option. And upgrading to Logic Pro X is only a $200 investment. If you're on Windows (or just don't like Logic), I often recommend Ableton Live (starting at $99). But honestly there are plenty of great options out there, like FL Studio, BitWig and Cubase all of which start at $99. And often, stripped down versions come free as part of a software bundle when you buy music-making hardware like MIDI controllers and audio interfaces.

Assuming you already have a computer and you just need the accessories to get recording, you can pick up everything you need for under $500 new. But, if you’re patient, you could build a well equipped bedroom studio with used gear for as little as $250.

MIDI controller

Speaking of which, one of the first additions to your studio should be a MIDI controller. DeLay says this is a piece of gear often overlooked by beginners. "It's not just for playing keyboard sounds," he explained, "it can be used to write drums and percussion, to control mixes and more. It's the creative interface of music production, and you don't have to play the piano in order to harness its power."

We've covered plenty of affordable and portable options before. But if you don't plan to make music on the go, I can't recommend the Arturia MiniLab 3 enough. It punches well above its weight, and even the pros love this thing. And if you have the space, it's not much more to upgrade to something like the Keylab Essential 49 ($269) or Novation Launchkey 49 ($229), which will give you a lot more controls to play with.

Microphone

Audio-Technica

Unfortunately there's no gear that will magically turn you into a breathy pop goddess, but a decent mic and audio interface can at least help you sound your best. Now, you could get a USB microphone, like Blue Microphones’ $130 Yeti, and it will certainly get the job done. Heck, that album I mentioned earlier was recorded using the wired headset that came with the iPhone.

But, honestly, your better bet is to get a regular XLR mic and an audio interface. Pecora specifically warns against splurging too much here. "People will look at their favorite artist and see that they use a certain mic or preamp or plugin and want to use the same thing thinking it will get them the same sound." On early singles like "Ocean Eyes" Billie Eilish used an Audio-Technica AT2020 condenser mic, which costs just $100. And I’ve stuck almost exclusively with cheap Shure SM58s and 57s ($100 new, $50-$75 used) whether I was recording demos with my band in college or voice over for review videos at Engadget.

If you fancy yourself a future pop sensation and want to make sure your vocals are the star of the show, you could consider using a significant chunk of your budget on something like the Rode NT1-A ($229) or Shure SM7B ($390). You will get better results with more flexibility for post production, but you can clearly get excellent results with more affordable options.

Audio interface

As for the interface, there are tons of great options out there. Companies like Focusrite, Arturia and Tascam make excellent ones. But our new favorites in the budget interface space are Universal Audio’s Volt series. If your budget allows for it we strongly recommend the $299 Volt 276. Though, the $189 Volt 2 is also excellent, it just doesn’t standout from the crowd quite as much.

If you’re trying to save a few bucks, it's hard to beat the Scarlett series from Focusrite (just make sure to get the second- or third-gen models). You can get the latest Scarlett 2i2 for around $130 used, but it's just $180 new (and includes a huge bundle of very useful software).

The reason to opt for an audio interface instead of a simple USB mic is because it offers you a lot more flexibility and room to grow. For one, it offloads a lot of the audio processing from the CPU. Second, it will allow you to connect not just mics (and swap in different ones for different purposes), but also instruments, turntables or anything with an audio-out jack. An audio interface is also necessary if you plan to connect a pair of studio monitors.

Studio monitors and headphones

This is an area that DeLay advises caution. While a good set of studio monitors will obviously be better than the speakers on your laptop and will result in a better mix, it's too easy to get caught up in what he calls monitor envy. "The reality is that monitors at a $300 price point are going to work just fine in most spaces," he says. Plus, your bedroom probably doesn't have the space to really make the most of large, powerful monitors. So, save your money.

And if you're just starting out, you're probably better off getting a decent set of headphones. There're tons of amazing and affordable studio quality headphones out there for under $200, like the $179 Beyerdynamic DT990PRO (currently down to just $179 on Amazon). But one of our favorites is an old workhorse from Sony, the MDR-7506. They're well under $100 and actual pros have used them for decades to mix music.

One tip DeLay offers for novices: Double check your mixes in the real world. Headphones can over emphasize bass, while smaller studio monitors can have trouble delivering accurate bass response. So make sure to listen to your track on laptop speakers or in a car to get a sense of how it will sound in the wild.

And that's really the key — have the patience to develop your skills and make the most of the gear you have. It's really easy to catch a bad case of GAS (gear acquisition syndrome) when you're first starting out — trust me, I know. But there's no need to shell out thousands of dollars for high-end gear to start making music. You don't even need to buy new gear. Pecora suggests the only thing you absolutely should buy new are headphones. And, presumably, that's just because you don't want to be wearing years worth of someone else's sweat on your ears.

Images: Getty Creative (home studio); Ableton (Ableton Live running on laptop); Focusrite (Scarlett Solo); Will Lipman / Engadget (Arturia KeyStep, Sony MDR-7506)