Esta dissertação intenciona investigar a construção do cômico, mediado pela tecnologia, em vídeos remix publicados na plataforma YouTube. Os trabalhos analisados propõem o riso a partir da manipulação de tempo e pitch do áudio de vídeos virais, possibilitada por softwares como Auto-Tune e Melodyne. Entendemos remix conforme autores como Lev Manovich, Eduardo Navas e Lawrence Lessig, que afirmam que vivemos em uma \"Cultura Remix\", uma época que tem como base cultural o sampling, atividade que consiste na troca inteligente entre fragmentos de diversas mídias. Analisaremos a emergência do riso nesse contexto, a partir de reapropriações de materiais preexistentes na rede. Autores como Henri Bergson e Michail Bakhtin nos fornecem o suporte conceitual para investigarmos o riso como um recurso dramático e da cultura tanto na vida cotidiana quanto nas plataformas digitais, que facilitaram, por um lado, o acesso e reciclagem de \"detritos midiáticos\", e, por outro, potencializaram as possibilidades de manipulação desses materiais / This dissertation intends to investigate the construction of the comic, mediated by technology, in video remix published on the YouTube platform. The analyzed works propose the laughter from the manipulation of time and pitch of the audio of viral videos, made possible by softwares like Auto-Tune and Melodyne. We understand remix by authors such as Lev Manovich, Eduardo Navas and Lawrence Lessig, who claim that we live in a \"Culture Remix\", an era that is based on cultural sampling, an activity that consists of the intelligent exchange between fragments of various media. We will analyze the emergence of laughter in this context, from re-appropriation of pre-existing materials in the network. Authors such as Henri Bergson and Michail Bakhtin provide us with conceptual support for investigating laughter as a dramatic and cultural resource in everyday life as well as on digital platforms that facilitated access to and recycling of \"media debris\" on the one hand, and , on the other, potentialized the possibilities of manipulation of these materials.

Esta dissertação intenciona investigar a construção do cômico, mediado pela tecnologia, em vídeos remix publicados na plataforma YouTube. Os trabalhos analisados propõem o riso a partir da manipulação de tempo e pitch do áudio de vídeos virais, possibilitada por softwares como Auto-Tune e Melodyne. Entendemos remix conforme autores como Lev Manovich, Eduardo Navas e Lawrence Lessig, que afirmam que vivemos em uma \"Cultura Remix\", uma época que tem como base cultural o sampling, atividade que consiste na troca inteligente entre fragmentos de diversas mídias. Analisaremos a emergência do riso nesse contexto, a partir de reapropriações de materiais preexistentes na rede. Autores como Henri Bergson e Michail Bakhtin nos fornecem o suporte conceitual para investigarmos o riso como um recurso dramático e da cultura tanto na vida cotidiana quanto nas plataformas digitais, que facilitaram, por um lado, o acesso e reciclagem de \"detritos midiáticos\", e, por outro, potencializaram as possibilidades de manipulação desses materiais / This dissertation intends to investigate the construction of the comic, mediated by technology, in video remix published on the YouTube platform. The analyzed works propose the laughter from the manipulation of time and pitch of the audio of viral videos, made possible by softwares like Auto-Tune and Melodyne. We understand remix by authors such as Lev Manovich, Eduardo Navas and Lawrence Lessig, who claim that we live in a \"Culture Remix\", an era that is based on cultural sampling, an activity that consists of the intelligent exchange between fragments of various media. We will analyze the emergence of laughter in this context, from re-appropriation of pre-existing materials in the network. Authors such as Henri Bergson and Michail Bakhtin provide us with conceptual support for investigating laughter as a dramatic and cultural resource in everyday life as well as on digital platforms that facilitated access to and recycling of \"media debris\" on the one hand, and , on the other, potentialized the possibilities of manipulation of these materials.

Syftet med arbetet har varit att nå utvecklad kännedom inom vokalproduktion genom att undersöka vad som kan göras för att höja kvaliteten på sången i en musikproduktion. En viktig fråga har varit om fokus, för att nå ett gott resultat, framförallt vikten på inspelningen av sången eller om mycket också kan göras genom efterbearbetning för att nå ett gott resultat. Under detta projekt har jag valt att arbeta med tre produktioner där min egen sång står i centrum. Dessa har lite olika stilar på sången och jag har valt just dessa för att utmana mig själv och se hur de olika sångerna ska poleras för att få sin plats i en slutgiltig produktion. För produktionen har jag använt mig av Logic Pro X som DAW. Resultatet är tre produktioner där jag bedömer att sången genom de produktionsmetoder som tillämpats har blivit betydligt bättre jämfört med tidigare produktioner som jag har genomfört. Bland de metoder och tekniker som jag tillämpat ingår programmet Melodyne som jag använt för att höja sångens kvalitet genom att sången blivit tightare och renare. Även equalizer ochkompressor har bidragit till att få sången att låta jämn. En viktig slutsats är att all sång, trots omfattande bearbetning med effektiva redigeringsverktyg, skulle behöva sjungas om innan de aktuella låtarna kan publiceras genom ett eventuellt släpp. / The aim of the work has been to gain advanced knowledge in vocal production by investigating different methods to raise the quality of the vocal parts in a music production. An important question has been whether the focus, to achieve a good result, mainly has to be the recording of the song or whether much can be done through post-processing in order to achieve a good result. During this project I have chosen to work with three productions where I sing the vocal parts myself. These have slightly different styles on the song and I have chosen just these to challenge myself and how to edit and produce the vocal part for at good result in the final production. For the production I have used Logic Pro X as DAW. The result is three productions where the production methods used, from my view, clearly has contributed to a better result compared with productions that I previously have performed. The methods and techniques that I have applied include the Melodyne software, which I have used to improve the quality of the song by making the song tighter and cleaner. Also equalizer and compressor have been used to improve the sound quality. However, it is important to conclude that the vocal parts in the productions, despite extensive processing with efficient editing tools, would need to be re-recorded before the songs can be published.