Onomatopoeia Generator: Fill & Download for Free

Before I answer this, I’ll begin with a disclaimer that I like trap music overall, and some of the criticisms I’m going to mention are not necessarily my own, but rather just things that I’ve heard around the way.Also, much of the criticism directed at trap music is a result of it being immensely popular, which is consistent with all forms of newly popular music. Be it crunk, bro country, dubstep, emo, or even teen pop, whenever a subgenre of music breaks into the mainstream, it will face heat and hate from all sides. Trap is just the latest music form to crash the pop party.And on that note, let’s look at a few common criticisms from hip hop fans.Generational gapTrap music has been around for a long time, but the modern version of it is different than what was around in its origins in the mid-2000s (and arguably earlier). The original form of trap music was a subgenre of Southern rap notable for songs about the life of crime, particularly in the drug trade. The new generation of trap music is more pop-oriented party music. This change underscores the issue that longtime fans of trap music have: there is a generational divide in which the new version of the music is different from the original music in terms of lyrical content and productions.Nonsensical lyricsThe most common criticism of the new generation of trap music is that it is lyrically lacking. Rap music allows for eloquence, mind-bending lyricism, and vivid storytelling among the best artists. But many trap songs feel like brand idolatry, hedonistic non-sequiturs, and random, excessive cursing. While many of the songs are by skillful rappers, the songs lack content. They aren’t really about anything. Where first-generation trap music offered great depth even when talking about the world of crime, the new stuff just glorifies drugs and partying without any examination. It’s fantastic party music, but it’s not good listening music.Rapper-SingersI often hear complaints about the singing. There are many guys like Lil Yachty, Young Thug and Fetty Wap (example below: “Trap Queen”) who sing almost as much as they rap, or rap in a way that blurs the line with singing. This is nothing new in hip hop music: from Bone Thugs N Harmony and Andre 3000 to Pharrell and T-Pain, there are plenty of rappers who have done this. But trap musicians often sound a bit too untrained and unpolished. The singing is melodic and catchy to some, but amateurish and grating to others.MmmummmmbleThen there is the mumble rap. Mumble rappers are the guys whose drawls, lack of enunciation, new-school slang and overall flow render their lyrics nearly incomprehensible. These guys are some of the most polarizing figures in hip hop. For people who like to understand what their rappers are saying, mumble rappers REALLY make you work for it. Some people just don’t have the patience.TrapsaturationI mentioned above that trap is popular, but that may be an understatement. The signature sounds of trap - the hi-hats, synths and 808 bass pumps - have made their way into R&B, pop and EDM. It has also made it’s way into rock. One of the big hits of 2016 was Panic at the Disco’s “Death of a Bachelor.” The song is deliberately eclectic, mixing Sinatra-style crooning with a trap beat. It’s an awesome song, but it also is a sign that trap beats are so ubiquitous that the genre is now unavoidable. Pop music is saturated with trap, and only half of it is from rappers. It’s on the verge of getting played out.SKRRRT!!!Onomatopoeia is largely associated with trap music, and it drives some music fans nuts. Onomatopoeia is the use of sounds to phonetically imitate something else. Trap rappers do this a lot, especially guys like The Migos. Listen to a song like “Bad and Boujee,” their hit single that reached No. 1 on the pop charts at the start of the year. Try to count how many times they do a dog bark, pigeon coo, or screeching tires (otherwise known as SKRT SKRT) in the background. Let’s just say it’s often. The “SKRT SKRT” sound has taken on a life of it’s own because so many rappers do it so frequently. We’ve arrived at a point where it’s featured on t-shirts and other swag because it has become so popular. You could blame trap for that. This also falls under the category of nonsensical lyrics, but it’s so unique it deserves its own mention.To SummarizeMost criticism of trap music is about the fact that it just isn’t listening music. It’s mostly party music with fantastic beats, so when it plays in the club or while driving in your car with the (rain drop) drop top down, it sounds fine. And because it’s so popular those trap beats are everywhere, so the party will follow you wherever you go. Just don’t expect much outside of the party jams. Lyrically speaking, trap - as a whole - falls short.

That’s just an onomatopoeia. Yes, that’s it. Just an innocent imitation of a real-world sound. We don’t mean anything about white robes and hoods.The letter “K” is called “ka” in Portuguese, and that reads like “car” without an “r” in the end. A series of “k” (either lower or uppercase) is read like “kakaka”. This includes, of course that other thing involving idiots in white robes.The pronunciation of the “K” in Portuguese is very close to the English pronunciation of the “H” (both are uvulars, the K being a stop and the H being an approximate).Before comics were mainstream, it was not customary to write down laughter in literature. When a writer wanted to say that a character had found something fun he would say the character had laughed, giggled, cackled, chuckled, smiled or whatever appropriate verb. This was also true in Portuguese, though we have much less variation in words to convey fun.Comics brought onomatopoeia into mainstream. Instead of writing down that a character broke through a door you could drawn a broken door and write “crash!” somewhere. The reader was meant to understand that the door had just been broken.Comics brought laughter to a graphic form too. Characters were drawn showing their wide open mouths, their half-closed eyes and some onomatopoeic code by them: “hahaha” for instance.“Hahaha” is very appropriate, but, unfortunately, Portuguese lacks the uvular approximate H. As Brazilians tried to pronounce “hahaha” they accidentally pronounced “kakaka” instead. Otherwise they’d pronounce a series of plain “a” sounds (a-a-a).The problem with the plain “a” laughter is that it feels unnatural to your ear and hard on your mouth. As you have to pronounce a long string of open vowels you tend to intersect them with some “glottal stops”.Glottal stops and uvulars are very close in articulation: “uvula” means throat and “glottis” means the connection between the oesophagus and the mouth, just above the throat.Portuguese incidentally lacks glottal stops as well — but moreover: they are quite alien to our phonemic inventory (they’re alien even to English). When we hear glottal stops we tend to mishear them as uvular. A glottal stop is usually misheard by Portuguese speakers ad either a “G” or a “K”.Every possible way to pronounce “hahaha” tends to be heard or pronounced by Portuguese speakers in general and by Brazilians in particular as “kakaka”.For a long time we didn’t mind it, and we didn’t even notice it. But then came the internet.The need to write fast and to save space (Portuguese is notorious for longer words than English) lead us to invent many abbreviations, like “tb” (também, which means “too”), “vc” (você, which means “you”), “hj” (hoje, means “today”) and “uu” (an interjection meaning “yahoo!”) etc. In this sense, “kkk” is faster to type and uses half the space as “hahaha”.So it is not true that we say “kkk” when we laugh (though some people, notably younger generations, tend to), but rather that we write down laughter as “kkk” in most online contexts.As for actual laughter, there are many different types. The only laughter you won’t hear anywhere in Brazil is “hue”. Hue is only a city in Vietnam and “Ué” is just a less mineiro way of saying “Uai”.As for “Uai” and its meaning, I’d have to write an entire book about that interjection alone.

The noise itself is represented by an 8hz pulse, which is played consecutively five times. Each of those 5 times carries relatively the same time frame. The sound increases when Transformers go from vehicle/weapon/device mode to robot mode and then decreases while performing the opposite, at least in the Generation One (80s show) variation.The variance in length of pulse sound would change depending on the size of the Transformer. Louder and longer for the big ones and then slightly quieter and faster for the little ones.As far as the onomatopoeia of that sound? There are a few variations used in the official Transformers comics.Below you'll see a version taken from the Transformers Animated comics...whrr-tschzz-tschzz-tschzz-chkThe manga released in Japan uses...gi-go-ga-go-goIn the 2012 More Than Meets The Eye: Issue 1 and Autocracy: Issue 12, it is written as...Tsche-chu-chu-chu-tsche-or-TSCHE-CHU-CHU-CHE-TSCHESo, as you can see, there's no definitive answer. Even the official Transformers comics differ.And keep in mind that the movies vary as far as the use of sounds. They have the G1 version embedded within additional sound effects.Note: Information found online at the Transformers Wiki.