In regards to the development of the English version of the software specifically, many studios when approached by Crypton Future Media for recommendations towards developing the English Vocaloids had no interest in the software initially, with one particular company representative calling it a "toy". The CEO of Crypton Future Media noted the lack of interest in Vocaloids overall was put down to the lack of response in the initial Vocaloid software. However, focus had switched from focusing on the vocals to focusing on the boxart character mascot itself at this point.
He also noted that the software's slow start and its early bad reputation was the hardest part for the software to overcome in regards to its success, and like any commercial product, a decrease in sales would result in a decrease in development.
He hoped that the Vocaloid software will continue to progress forward so long as its userbase continues to push it forward. However, each vocal has its own unique personality to it, so choosing one vocal over another is not easy. Giuseppe, who had produced demo songs for both Zero-G and PowerFX Vocaloids, and is now aiding in the production of Spanish based Vocaloids, had noted that each Vocaloid package worked the same way. However, he states that Vocaloid also does not "snap into tune" like auto-tuning software, which the music industry seems to favor these days. He compared it to auto-tuning software, stating the Vocaloid software itself has enough imperfections to present itself as a singer who does not sound human. When interviewed by the Vocaloid producing company Zero-G, music producer Robert Hedin described how the software offered a creative freedom. He, along with fellow writer John Walden during a review on Sonika, both stated singers will not fear losing their jobs just yet.
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When reviewing Tonio, Sound on Sound writer Tom Flint argued that in the amount of time it takes to understand and learn how to use the software, it would be easier to hire a singer for half and hour to do the recording session.
Particularly what makes Vocaloid difficult to sell as a product is the notion that the human ear can pick up faults in vocal speech. In reviewing Vocaloid 2, he referred to the original software engine in a passing comment stating, "Undoubtedly a remarkable and innovative product and, with experience and patience, was capable of producing results that could be frighteningly realistic." While he congratulated the improvements made in Vocaloid 2, he noted the software was still far from being regarded as a top rate singer. When Sweet Ann was first released, John Walden of Sound on Sound had reviewed Leon, Lola and Miriam and noted that Vocaloid itself had no previous rival technology to contend with, and praised Yamaha for their efforts as Vocaloid was an ambitious project to undertake, considering the human voice was more complex to synthesize than instruments such as the violin. Reception to Vocaloid 2 was generally better. However, while the provider of "Miriam", Miriam Stockley, had accepted that there was little point in fighting progress, she had noted there was little control over how her voice was used once the software was in the hands of others. Stipe noted that one of the more useful aspects of the software was that is gave singers a method of preserving their voice for future use should they lose their own, but as the technology progressed it could also be used to bring back the voices of singers whose voices have already been lost. praised when it was first announced in 2003. In contrast to the reaction overseas, reviewers such as Michael Stipe of R.E.M. Despite the success of the software in Japan, overseas customers have been reluctant on the software overall.
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