Where to begin on such an infectious subject plaguing modern music? Is pitch correction creating a whole new spectrum for artists to compose? Or is it merely a way of disguising the truth that you can’t tell a B flat from a C sharp? In my opinion, it's a little of both. Whilst it is worming its way into studios as a “get-out-of-jail-free” card, it can be used to create truly beautiful music.
It’s fair to say that Auto-tune is widely recognized among the music community, although not everyone knows exactly what it is or it’s specific function. So for anyone who’s unsure, Auto-tune is an audio processor that specializes in pitch correction by using a phase vocoder. If an artist has a bad take, or maybe a million bad takes then the engineer can use Auto-tune to digitally convert the bad notes into a pitch perfect product. The processor has found its way into studios as a plug-in developed by Antares Audio Technologies since 1997. It comes as a surprise to many people that artists have been demonstrating their use of auto-tune for the past 14 years as it’s only really crept into the media spotlight in the last few years. This is down to the fact that recently musicians have been deliberately mistreating their voices “under the influence” of auto-tune to produce phantom timbres. Whereas before, artists were using the tool in a more “traditional” manner, for vocal correction. Having said that, the earliest dated use of auto-tune was in fact Cher! An accomplished singer who you’d never expect to be relying on a vocoder to tidy up her mix. The truth is, she was years (literally) ahead of her time when she purposely warped her vocals on the multi-million selling single, "Believe”.
So, good or evil? Creative or destructive? You could cover every individual angle of this argument and still come escape a conclusion; the resolve must therefore be through personal opinion. In my case, I believe Auto-tune is a hazard to the studio. Like watching a car without brake control, I'd feel more comfortable standing to one side of it than in the way and bracing myself for the inevitable damage. If you can’t sing then why are you trying to record? Simple. I have more respect for artists who do make a conscious effort to advertise the fact that they’re success is built from a vocoder.
Where to begin on such an infectious subject plaguing modern music? Is pitch correction creating a whole new spectrum for artists to compose? Or is it merely a way of disguising the truth that you can’t tell a B flat from a C sharp? In my opinion, it's a little of both. Whilst it is worming its way into studios as a “get-out-of-jail-free” card, it can be used to create truly beautiful music.
It’s fair to say that Auto-tune is widely recognized among the music community, although not everyone knows exactly what it is or it’s specific function. So for anyone who’s unsure, Auto-tune is an audio processor that specializes in pitch correction by using a phase vocoder. If an artist has a bad take, or maybe a million bad takes then the engineer can use Auto-tune to digitally convert the bad notes into a pitch perfect product. The processor has found its way into studios as a plug-in developed by Antares Audio Technologies since 1997. It comes as a surprise to many people that artists have been demonstrating their use of auto-tune for the past 14 years as it’s only really crept into the media spotlight in the last few years. This is down to the fact that recently musicians have been deliberately mistreating their voices “under the influence” of auto-tune to produce phantom timbres. Whereas before, artists were using the tool in a more “traditional” manner, for vocal correction. Having said that, the earliest dated use of auto-tune was in fact Cher! An accomplished singer who you’d never expect to be relying on a vocoder to tidy up her mix. The truth is, she was years (literally) ahead of her time when she purposely warped her vocals on the multi-million selling single, "Believe”.
So, good or evil? Creative or destructive? You could cover every individual angle of this argument and still come escape a conclusion; the resolve must therefore be through personal opinion. In my case, I believe Auto-tune is a hazard to the studio. Like watching a car without brake control, I'd feel more comfortable standing to one side of it than in the way and bracing myself for the inevitable damage. If you can’t sing then why are you trying to record? Simple. I have more respect for artists who do make a conscious effort to advertise the fact that they’re success is built from a vocoder.
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