Cat Power’s new album Sun dropped earlier this week, and the fact that she uses Auto-Tune on the track “3, 6, 9” has generated almost as much interest as the album itself. For an ostensibly innocuous pitch-correction effect, Auto-Tune has generated a heap of controversy over the last decade, ever since Cher introduced it to the world during the chorus of “Believe.” Much of the opprobrium directed at the use of the software is entirely justified (Hi, Eiffel 65! Hi, Chris Cornell!), but that’s not to say that every Auto-Tuned track is a priori awful — so we’ve set ourselves the challenge of finding 10 tracks that use its sound in creative or interesting ways. And for clarity’s sake, we’re discussing Auto-Tune as an audible pseudo-vocoder effect here, not as a production tweak to correct an errant vocal — otherwise every chart song since the turn of the millennium would be eligible. Anyway, let us know if we’ve missed anything. First person to suggest “Believe” or anything by T-Pain gets a lump of coal for Christmas.

Daft Punk — “One More Time”

Two years after “Believe,” Daft Punk proved that Auto-Tune didn’t have to be a novelty effect used to stink up an already dreadful song. The artificial vocal tones the effect produced on this track were a perfect fit for the band’s robotic persona, making this a fine example of using Auto-Tune for a reason, rather than just whacking it on whoever’s singing the hook because that’s what everybody else is doing.

Dec 12, 2016  14 Popular Singers Who Actually Can't Sing At All. Many of today’s most popular singers sell millions of albums, they are able to pack arenas full of fans, and every club you venture inside of will be playing their jams through the loud speakers. Dec 09, 2015  There are a couple ways you can tell, based upon the skill of the engineer that applied it, and of course the raw vocal talent of the artist. Most pop singers don't have perfect intonation. A few classical singers do, but the majority of pop typ.

Chromatics — “These Streets Will Never Look the Same”

And indeed, the problem with Auto-Tune over the last decade hasn’t so much been the effect itself — after all, it’s just a sound. Rather, it’s the fact that it’s been slathered on vocal hooks as a matter of course, most likely because it was seen as some sort of pop-tastic philosopher’s stone after the success of “Believe.” Here, the effect is just the opposite — instead of being used to create pop thrills, it lends Ruth Radelet’s voice an otherworldly quality, enhancing the song’s inherent sense of disconnection and alienation. (As an aside, someone really needs to do a mash-up of this track with “Streets of Philadelphia.”)

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3. The controls used in the Auto-Tune 8 interface. Chapter 4: Auto-Tune 8 Tutorial This chapter introduces you to details of how Auto-Tune 8 works by guiding you through several tutorials. The tutorials will give you insight into how and when to use each of Auto-Tune 8’s key functions. Chapter 5: The Auto-Tune Vocal E!ect What it is. How to do it.
4. Auto-Tune is a proprietary audio processor created by Antares Audio Technologies. Auto-Tune uses a phase vocoder to correct pitch in vocal and instrumental performances. It is used to disguise off-key inaccuracies and mistakes to allow for less takes in a studio.
5. Mar 16, 2018 HIS AUTO-TUNE STOPS WORKING LIVE. (Drake, Cardi B, Kendrick Lamar & MORE!) in this video we look at Rappers Without ANY Auto-Tune to see how different they sound! We countdown this list from God.

Kanye West — “Love Lockdown”

It’s really “pick your favorite moment from 808s and Heartbreak here,” since Auto-Tune was all over that record — “Heartless,” “Amazing,” and various other tracks are largely defined by their use of the sound, but unlike some of his contemporaries, West never uses it without a reason. Its effect here is not unlike that on “These Streets Will Never Look the Same” — it creates a disconnected, late-night ambience that reflects the track’s subdued nature.

Aphex Twin — “Funny Little Man”

Richard D. James has never seen an effect he didn’t like, so it’s no surprise that Auto-Tune would turn up on one of his tracks sooner or later. It’s also no surprise that he makes it sound weird as hell, running a faintly sinister vocal sample through the software to make it sound, well, even more sinister.

Sufjan Stevens — “Impossible Soul”

And similarly, since this 25-minute track contains not just the musical kitchen sink but the entire damn kitchen, it’d feel wrong if Auto-Tune didn’t surface at some point. Sure enough, from about 10 minutes, Stevens’ voice gets Auto-Tuned to within an inch of its life, creating a radical alteration of his vocals that’s somehow curiously compelling.

Frank Ocean — “Novacane”

Ocean’s Nostalgia, Ultra made fascinating use of Auto-Tune, a use that the singer himself sets out on “Novacane,” as follows: “Can’t feel nothing/ Superhuman/ Even when I’m fucking Viagra popping/ Every single record Auto-Tuning/ Zero emotion/ Muted emotion/ Pitch corrected/ Computer emotion.” It’s both clever and self-referential, and makes for another fine use of the effect as a metaphor for drug-fueled digital-era alienation.

Polica — “Dark Star”

Unless you’re trying to achieve a specific sound, subtlety is generally the way to go with any sort of effect, vocal or otherwise (a fact that’s largely lost on the T-Pains of this world, unfortunately). So it goes with this track, which gives Channy Caselle’s voice a light dusting of Auto-Tune on the chorus to rather pleasing effect.

The-Dream — “Right Side of My Brain”

So it goes with this track, too — again, we have Auto-Tune as an evocation of emotional distress and heartbreak. The-Dream, however, is pretty shameless about his use of the software for purely aesthetic reasons, deploying it to sugar-coat a voice that’s pretty sweet to begin with. The result is a world away from Cher and T-Pain, and shows that even the most reviled effects can be just fine if they’re not abused.

Cook vector free download. Future feat. Drake — “Tony Montana”

But then, compare and contrast with this track — given that Auto-Tune’s original raison d’être was to prettify vocals, its use to distort the hook here is both clever and innovative. The track itself is hideously catchy, too — we dare you to listen to it and not find yourself singing “Tony Montaaaaaana!” for the rest of the day.

Bon Iver — “Woods”

And good grief, has it come to this? We’ve not exactly been big fans of Bon Iver’s work over the years, but we do have to admit that The Bearded One has a fine voice, and that his creative and unconventional use of Auto-Tune here does a pretty fine job of capturing the ambiance of this song’s setting (even if it does occasionally sound a bit like something that might be buzzing around your head as you sit around the campfire).

Was Autotune Used In 80s Music

Pitch correction is an electronic effects unit or audio software that changes the intonation (highness or lowness in pitch) of an audio signal so that all pitches will be notes from the equally tempered system (i.e., like the pitches on a piano). Pitch correction devices do this without affecting other aspects of its sound. Pitch correction first detects the pitch of an audio signal (using a live pitch detection algorithm), then calculates the desired change and modifies the audio signal accordingly. The widest use of pitch corrector devices is in Western popular music on vocal lines.

Was Autotune Used In 80s Free

History[edit]

Prior to the invention of pitch correction, errors in vocal intonation in recordings could only be corrected by re-recording the entire song (in the early era of recording) or, after the development of multitrack recording, by overdubbing the incorrect vocal pitches by re-recording those specific notes or sections. By the late 70s, engineers were fixing parts using the Eventide Harmonizer H49. Prior to the development of electronic pitch correction devices, there was no way to make 'real time' corrections to a live vocal performance in a concert (although lip-syncing was used in some cases where a performer was not able to sing adequately in live performances).

Pitch correction was relatively uncommon before 1997, when Antares Audio Technology's Auto-Tune Pitch Correcting Plug-In was introduced. This replaced slow studio techniques with a real-time process that could also be used in live performance.^[1]

Auto-Tune is still widely used, as are other pitch-correction algorithms including Celemony's Direct Note Access which allows adjustment of individual notes in a polyphonic audio signal,^[2] and Celemony's Melodyne. Pitch correction is now a common feature in digital audio editing software, having first appeared as a Pro Tools plugin and now being found in products such as Apple GarageBand, Apple Logic Pro, Adobe Audition, FL Studio, Digital Performer, and Steinberg Cubase. MorphTune also provides this functionality. It is also available in the form of rackmount hardware, such as the TC-Helicon VoiceOne. There is also a large stompbox pedal that provides pitch correction in a small device that could be used at a show by plugging the vocal microphone into the pedal and then sending the signal to the PA system. A free VST plugin known as GSnap can also be used to get the same effect. In the LinuxFOSS community, Autotalent and Zita-AT1 offer this functionality.

Uses[edit]

Pitch correction[edit]

The most common use of pitch correctors is to fix wrong intonation (tuning) of notes sung by vocalists in popular music sound recordings. The use of pitch correction speeds up the recording process, because singers do not need to keep singing a song or vocal line and re-recording it until the pitches are correct. The pitch correction software can correct any pitch errors in the singing without the need for overdubbing or re-recording.

While pitch correction is most associated with fixing vocal intonation errors, it can also be used to fix intonation in recorded instrumental parts such as violin, cello or trumpet.

Vocal harmony and vibrato[edit]

Pitch correctors are commonly used in music studios to add the sound of vocal harmony to certain sung words or phrases without re-recording those lines again at the necessary pitches or using backup singers. Depending on the model used, various vocal effects can be added and the better quality devices can be adjusted to allow expression to remain in the music. Some pitch correctors can add vibrato.

Extreme effects[edit]

While pitch correction devices were initially designed to produce natural-sounding effects, producers discovered that by setting extreme parameter values, unusual effects could be obtained. Pitch correction devices became popular in the late 1990s as a distinctively electronic, vocoder-like voice effect. A notable example of Auto-Tune-based pitch correction is the Cher effect, so named because producer Mark Taylor originated the effect in her 1998 hit song 'Believe'.^[3] The effect has been used by composer John Boswell for his Symphony of Science and Symphony of Bang Goes The Theory (a BBC science show) mash-ups. American Rapper T-Pain is known for his skillful use of this effect.

Criticism[edit]

/introduction-to-dev-c-pdf.html. One criticism of pitch correction is that it allows recording engineers to create a perfectly in-tune performance from a vocalist who is otherwise not skilled enough to give one, adding a degree of dishonesty to music.^[4] This concept was featured in a 2001 episode of The Simpsons, entitled 'New Kids on the Blecch'. In the episode, a cartoon representation of a pitch corrector (labeled 'Studio Magic') was used to make up for the total lack of singing talent in a manufactured boy band, of which Bart Simpson was a member.

In 2003, Allison Moorer began attaching stickers to her 2002 album Miss Fortune reading 'Absolutely no vocal tuning or pitch-correction was used in the making of this record.' ^[5]

A Chicago Tribune report from 2003 stated that 'many successful mainstream artists in most genres of music—perhaps a majority of artists—are using pitch correction'.^[6] Timothy Powell, a producer/engineer, stated in 2003 that he is 'even starting to see vocal tuning devices show up in concert settings'; he states that 'That's more of an ethical dilemma—people pay a premium dollar to see artists and artists want people to see them at their best.'^[6]

In 2010, producer Teddy Riley claimed that the processing of Michael Jackson's voice with Melodyne caused fans to question the authenticity of the voice on the posthumous album Michael.^[7] Riley claimed that because he did not have a 'final vocal' from Jackson, Melodyne had to be used 'to make his voice work with the actual music,' 'to get him in key' and this resulted in the vibrato sounding 'a little off' or 'over-processed.'^[7]

See also[edit]

References[edit]

1. ^Anderton, Craig. 'In Search of the Perfect Pitch; The fix is in'. EQ. 2006-07-01. Pg. 46.
2. ^Hodgson, Jay (2010). Understanding Records, p.233. ISBN978-1-4411-5607-5.
3. ^Sillitoe, Sue & Bell, Matt (1999-02). 'Recording Cher's Believe'. Sound on Sound. Retrieved on 2008-04-14.
4. ^Daley, Dan (October 2003). 'Vocal Fixes: Modern Vocal Processing In Practice'. Sound on Sound. Retrieved 2009-02-12.
5. ^Everett-Green, Robert. (2006-10-14). 'Ruled By Frankenmusic; The computer program that cleans up singers' pitch is reshaping the character of pop'. The Globe and Mail (Canada). Pg. R1.
6. ^ ^abRyan, Maureen (27 April 2003). 'What, no pitch correction?'(PDF). Chicago Tribune. Retrieved 2010-04-25.
7. ^ ^abCollett-White, Mike (2010-12-13). 'Voice on Jackson album far from finished article'. Reuters (UK Edition). Thomson Reuters.

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