Though the anti-Auto-Tune camp seems vocal and large, rarely does a session go by without some use of pitch correction. The other side of the argument pointed out that tools such as compressors and limiters and effects such as audio exciters had already been modifying the sound and behavior of voices throughout the history of recording. The arguments resemble the resistance synthesizers received in the 1970s and 80s that led Queen to note that none were used on their albums. Many felt that using pitch correction was an artistic cheat, a way to bypass craft. Issues with Auto-Tune started soon after, with lines drawn between the purist and users camps. In the studio, Auto-Tune proved another weapon to "fix it in the mix." Later, real-time pitch correction hardware brought both effects and repairs to the stage. It was only a year later in 1998 that use of Auto-Tune as an effect rather than repair tool happened.Ĭalled the "Cher Effect" after the singer's hit, "Believe," artificial and abrupt pitch changes came into vogue. Rather than scrapping an entire take, Auto-Tune offered a repair tool that quickly caught on. Hildebrand's expertise with digital signal processing led to a series of audio plug-ins, including 1997's Auto-Tune, which could correct the pitch of a voice or any single-note instrument with surprisingly natural results.Īudio engineers now had a weapon against the occasional bum note. He left that field and returned to his early love of music, bringing knowledge that created seismic interpretation workstations and applied it to issues arising in the early days of digital music. Andy Hildebrand, the creator of Auto-Tune and its parent company Antares. However, it was seismic research that provided the background for Dr. You wouldn't think earthquakes have a lot to do with singing in pitch and they don't, really.
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