Auto-Tune
Auto-Tune is a pitch correction software developed by Andy Hildebrand in 1997, initially aimed at improving vocal performances. It gained mainstream recognition in 1998 when Cher's song "Believe" featured the technology for the first time in a significant way. During the early 2000s, Auto-Tune was predominantly used subtly by producers, but its usage became more pronounced with T-Pain's 2005 debut album, which highlighted the software's ability to snap notes to exact pitches. This shift allowed a diverse range of artists, including Snoop Dogg and Bon Iver, to explore new vocal expressions and styles, with some even using it as the foundation of their music.
The influence of Auto-Tune extends beyond traditional music, as seen in viral projects like the Gregory Brothers' "Auto-Tune the News," which creatively transformed political debates into musical content. While Auto-Tune continues to be widely embraced in the music industry, it also sparks debate regarding its impact on musical authenticity. Critics argue that it can undermine genuine talent, while advocates assert that it has expanded creative possibilities and made production more accessible. As a result, Auto-Tune remains a polarizing yet integral part of contemporary music culture.
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Auto-Tune
Antares Audio Technology’s Auto-Tune is audio production software used to correct vocal or solo instrumental pitch one semitone at a time. Other brands of similar software are also referred to as “auto-tune.”
Auto-Tune rose in popularity in the 2000s. At first, it was used to compensate for a flawed performance; by the end of the decade, however, it had developed into a stylized technique utilized by many popular artists.
Auto-Tune was designed and developed by Andy Hildebrand in 1997 for his company, Jupiter Systems, which was later renamed Antares Audio Technology. In 1998, Cher’s song “Believe” became the first published song in which the technology was used to correct vocal pitch.
For the first half of the 2000s, Auto-Tune was mostly used subtly by music producers and sound engineers, with the exception of some electronic musicians. Blatant use of Auto-Tune software became popular in 2005, with the release of singer T-Pain’s debut album Rappa Ternt Sanga. Nearly every song on the record featured Auto-Tune, including lead single “I’m N Luv (Wit a Stripper),” which highlights the software’s tendency to snap notes to an exact pitch, especially in ascending or descending melodies.
Soon artists from many different musical genres were exploring Auto-Tune as a medium. For some artists, such as rapper Snoop Dogg, the software allowed them to express themselves through singing for the first time. Auto-Tune also enabled artists to extend their range of expression. Indie folk artist Bon Iver’s track “Woods” is composed solely of Auto-Tuned vocals layered on top of one another. In 2008, rapper Kanye West released 808s and Heartbreak, a concept album based around an 808 drum machine and Auto-Tuned vocals. For West, Auto-Tune was not just a new way to sing but a gateway to an entirely new kind of music. Other musicians, such as the indie band Death Cab for Cutie and the rapper Jay-Z, were critical of the software, however.
Auto-Tune usage expanded beyond music. In 2009, members of the band the Gregory Brothers created the viral video series Auto-Tune the News. The band took debate footage and news interviews, applied Auto-Tune to the people speaking, and set it to music. Popular clips include footage of the 2008 presidential debates and news anchor Katie Couric.
Impact
Auto-Tune is widely used in popular music, whether it is used subtly or featured prominently. Smartphone apps that simulate the Auto-Tune sound, such as I Am T-Pain and Songify, became popular, allowing any aspiring artist or music fan to experiment with the effect.
Debate continues about whether Auto-Tune is detrimental or beneficial to music and musicians. Detractors say that the software should be used discretely or not at all. Some feel that using it is akin to cheating and that it cheapens the performance of musicians who can sing or play in tune on their own. Advocates state that the technology has broadened musical expression and made music production more efficient and less costly.
Bibliography
Anderson, Lessley. "Seduced by 'Perfect' Pitch: How Auto-Tune Conquered Pop Music." Verge. Vox Media, 27 Feb. 2013. Web. 3 Feb. 2015.
Frere-Jones, Sasha. "The Gerbil's Revenge: Auto-Tune Corrects a Singer's Pitch, It Also Distorts—A Grand Tradition in Pop." New Yorker. Condé Nast, 9 June 2008. Web. 3 Feb. 2015.
Jurgensen, John. “The Battle over Bionic Vocals.” Wall Street Journal. Dow Jones, 9 Sept. 2009. Web. 19 July 2012.
Katz, Mark. Capturing Sound: How Technology Has Changed Music. Berkeley: U of California P, 2010. Print.
Milner, Greg. Perfecting Sound Forever: An Aural History of Recorded Music. New York: Faber, 2010. Print.