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While the types of music I tend to work on don’t require it, in the past it has helped save both me and the singer I was working with from hours of extra vocal tracking and editing, along with maintaining stylistic appropriateness. It can also be a real time-saver in the studio. So it’s not all bad, and just like most tools Auto-Tune can be used in interesting, creative ways. Well-known artists such as Kanye West and T-Pain have also abused Auto-Tune to great success, and more underground indie artists such as Polica are doing it too.
#Britney spears gimme more alt software
In fact, Auto-Tune’s arrival into the public’s consciousness was a result of Believe, the massive Cher hit from 1998, a prime example of the software being used in a manner that was most probably completely unintended by its developers.
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Tape, vacuum tubes and transformers all start sounding a whole lot more interesting when taken to the edge of distortion, and quite often over that edge too. An electric guitar was never meant to sound like Jimi Hendrix decided it should. Abusing technology has always given us music types rich rewards. In this case, and as with many musical tools, Auto-Tune gets interesting when taken out of its normal mode of use. She since admitted to using Auto-Tune, but only as a creative effect. So much so that artists sometimes feel the need to clarify that no digital trickery took place on their productions.īrisbane singer Katie Noonan has specified that no Auto-Tune was used on her vocals in the line notes of her records, and American pop star Christina Aguilera has proudly sported an anti Auto-Tune T-Shirt. I believe that out of all these tools Auto-Tune gets singled out because the most basic human emotional response to music is the response we have to singing, and finding out that there was some software robot moving the singer’s notes around make us feel cheated. There are thankfully exceptions – in many genres, though jazz, folk and alt-country spring to mind – but ultimately, since recorded music began, people have been using the technology available to make people sound better than they actually are, as well as to make productions sound larger than life and fit within the style of the day. This is not just the domain of processed pop music either – if you were to take a radio-friendly rock band and listen to what they sound like live in a room compared to their finished fully-produced record, you would see just how much most rock music also benefits from the tricks of the trade. Instruments are overdubbed multiple times to create larger, wider sounding productions.Īll of these examples were possible well before digital audio became the norm, and certainly well before Auto-Tune became available. Vocals are doubled to help the singer sound stronger. Hours are spent doing multiple takes of a song, with editing then taking place to cut the best performances into one perfect take. The music producer’s job is to create the illusion that the piece of music the listener hears was created by real people in a room, all playing together with a sense of energy and excitement that was simply captured before being immediately ready for mass consumption. We deal in illusionsĪt heart, the job of the music producer is often the same as that of the illusionist. There is now even a plug-in that allows you to superimpose a modelled version of the acoustics of a world-class studio on your recordings – even if they were actually made in your basement. There are also software tools that can correct the timing of a drummer’s performance and completely change the sound of their drum kit, or fix a guitar’s tuning and timing and make it sound like it was recorded though an expensive, vintage amplifier. What else do producers use to clean up tracks?Īuto-Tune is just one of many tools within a music producer’s (virtual) toolbox. There is even a mode that allows you to draw in the desired melody, regardless of what the input melody is. There are options to determine how long it takes to move the note to the correct pitch, which notes within the musical scale should be used and which should be ignored, and how much of the process takes place. This is usually measured in cents, with one cent being a hundredth of a semi-tone, the difference in pitch between two keys on a piano. The software analyses the incoming material, looks at whether or not it is below what the analyser believes to be the intended pitch (flat) or above the intended pitch (sharp), and then corrects the audio by moving it by the required amount.
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This process is known as pitch-correction, and Auto-Tune is the most well known, though by all means not the only, pitch correction software on the market. Most commonly this musical material is an out of tune vocal performed by someone very young and very attractive – but often not particularly musically talented.