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#1
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AutoTune: *THAT'S* what all the fuss is about?!?!?!?!
Believe it or not, I had managed up until this past weekend to never
use AutoTune. Partly because I get lucky enough to work with some extraordinary singers on occasion, partly because I record a lot of instrumental music, and partly because...well, some might say there were sessions where I *should* have used AutoTune! So whenever I heard folks talking about a concert or a show or an album or some performance that prompted them to say "I could really hear AutoTune" (eg., every three weeks in this newsgroup), I had to shrug, having no direct reference. Although just about as often as someone was complaining about the prevalence of AutoTune in contemporary music, I found myself complaining about the prevalence of cheesey vocoders in contemporary music. So this weekend I'm doing a mix & the producer whips out AutoTune on the lead vox and SONOFABITCH! It *is* that cheesey vocoder sound I've been hearing in so many pop tunes! WTF??? *That's* state of the art? *That's* the best they can do with micropitch shifting technology? *THAT'S* what all the fuss is about?!?!?!?! I felt like it was 1978 all over again. Anyone remember Herbie Hancock's _Sunlight_ album? |
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#2
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Buster Mudd wrote:
So this weekend I'm doing a mix & the producer whips out AutoTune on the lead vox and SONOFABITCH! It *is* that cheesey vocoder sound I've been hearing in so many pop tunes! WTF??? *That's* state of the art? *That's* the best they can do with micropitch shifting technology? *THAT'S* what all the fuss is about?!?!?!?! I felt like it was 1978 all over again. Anyone remember Herbie Hancock's _Sunlight_ album? It doesn't have to be that way. If you use it judiciously on a single note here and there, it can be surprisingly transparent. If you just turn it on and just expect it to work magically, what you get is godawful crap like you note. You can't just use it unattended. --scott -- "C'est un Nagra. C'est suisse, et tres, tres precis." |
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#4
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#5
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"Scott Dorsey" wrote in message ... Buster Mudd wrote: So this weekend I'm doing a mix & the producer whips out AutoTune on the lead vox and SONOFABITCH! It *is* that cheesey vocoder sound I've been hearing in so many pop tunes! WTF??? *That's* state of the art? *That's* the best they can do with micropitch shifting technology? *THAT'S* what all the fuss is about?!?!?!?! I felt like it was 1978 all over again. Anyone remember Herbie Hancock's _Sunlight_ album? It doesn't have to be that way. If you use it judiciously on a single note here and there, it can be surprisingly transparent. If you just turn it on and just expect it to work magically, what you get is godawful crap like you note. You can't just use it unattended. I find it helps, in graphical mode, to leave the begin and end of each note alone, and just draw the pitch line on the inner part of the note. The attack of a note, in particular, tends to sound very strange when you Autotune it. Hal Laurent Baltimore |
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#6
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"Buster Mudd" wrote in message om... So this weekend I'm doing a mix & the producer whips out AutoTune on the lead vox and SONOFABITCH! It *is* that cheesey vocoder sound I've been hearing in so many pop tunes! Is that what they used to do those effects on Cher's "Believe"? I also hear a less pronounced versions of it on some country female performers, it's thrown in lightly, almost like a embellishment between notes, I know they can't possibly be doing that naturally. Apparently some people don't even hear it. I've mentioned it to some people and they don't know what I'm talking about. Is that what you're referring to? |
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#7
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the word I've been hearing is that melodyne is an amazing pitch correction
tool. I've personally had the most success using my ear and the digital factory in Logic --Lou Gimenez The Music Lab 2" 24track w all the Goodies www.musiclabnyc.com From: (Scott Dorsey) Organization: Former users of Netcom shell (1989-2000) Newsgroups: rec.audio.pro Date: 7 Jul 2004 10:16:03 -0400 Subject: AutoTune: *THAT'S* what all the fuss is about?!?!?!?! Buster Mudd wrote: So this weekend I'm doing a mix & the producer whips out AutoTune on the lead vox and SONOFABITCH! It *is* that cheesey vocoder sound I've been hearing in so many pop tunes! WTF??? *That's* state of the art? *That's* the best they can do with micropitch shifting technology? *THAT'S* what all the fuss is about?!?!?!?! I felt like it was 1978 all over again. Anyone remember Herbie Hancock's _Sunlight_ album? It doesn't have to be that way. If you use it judiciously on a single note here and there, it can be surprisingly transparent. If you just turn it on and just expect it to work magically, what you get is godawful crap like you note. You can't just use it unattended. --scott -- "C'est un Nagra. C'est suisse, et tres, tres precis." |
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#8
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(Scott Dorsey) wrote in message ...
Buster Mudd wrote: So this weekend I'm doing a mix & the producer whips out AutoTune on the lead vox and SONOFABITCH! It *is* that cheesey vocoder sound I've been hearing in so many pop tunes! WTF??? *That's* state of the art? *That's* the best they can do with micropitch shifting technology? *THAT'S* what all the fuss is about?!?!?!?! I felt like it was 1978 all over again. Anyone remember Herbie Hancock's _Sunlight_ album? It doesn't have to be that way. If you use it judiciously on a single note here and there, it can be surprisingly transparent. If you just turn it on and just expect it to work magically, what you get is godawful crap like you note. You can't just use it unattended. --scott The thing about Autotune is it won't make a ****ty singer sound good. They sound ****ty in tune. Mike http://www.mmeproductions.com |
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#9
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Doc wrote: Is that what they used to do those effects on Cher's "Believe"? That's the first example that comes to mind for me. I also hear a less pronounced versions of it on some country female performers, it's thrown in lightly, almost like a embellishment between notes, I know they can't possibly be doing that naturally. Apparently some people don't even hear it. I've mentioned it to some people and they don't know what I'm talking about. Is that what you're referring to? Yeah. Yuk. Don |
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#11
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#12
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i think if you're not using it in "manual" mode you're just
using it in "Cher" mode. Manual mode on the stand alone unit in chromatic with a slow attack can work well on slightly sharp or flat notes. Same with the plug in. --------------------------------------- "I know enough to know I don't know enough" |
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#13
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Is that what they used to do those effects on Cher's "Believe"? I also
hear a less pronounced versions of it on some country female performers, it's thrown in lightly, almost like a embellishment between notes, I know they can't possibly be doing that naturally. Apparently some people don't even hear it. I've mentioned it to some people and they don't know what I'm talking about. Is that what you're referring to? Sometimes it's so bad on the Nashville stuff, I can hear the autotune above anything else. If you do it right, it's not so bad, but like anything else (remember gated reverb?), it can and will be abused. |
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#14
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"Buster Mudd" wrote in message om... So this weekend I'm doing a mix & the producer whips out AutoTune on the lead vox and SONOFABITCH! It *is* that cheesey vocoder sound I've been hearing in so many pop tunes! Just thinking about all those old WWII/Big Band era *live* broadcasts where the vocalists and vocal groups did such an amazing job including rich, tight harmonies and nailed it, huddled around a single mic - no monitors, no earpieces. Different standards I guess. In comparison, a few months ago I saw Crosby, Stills & Nash stink up the joint on some show doing one of their old hits with a lot of harmony. Jeezus, I've heard jr. high school vocal groups who had more accurate pitch and finesse than those old stoners demonstrated. Of course everyone applauded like they just witnessed a classic performance. |
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#15
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I also hear
a less pronounced versions of it on some country female performers, it's thrown in lightly, almost like a embellishment between notes, I know they can't possibly be doing that naturally. Apparently some people don't even hear it. I've mentioned it to some people and they don't know what I'm talking about. Is that what you're referring to? Yeah. Yuk. BRBR YEAH, Yuk! I've heard folks say that it's 'techno bringing back the old country yodel'.... A hell of an excuse, that. Foo. stv |
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#16
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#17
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"Doc" wrote in message
nk.net... "Buster Mudd" wrote in message om... So this weekend I'm doing a mix & the producer whips out AutoTune on the lead vox and SONOFABITCH! It *is* that cheesey vocoder sound I've been hearing in so many pop tunes! Is that what they used to do those effects on Cher's "Believe"? I also hear a less pronounced versions of it on some country female performers, LESS pronounced? "Woah-oh-ah-oh, the way you love meEeEeE." lol -- Neil Henderson Saqqara Records http://www.saqqararecords.com |
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#18
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by the way, is it just me or does auto-tune seem to dull the top end a
little of whatever's going through it? i don't know, it might just be some psychosomatic aversion to pitch correction on my part. anyone? It is not your imagination, I think the top is rounded off too, especially in the ATR1a hardware version. The software version 3 more than software version 4. Max Arwood |
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#19
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#20
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"Romeo Rondeau" wrote in message
... Sometimes it's so bad on the Nashville stuff, I can hear the autotune above anything else. If you do it right, it's not so bad, but like anything else (remember gated reverb?), it can and will be abused. There's one female in particular (not Shania) that's it's the most identifiable part of her sound. A lot of the harmonies actually seemed to be generated by autotune and someone using the pitchbend to fake the melisma. Now that is really bad. |
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#21
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"Mike Rivers" wrote in message
news:znr1089248083k@trad... They weren't always perfectly in tune (or even often perfectly in tune) but we weren't obcessed with it back then. We heard the whole sonic picture and it worked. Today we strive for the elusive "detail" and when everything is so detailed it has to be perfect or else it sticks out. That's a very important statement. The overuse of autotune has in fact skewed what we now consider "in tune". I don't even listen to much current music (I hear it around me, on TV, etc.) but even that's enough to have skewed my hearing to the point that older music I used to love and thought was "dead on" sounds out of pitch sometimes. Class action lawsuit anyone? |
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#22
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Listening to any of Nashville's fodder at low volume while shopping
(y'know...music in the background...) and all you can hear is an overtuned vocal. Sounds like a Moog to me. I just got a ProTools rig and have used auto tune a few times and there is definitely an argument for it. I am not the singer I used to be so it helps my tired old vocals out immensely! But I ain't trying to make a living as a singer.... It is a tool that everyone (music row in particular) overuses. ZZZZZZZZZZZ.... I have always looked at it like this: When I was 15-16 yrs old the Yankees, Cardinals and Cubs sent scouts to see me pitch. I had great control and alot of pitches...but no heater. Should I be allowed to pitch in the major leagues and when I needed a fastball use a machine? A professional singer should be mortified if someone even attempted to use AT on their voice. There was a girl here in Nashville that had a deal w/Dreamworks. The record was done but some A&R punk said she had no single. She came to work with me on four songs and when I heard what they had done to her wonderful, true country voice I aksed her if "she aske for that" done to her voice. She just shrugged. She had absolutely zero control over the mixes. They had ProTooled her character and charm out of the tracks. She did two whole records for three different labels and neither ever came out. searching for peace, love and quality footwear guido http://www.guidotoons.com http://www.theloniousmoog.com http://www.luckymanclark.com |
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#23
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"They've been doing that for years"
Tom I saw Crosby, Stills & Nash stink up the joint on some show doing one of their old hits with a lot of harmony. Jeezus, I've heard jr. high school vocal groups who had more accurate pitch and finesse than those old stoners demonstrated. Of course everyone applauded like they just witnessed a classic performance. "Doc" wrote in message nk.net... "Buster Mudd" wrote in message om... So this weekend I'm doing a mix & the producer whips out AutoTune on the lead vox and SONOFABITCH! It *is* that cheesey vocoder sound I've been hearing in so many pop tunes! Just thinking about all those old WWII/Big Band era *live* broadcasts where the vocalists and vocal groups did such an amazing job including rich, tight harmonies and nailed it, huddled around a single mic - no monitors, no earpieces. Different standards I guess. In comparison, a few months ago I saw Crosby, Stills & Nash stink up the joint on some show doing one of their old hits with a lot of harmony. Jeezus, I've heard jr. high school vocal groups who had more accurate pitch and finesse than those old stoners demonstrated. Of course everyone applauded like they just witnessed a classic performance. |
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#24
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OK, so we all know that we should only use AutoTune in the manual mode. I'm assuming that "Manual" means that you select the word (or portion of the word) that you want to re-tune, set the process so that it gets in tune without sounding objectionable, and then move on to the next target. How do you do that with the hardware version? When I patch a compressor or equalizer into a track, I usually leave it on or maybe just punch it in occasionally, but rarely do I re-set it for each "punch." When using the stand-alone AutoTune, how do you deal with this? Seems like it could mighty tedious. When I first saw AutoTune, it was only implemented in hardware and the idea was that you patched it in and it worked its miracles all by itself. I guess that didn't work out. -- I'm really Mike Rivers ) However, until the spam goes away or Hell freezes over, lots of IP addresses are blocked from this system. If you e-mail me and it bounces, use your secret decoder ring and reach me he double-m-eleven-double-zero at yahoo |
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#25
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You could record a track, send it to the box to record another track then
cut and paste what you want. I have both Box and software, but the software is much better for recording. Max Arwood "Mike Rivers" wrote in message news:znr1089286178k@trad... OK, so we all know that we should only use AutoTune in the manual mode. I'm assuming that "Manual" means that you select the word (or portion of the word) that you want to re-tune, set the process so that it gets in tune without sounding objectionable, and then move on to the next target. How do you do that with the hardware version? When I patch a compressor or equalizer into a track, I usually leave it on or maybe just punch it in occasionally, but rarely do I re-set it for each "punch." When using the stand-alone AutoTune, how do you deal with this? Seems like it could mighty tedious. When I first saw AutoTune, it was only implemented in hardware and the idea was that you patched it in and it worked its miracles all by itself. I guess that didn't work out. -- I'm really Mike Rivers ) However, until the spam goes away or Hell freezes over, lots of IP addresses are blocked from this system. If you e-mail me and it bounces, use your secret decoder ring and reach me he double-m-eleven-double-zero at yahoo |
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#26
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the producer whips out AutoTune on
the lead vox and SONOFABITCH! It *is* that cheesey vocoder sound I've been hearing in so many pop tunes! WTF??? *That's* state of the art? *That's* the best they can do with micropitch shifting technology? *THAT'S* what all the fuss is about?!?!?!?! Yeah, pretty amazing isn't it? For really micro pitch fixes you're much better off doing it manually with whatever pitch shifter is in the DAW. AutoTune does SO much damage to a signal that I only use it when absolutely necessary to save an otherwise useable take & then I only use it on the least possible number of syllables on a duplicated track, then splice them back in to the original & hope the artifacts get hidden by the band. Scott Fraser |
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#27
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I find it helps, in graphical mode, to leave the begin and end of each note
alone, and just draw the pitch line on the inner part of the note. The attack of a note, in particular, tends to sound very strange when you Autotune it. Not only that, the more notes you fix (in manual mode), the more the whole time line drifts (to the right), necessitating a lot of additional dicking with it all. Scott Fraser |
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#28
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by the way, is it just me or does auto-tune seem to dull the top end a
little of whatever's going through it? It's not you. The original & the processed, even with no actual pitch fixing, just being in the signal path, do not sound the same. Scott Fraser |
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#29
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Melodyne is where it's at. It is amazing. I've only used the demo
since It's not worth my money to spring for the full version, and you need a heavy duty CPU to run it, but it is a whole order of magnitude better than Autotune. No artifacts at all -- whole octave jumps, synthesis of notes that didn't exist before, overlay different formants and timbres. Check out the demo. Lou Gimenez wrote in message ... the word I've been hearing is that melodyne is an amazing pitch correction tool. I've personally had the most success using my ear and the digital factory in Logic --Lou Gimenez The Music Lab 2" 24track w all the Goodies www.musiclabnyc.com From: (Scott Dorsey) Organization: Former users of Netcom shell (1989-2000) Newsgroups: rec.audio.pro Date: 7 Jul 2004 10:16:03 -0400 Subject: AutoTune: *THAT'S* what all the fuss is about?!?!?!?! Buster Mudd wrote: So this weekend I'm doing a mix & the producer whips out AutoTune on the lead vox and SONOFABITCH! It *is* that cheesey vocoder sound I've been hearing in so many pop tunes! WTF??? *That's* state of the art? *That's* the best they can do with micropitch shifting technology? *THAT'S* what all the fuss is about?!?!?!?! I felt like it was 1978 all over again. Anyone remember Herbie Hancock's _Sunlight_ album? It doesn't have to be that way. If you use it judiciously on a single note here and there, it can be surprisingly transparent. If you just turn it on and just expect it to work magically, what you get is godawful crap like you note. You can't just use it unattended. --scott -- "C'est un Nagra. C'est suisse, et tres, tres precis." |
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#30
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Have you tried Version 4 using the make vibrato curve yet? After you make
the auto curve, you can grab the end points of a note that goes flat and bring the pitch up very nicely. I think this feature is very good and makes it much better than V3 (less damage to audio). Max Arwood "ScotFraser" wrote in message ... the producer whips out AutoTune on the lead vox and SONOFABITCH! It *is* that cheesey vocoder sound I've been hearing in so many pop tunes! WTF??? *That's* state of the art? *That's* the best they can do with micropitch shifting technology? *THAT'S* what all the fuss is about?!?!?!?! Yeah, pretty amazing isn't it? For really micro pitch fixes you're much better off doing it manually with whatever pitch shifter is in the DAW. AutoTune does SO much damage to a signal that I only use it when absolutely necessary to save an otherwise useable take & then I only use it on the least possible number of syllables on a duplicated track, then splice them back in to the original & hope the artifacts get hidden by the band. Scott Fraser |
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#31
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Have you tried Version 4 using the make vibrato curve yet? After you make
the auto curve, you can grab the end points of a note that goes flat and bring the pitch up very nicely. I think this feature is very good and makes it much better than V3 (less damage to audio). Max Arwood "ScotFraser" wrote in message ... the producer whips out AutoTune on the lead vox and SONOFABITCH! It *is* that cheesey vocoder sound I've been hearing in so many pop tunes! WTF??? *That's* state of the art? *That's* the best they can do with micropitch shifting technology? *THAT'S* what all the fuss is about?!?!?!?! Yeah, pretty amazing isn't it? For really micro pitch fixes you're much better off doing it manually with whatever pitch shifter is in the DAW. AutoTune does SO much damage to a signal that I only use it when absolutely necessary to save an otherwise useable take & then I only use it on the least possible number of syllables on a duplicated track, then splice them back in to the original & hope the artifacts get hidden by the band. Scott Fraser |
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#32
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In article znr1089286178k@trad, (Mike Rivers)
wrote: OK, so we all know that we should only use AutoTune in the manual mode. I'm assuming that "Manual" means that you select the word (or portion of the word) that you want to re-tune, set the process so that it gets in tune without sounding objectionable, and then move on to the next target. For me, 'manual' mode means graphical mode using the software version. The idea is that you select a small snippet of audio and play it into the processor so that it can make a graph of pitch vs. time. Then, you can copy parts of that graph and bend them around to retune the track or do whatever surgery you need. You can also add your own lines and curves to the pitch graph, but these can sound scary if you're not skilled. Basically, in this mode, the vertical distance between the tracked pitch and the lines you draw determine the amount of pitch shift. It's pretty simple, but it's pretty effective if you play with it enough. It can also sound quite natural and still effective if you start with copies of the original pitch vs. time graph and only bend them, rather than replacing the natural curves with straight lines (like you'd get from automatic mode). How do you do that with the hardware version? When I patch a compressor or equalizer into a track, I usually leave it on or maybe just punch it in occasionally, but rarely do I re-set it for each "punch." When using the stand-alone AutoTune, how do you deal with this? Seems like it could mighty tedious. The hardware version is IMHO a steaming turd only useful for severely messing with someone's head; set it to reasonably fast chromatic mode and patch it in line with their monitor send if you really hate someone. I can find no way that it could be used tastefully, except perhaps as a sort of chorus/doubling effect. A few years back, people were dumping perfectly good singers into the ATR-1 in front of quite large live audiences. I can't explain why, but I can say that I've never been guilty of this. The practice seems to have subsided, thankfully. Regards, Monte McGuire |
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#33
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In article znr1089286178k@trad, (Mike Rivers)
wrote: OK, so we all know that we should only use AutoTune in the manual mode. I'm assuming that "Manual" means that you select the word (or portion of the word) that you want to re-tune, set the process so that it gets in tune without sounding objectionable, and then move on to the next target. For me, 'manual' mode means graphical mode using the software version. The idea is that you select a small snippet of audio and play it into the processor so that it can make a graph of pitch vs. time. Then, you can copy parts of that graph and bend them around to retune the track or do whatever surgery you need. You can also add your own lines and curves to the pitch graph, but these can sound scary if you're not skilled. Basically, in this mode, the vertical distance between the tracked pitch and the lines you draw determine the amount of pitch shift. It's pretty simple, but it's pretty effective if you play with it enough. It can also sound quite natural and still effective if you start with copies of the original pitch vs. time graph and only bend them, rather than replacing the natural curves with straight lines (like you'd get from automatic mode). How do you do that with the hardware version? When I patch a compressor or equalizer into a track, I usually leave it on or maybe just punch it in occasionally, but rarely do I re-set it for each "punch." When using the stand-alone AutoTune, how do you deal with this? Seems like it could mighty tedious. The hardware version is IMHO a steaming turd only useful for severely messing with someone's head; set it to reasonably fast chromatic mode and patch it in line with their monitor send if you really hate someone. I can find no way that it could be used tastefully, except perhaps as a sort of chorus/doubling effect. A few years back, people were dumping perfectly good singers into the ATR-1 in front of quite large live audiences. I can't explain why, but I can say that I've never been guilty of this. The practice seems to have subsided, thankfully. Regards, Monte McGuire |
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#34
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In article ,
"Hal Laurent" wrote: I find it helps, in graphical mode, to leave the begin and end of each note alone, and just draw the pitch line on the inner part of the note. The attack of a note, in particular, tends to sound very strange when you Autotune it. I think this is only for singers that sweep up to a pitch or trail off at the end of notes - corrections over tracked pitches that are nearly vertical lines can be tricky. Still, with the singer I'm fixing now, a lot of good can come from putting a line on the grid between the beginning and end of her sweeps and adjusting the timing to make it sound good. For longer notes, I find that I have better luck selecting part of the pitch graph, copying it, and the sliding or bending it as needed. If you don't go more than a semitone, it's usually hard to tell that it's corrected. Drawing lines can also work, but it's tricky, and you usually have to use slow time constants to avoid the 'slam to the grid' sound. Regards, Monte McGuire |
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#35
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In article ,
"Hal Laurent" wrote: I find it helps, in graphical mode, to leave the begin and end of each note alone, and just draw the pitch line on the inner part of the note. The attack of a note, in particular, tends to sound very strange when you Autotune it. I think this is only for singers that sweep up to a pitch or trail off at the end of notes - corrections over tracked pitches that are nearly vertical lines can be tricky. Still, with the singer I'm fixing now, a lot of good can come from putting a line on the grid between the beginning and end of her sweeps and adjusting the timing to make it sound good. For longer notes, I find that I have better luck selecting part of the pitch graph, copying it, and the sliding or bending it as needed. If you don't go more than a semitone, it's usually hard to tell that it's corrected. Drawing lines can also work, but it's tricky, and you usually have to use slow time constants to avoid the 'slam to the grid' sound. Regards, Monte McGuire |
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#36
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In article ,
ojunk (JWelsh3374) wrote: There was a girl here in Nashville that had a deal w/Dreamworks. The record was done but some A&R punk said she had no single. She came to work with me on four songs and when I heard what they had done to her wonderful, true country voice I aksed her if "she aske for that" done to her voice. She just shrugged. She had absolutely zero control over the mixes. They had ProTooled her character and charm out of the tracks. She did two whole records for three different labels and neither ever came out. That's a damn shame. It's what happens when a lot of small minded folks try to 'play it safe'... a big waste of time for everyone involved. So were you able to make some recordings with her that didn't suck??!! Regards, Monte McGuire |
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#37
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In article ,
ojunk (JWelsh3374) wrote: There was a girl here in Nashville that had a deal w/Dreamworks. The record was done but some A&R punk said she had no single. She came to work with me on four songs and when I heard what they had done to her wonderful, true country voice I aksed her if "she aske for that" done to her voice. She just shrugged. She had absolutely zero control over the mixes. They had ProTooled her character and charm out of the tracks. She did two whole records for three different labels and neither ever came out. That's a damn shame. It's what happens when a lot of small minded folks try to 'play it safe'... a big waste of time for everyone involved. So were you able to make some recordings with her that didn't suck??!! Regards, Monte McGuire |
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#38
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So were you able to make some recordings with her that didn't suck??!!
Yep. And they use the arrangement ideas almost note for note when they re-recorded THAT. No credit to yours truly, however. Why am I not surprised? searching for peace, love and quality footwear guido http://www.guidotoons.com http://www.theloniousmoog.com http://www.luckymanclark.com |
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#39
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So were you able to make some recordings with her that didn't suck??!!
Yep. And they use the arrangement ideas almost note for note when they re-recorded THAT. No credit to yours truly, however. Why am I not surprised? searching for peace, love and quality footwear guido http://www.guidotoons.com http://www.theloniousmoog.com http://www.luckymanclark.com |
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#40
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"Romeo Rondeau" wrote in message ...
Is that what they used to do those effects on Cher's "Believe"? I also hear a less pronounced versions of it on some country female performers, it's thrown in lightly, almost like a embellishment between notes, I know they can't possibly be doing that naturally. Apparently some people don't even hear it. I've mentioned it to some people and they don't know what I'm talking about. Is that what you're referring to? Sometimes it's so bad on the Nashville stuff, I can hear the autotune above anything else. If you do it right, it's not so bad, but like anything else (remember gated reverb?), it can and will be abused. ahh yes, but gated reverb on Phil Collins songs like "In The Air Tonight" *still* sound COMPLETELY AWESOME!!! |
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