{"id":12232,"date":"2015-04-02T14:20:53","date_gmt":"2015-04-02T18:20:53","guid":{"rendered":"http:\/\/www.ethanhein.com\/wp\/?p=12232"},"modified":"2019-09-02T18:58:51","modified_gmt":"2019-09-02T22:58:51","slug":"why-is-there-so-much-auto-tune-on-everything","status":"publish","type":"post","link":"https:\/\/www.ethanhein.com\/wp\/2015\/why-is-there-so-much-auto-tune-on-everything\/","title":{"rendered":"Why is there so much Auto-Tune on everything?"},"content":{"rendered":"

See also <\/em>an explanation of how Auto-Tune works<\/em><\/a><\/p>\n

When we talk about Auto-Tune<\/a>, we’re talking about two different things. There’s the intended use, which is to subtly correct pitch problems (and not just with vocalists; it’s extremely useful for horns and strings.) The ubiquity of pitch correction in the studio should be no great mystery; it’s a tremendous time-saver.<\/p>\n

\"Auto-Tune\"<\/a><\/p>\n

But usually when we talk about Auto-Tune, we’re talking about the “Cher Effect<\/a>,” the sound you get when you set the Retune Speed setting<\/a> to zero. The Cher Effect is used so often in pop music because it’s richly expressive of our emotional experience of the world: technology-saturated, alienated, unreal. My experience with Auto-Tune as a musician has felt like stepping out the door of a spaceship to explore a whole new sonic planet. Auto-Tune turns the voice into a keyboard synth, and we are only just beginning to understand its creative possibilities. (Warning: explicit lyrics throughout.)<\/p>\n