2008 Woodie Awards
(Auto)tuned In
Joshua Mohar
Issue date: 10/2/08 Section: Entertainment
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Auto-tune isn't an instrument, per se. In fact, it was originally designed to subtly keep artists on pitch, not exaggerate vocal effects like today's singers do. In 1997, Antares introduced the Auto-tune program to perfect audio recording by automatically correcting mistakes to the nearest (usually intended) pitch. Autotuning for effect burst onto the scene in 1998 when Cher released her career-rejuvenating hit "Believe." Industry experts and DJs immediately referred to the strange sound of Cher's voice-stranger than usual, at least-as the "Cher effect." The digital, otherworldly vocals were initially attributed to the use of a talk box, an electronic instrument similar to the vocoder which musicians use to manually manipulate their voice. Producer Mark Taylor eventually admitted the vocals were treated with Auto-tune.
So if the program is supposed to fix vocals, why do they sound so treated? The desired effect is achieved through essentially retuning the vocal pitch at unnatural, inhuman rates. The process is actually a bit more complicated than that, but easy enough for an inexperienced aspiring musician named Faheem Najm to figure out. A few years back, the "rappa ternt sanga" known as T-Pain ushered in a musical phenomenon when his cartoony gurgles and computer-like crooning rushed the charts. Hits like "I'm Sprung" and "Bartender," not to mention his countless Billboard-topping appearances, have audiophiles split on autotuning. Some argue its users can't actually sing; T-Pain directs them to two of his biggest hits, "I'm N Luv (Wit A Stripper)" and Flo Rida's "Low," songs that lack his signature autotuned voice. Others enjoy the effect but cite its recent oversaturation in pop music.
T-Pain insists he isn't calling out copycats. After all, he'll be the first to admit his inspiration for using Auto-tune comes from listening to the legendary Roger Troutman, who used a talk box to create similar effects in his own vocals (that's Troutman on the classic "California Love" hook). Still, T-Pain seems to have started a trend that shows no signs of slowing down. Friend and collaborator Kanye West has started using T-Pain's settings on recent appearances (see Young Jeezy's "Put On" and T.I.'s "Swagga Like Us") and his upcoming album; in a recent blog entry to Auto-tune haters, West says, "if you don't like autotune... too bad cause I love it and have been using it since the College Dropout!!!" Lil Wayne ruled radio through June with his autotuned hit "Lollipop" and continues to spit verses (or digitally gargle them) with the effect since. Rihanna's naturally weak range becomes much more interesting when autotuned T-Pain style in "Disturbia." And Ciara and Chris Brown plan to use similar effects on their upcoming albums.
In fact, most artists use Auto-tune these days, only in ways less-obvious than T-Pain. In small doses, the program remains an effective tool for perfecting studio recordings and even live shows; the Boston Herald reported in 2007 that country stars including Reba McEntire, Faith Hill, and Tim McGraw employ the software as a safety net during concerts to ensure good performances (we'll put Billy Joel's national anthem debacle in the "bad examples" category). Even rock music embraces Auto-tune, as Avril Lavigne's "Complicated" and Maroon 5's "She Will Be Loved" remain two primary examples of blatant use. Perhaps the argument over Auto-tune stems from whether the listener feels tricked after listening. Artists like T-Pain and Lil Wayne aren't fooling anyone with their usage, but listeners might be surprised to hear Auto-tune's role in JoJo's "Too Little Too Late" or any number of Rascal Flatts and Dixie Chicks songs.
Is there even a distinction between the autotuning in these examples? Extreme autotuning for effect is clearly different than subtle autotuning for perfection. The T-Pain effect, as it's been coined, could be considered nothing more than a vocal add-on like echo or reverb. On the contrary, Disney Channel movies like High School Musical and Camp Rock feature teenage singers autotuned to extraterrestrial proportions in an attempt to pass them off as legitimate vocalists-sad to say, but Zac Efron will never win a Grammy for his vocal talent. Regardless of where you stand, music is evolving and Auto-tune is simply one landmark in its changing landscape. But whether it's just a trend (for rappers like Birdman and Yung Berg, we can only hope) or here to stay, you'll have to stay tuned to find out.
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