Popular culture is a place where pity is called compassion, flattery is called love, propaganda is called knowledge, tension is called peace, gossip is called news, and auto-tune is called singing.
Keep in mind, you can use Auto-Tune and you can know how to work it perfectly, but you still have to know how to write a good song.
For me, when I want to be emotionally moved by a vocal, I don't want to hear auto tune on it, I want to hear the beautiful imperfections.
You can take a bad singer and make them sound decent; you couldn't do that in the past... With things like Pro Tools and all the other things you have available; like auto tune, and pitch correction you can make someone who can't sing into someone who can.
I think whatever an artist does, it just has to be quality and good. I think the way Kanye's doing what he's doing with the Auto-Tune is actually creative because he just writes good melodies. He just writes good songs. He's just gifted.
I have never used Auto-Tune in a live television performance, and I have never used Auto-Tune in any of my concerts. That is a promise.
The music on the radio is fine, it's just not my type of music. You don't play an instrument, and you don't need to be able to sing. You just need to be able to make a beat and use auto-tune. It's crazy!
In the studio you can auto tune vocals, and with drums, you can put them on a grid and make them perfect. I hate that sound. When someone hands me a record and the drums are perfectly gridded and the vocals are perfectly auto tuned, I throw it out the window. I have no interest in rock music being like that.
It was more just about serving the song, which is sort of the way that we work in general. We wanna do the best that we can with it and make it the most interesting to our ears. And putting auto-tune on 'California English', was just one reflection of that.
Anytime people read my tweets, they hear it in Auto-Tune.
One of my strict, strict rules is a no auto-tune policy.
These days, I find it harder to listen to really trebly lo-fi recordings. At the same time, without the old limitations, these new technologies require self control. So much of the software seems to be about correcting imperfections - quantizing, Auto-tune - and, to me, those corrections can really drain the life out of a performance.
There's a lot of stuff you've gotta know about Auto-Tune before you can start using it, because it's the hot thing to do.
I guess in general, because it's such a popular trend in mainstream American pop, that there's been some kind of negative reaction to it. But at the same time, it's a really interesting effect and really interesting texture, and a lot of credit goes to Rostam for producing our music, and all the work that he puts into it, and just trying different things. Ezra did a vocal take, Rostam threw auto-tune on it, and we all liked the way it sounded.
I like me some of Wayne stuff. I think he's the one exception as far as the auto-tune thing goes.
I tried to stay away from the Euro beats, and not go totally pop. Instead, I wanted to take the Quincy Jones approach. The record pays homage to the Stevie Wonders, the Michael Jacksons, the Sam Cookes. I wanted to put that classic essence of R&B and soul with the new age of music now. There’s a lot of live instruments, and a lot less Auto-Tune. I really wanted to demonstrate my vocal ability, creating the vibe of me singing along with a band.
I've got a song on every album, two songs as a matter of fact on every album without Auto-Tune, and that's the song that nobody talks about. It's weird.
The best way to use the auto-tune is not to! And that's what I do: I do not use auto-tune!
I don't have to have talent. I just need to have auto-tune and be allowed to have the hottest track in the game, and my swag.
This is where the guys who copy me are planted: I do not use auto-tune, I sing. That's my advice!
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