Gwen Stefani Without Auto Tune
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- Oct 23, 2018 He requested that his microphone be equipped with Auto-Tune before he began the rendition of 'Itsy Bitsy Spider' to the tune of Malone's 'Psycho.' Gwen Stefani and more.
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- Jul 24, 2015 A prospective contestant on 'The Voice' says he pulled out of the show because its 'pre-cast,' but a source tells FOX411 that Adam Weiner is just whistling Dixie.
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Gwen Stefani - Now That You Got It ft. Gong' Marley by Gwen Stefani. Gwen Stefani and Dr. Dre - Let Me Blow Ya Mind live. Gwen Stefani - Serious (gwen slide show) by gwenstefanifan16. Gwen Stefani PSA by Chesterwhiteside. 0:21 Private video #1 Gwen Stefani-Keep on Dancing by Brittany.
No problem auto tune. The following sentence might come as a huge shock to teens and Millennials, so stop tweeting for a second, kids, and get prepared for a totally outlandish statement. Here it is: Once upon a time, pop singers were actual singers.
- Autistic ballerina dances her way into hearts
In a popular YouTube video, the beaming little ballerina dances an entire four-minute routine seemingly perfectly, matchin..
- Autistic ballerina dances her way into hearts
Yes, I know. That’s hard to comprehend since the pop charts are now dominated by artists who use Auto-Tune, the software plug-in that corrects the pitch of those who can’t really cut it in the vocal department and turns their vocals into robo-voices. While everyone under 30 recovers from that revelation, here’s what I mean by “actual singers.”
Back in the day, pop artists like Frank Sinatra and the Beatles used to be able to record albums in just a few days. Country musicians like Patsy Cline and George Jones trudged through grueling tours in out-of-the-way rural locales yet still missed nary a note. R&B musicians like the Supremes and the Four Tops navigated their way through complex choreography but still belted out songs out like their lives depended on it.
And while today, we still have singers with massively impressive pipes, a whole lotta them could never have rocked it for real like the Motown gang. These days, artists are able to get by on looks, publicity and aid from Auto-Tune.
You can hear the robotic, processed sound of the plug-in on recent hit records like “Blame It” by Jamie Foxx and T-Pain, “Just Dance” by Lady Gaga and “Right Now (Na Na Na)” by Akon. It’s also heard on tracks by Kanye West, Britney Spears and Lil Wayne. When West attempted to sing “Love Lockdown” without the plug-in on “Saturday Night Live,” the results were none too impressive and got ridiculed online. You can hear 10 examples of “Auto-Tune Abuse in Pop Music” on Hometracked, a blog geared toward home recording enthusiasts.
Paula Abdul also uses Auto-Tune on her new song, “Here for the Music,” which she performed (i.e. lip-synched) on “American Idol” May 6. It was evident just how artificial Abdul’s vocals were when she was followed by Gwen Stefani, who gave a warts-and-all live vocal on No Doubt’s “Just a Girl.”
Country and rock singers are said to use Auto-Tune to protect themselves from hitting bum notes in concert. Pop singers use it when they have a hard time singing while executing complicated dance moves (raising the question as to why they’re letting their dancing take precedence over their music). Auto-Tune has become so ubiquitous that indie rockers Death Cab for Cutie wore blue ribbons at this year’s Grammy Awards ceremony to protest its overuse.
Building the ‘perfect’ beast
The prevalence of Auto-Tune comes from two longstanding pop music traditions — the desire to alter the human voice and the quest for perfection at the expense of real talent and emotion.
The first of these can lead to inspiring moments, as the New Yorker’s Sasha Frere-Jones noted in an essay last year. Pioneering voice tweakers include producer Quincy Jones, who punched up Lesley Gore’s vocals with double tracking on “It’s My Party,” and George Martin, who gave us a childlike sped-up John Lennon on “Lucy in the Sky with Diamonds.” Later on, Peter Frampton wowed audiences with his talk box guitar effect and a decade later, vocals were being put through harmonizers to get jarring outer space effects.
Of course, to pull off any of those effects, you had still had to be able to sing. With Auto-Tune you don’t.
Then there’s the quest for perfection. By the 1970s, producers were able to edit or splice together vocal takes from various tracks and eventually they started to use hardware that corrected vocal pitch to create “perfect” performances. When the sound editing program Pro Tools became the industry norm in the 1990s, kludged-together vocal tracks became the norm.
But too much meticulousness in pop music strips away passion. And the very reason we listen to music, noted the late rock critic Lester Bangs, is to hear “passion expressed.” Auto-Tune makes people sound like robots. And if there’s no feeling, why listen at all?
Some people apparently aren’t listening anymore. Sales of major label CDs are down. But more authentic sounding music still has fans. Paste magazine recently reported that indie music is selling more, and the one area of commercial music that’s remained popular is “American Idol,” where you can’t fake it (unless you’re Paula Abdul).
The producers speak
A lot of producers like to use Auto-Tune because it saves time, says producer Craig Street, who has worked with Norah Jones, k. d. lang and Cassandra Wilson. “If you have a smaller budget what you’re doing is trying to cram a lot of work into a small period of time,” Street says. “So you may not have as much time to do a vocal.”
Craig Anderton, a producer and music writer, observes that Auto-Tune “gets no respect because when it’s done correctly, you can’t hear that it’s working.
“If someone uses it tastefully just to correct a few notes here and there, you don’t even know that it’s been used so it doesn’t get any props for doing a good job,” Anderton notes. “But if someone misuses it, it’s very obvious — the sound quality of the voice changes and people say ‘Oh, it’s that Auto-Tune — it’s a terrible thing that’s contributing to the decline and fall of Western music as we know it.”
One producer who dislikes Auto-Tune is Jon Tiven, who cut his musical teeth in the punk rock era with his band the Yankees, and went on to produce soul singers Wilson Pickett and Don Covey as well as Pixies founder Frank Black. Tiven thinks Auto-Tune has led to the destruction of great singing.
“I don’t know how many levels you want to drop the bar for what it takes to become a successful musical person,” Tiven says. “You could sacrifice on some levels, but it would seem to me one of the first things you would really be hard pressed to sacrifice is if the person could sing in tune or not.”
Street says the like or dislike of Auto-Tune largely comes down to aesthetics, and likens people’s feelings about listening to unnatural sounds with the way some people feel about unnatural body modifications, such as breast implants.
Gwen Stefani Without Hair Extensions
And that makes sense. After all, today we have models and actors whose faces and bodies were never intended by nature, reality TV that’s not real, and sports “heroes” whose strength comes from pills not practice. It’s totally understandable that the commercial pop world would embrace an unnatural aesthetic. Whether audiences will someday want pop singers who are first and foremost singers remains to be seen.
Gwen Stefani New House
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A prospective contestant on 'The Voice' says he pulled out of the show because its 'pre-cast,' but a source tells FOX411 that Adam Weiner is just whistling Dixie.
Weiner, co-founder and front man of the Philadelphia based rock band Low Cut Connie, took to Facebook on Monday to inform his fans that he wouldn't be on the show because “'The Voice' is entirely 'pre-cast' and they had an opening they wanted to fill with me.”
Gwen Stefani Without Autotune
But our insider says Weiner is mistaken, and that the show is “not pre cast and that was his interpretation.”
The source explained that Weiner was booked for Season 10 and was asked to audition. The source says he did indeed audition, and then dates were given to him in which he was “told to be available,” and that is when he passed on the opportunity to perform in front of its celebrity judges.
Weiner told FOX411 that although he believes “The Voice” is a “well-crafted piece of confectionery pop entertainment,” he doesn't think it benefits the careers of working artists other than the judges, and only exists to benefit those stars and the major label modern pop songs they are promoting.
“The contractual and musical limitations of the show's format are pretty well known, as is its pre-cast audition process,” the musician continued. “I don't necessarily think this makes the show 'fake' and I'm definitely not the first person to make reference to their casting process or heinous contracts.”
The show has faced allegations in the past for having a prohibitive contract. Reports say the contract allows producers to change show rules, eliminate contestants at any time and force contestants to undergo any medical testing.
Weiner explained why he thought his Facebook post was necessary.
“I wrote my spiel on Facebook so that I could reach my pals and my fans, the people that mean everything to me and inspire me to write original music and let them know that I wasn't going to burlesque my shtick on national TV just because I'm supposed to want to do that,” he said.
“The Voice” will return in its 9th season this Fall with coaches Gwen Stefani, Pharrell Williams, Adam Levine and Blake Shelton.