Su The Verge è uscito un bell’articolo di Lessley Anderson riguardo l’Auto-Tune, quel particolare software che ci fa cantare tutti in maniera perfetta: a patto di non abusarne. Ve ne riportiamo alcuni paragrafi, il resto a questa pagina.
(Qui c’è chi sta dalla parte di Neko Case, che non lo usa, ma insomma: ognuno è libero, eh.)
Seduced by ‘perfect’ pitch: how Auto-Tune conquered pop music
by Lessley Anderson
(…) On one end of the spectrum are people who dial up Auto-Tune to the max, a la Cher / T-Pain. On the other end are people who use it occasionally and sparingly. You can use Auto-Tune not only to pitch correct vocals, but other instruments too, and light users will tweak a note here and there if a guitar is, say, rubbing up against a vocal in a weird way.
“I’ll massage a note every once in a while, and often I won’t even tell the artist,” says Eric Drew Feldman, a San Francisco-based musician and producer who’s worked with The Polyphonic Spree and Frank Black.
But between those two extremes, you have the synthetic middle, where Auto-Tune is used to correct nearly every note, as one integral brick in a thick wall of digitally processed sound. From Justin Bieber to One Direction, from The Weeknd to Chris Brown, most pop music produced today has a slick, synth-y tone that’s partly a result of pitch correction.
However, good luck getting anybody to cop to it. Big producers like Max Martin and Dr. Luke, responsible for mega hits from artists like Ke$ha, Pink, and Kelly Clarkson, either turned me down or didn’t respond to interview requests. And you can’t really blame them.
“Do you want to talk about that effect you probably use that people equate with your client being talentless?”
Um, no thanks. (…)