On the whole, I’m fairly ambivalent about the “We Are the World” remake – some of the more dramatic changes from the (overrated to begin with) original seemed appropriate in the context of current pop culture. But, strong objections to the use of auto-tuning as a “safety net” aside, can we all agree that the active and exagerrated use of auto-tuning as a song feature in and of itself has gone way too far?
Mark of New Jersey
Mark is a Founding Editor of The League of Ordinary Gentlemen, the predecessor of Ordinary Times.
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Are people really going to have carefully considered opinions about a “We Are the World” remake?Report
Probably not. I just wanted to briefly rant about auto-tuning. In the context of “We Are the World,” where the exagerrated use of auto-tuning is carelessly mixed with traditional vocal stylings, the auto-tuning is beyond grating.Report
Though I can’t weigh in on the We Are the World remake (I don’t want to listen to it), I fully share Mark’s disgust with auto-tuning. It is a wretched technology that too many rely on way too much. It tends to sufficiently alter the sound of the voice that, when juxtaposed with a natural voice, truly is grating, as Mark notes.
Further, it can actually produce a sub-optimal pitch. Auto-tuning is (in my experience) pretty much just built for a straight up major or minor scale. It has no regard for anything that deviates from this sort of simplistic formula. Sure, you can play with the auto-tuning so that it will “adjust” to alternate scales, but it seems that few producers are willing or able to worry about this.
In some situations, certain parts (usually a lead part, but possibly a harmony) need to be a little off in order to produce the proper effect. Some jazz and big band music requires the first trumpet to be just slightly sharp, so as to cut through the rest of the ensemble. Even “popular” music uses such devices – including ABBA and Eminem (though, granted, ABBA used other technology to modify the sound, but it seems better to use technology to distort a sound rather than to clean it up).
All in all, auto-tuning tends to strip the humanity and art from the human voice, while making singers and producers alike lazy.
Anyway, it you want to really mess with sound, you need one of these.Report
Was “these” supposed to link to this?Report
I’m unfamiliar with that product (and can’t really listen to any samples while at work), it looks like it’s either great or a horrible abomination. I’ll have to take a listen tonight.Report
It’s what Karin Dreijer Andersson from The Knife / Fever Ray uses to warp her voice, which is in fact awesome.Report
I was always irritated by Willie Nelson’s verse.
Anyway, they should remake that “Feed the World” song. I always thought that that one had the appropriate amount of Dan Ackroyd. They probably couldn’t get away with a lyric like “let them know it’s Christmastime again” today, though.
Another reason to miss the 80’s.Report
Well, it should at least be said that the remake of “We Are the World” had an appropriate amount of His Dudeness.Report
Not to get too Canadian on y’all, let’s not forget Tears Are Not Enough.
Yup, I totally miss the 80s.Report
As Official League Ambassador from Tallahassee, I feel obliged to defend Auto-Tune and/or point out that you’re a bit late on this bandwagon.
That said, if you don’t address your song to a “shawty” in yo lyrics somewhere, yeah, Auto-Tune probably is best used ironically at this point, or not at all.Report
I may be late to the party, but the continuing pervasiveness of “I Got A Feelin'” tells me that it’s a damn small party.Report
Yeah, I don’t get the continuing appeal of the Black Eyed Peas, auto-tuned or otherwise.Report
I’d say they peaked with Joints and Jams.Report
In defence of auto-tuning:
http://www.youtube.com/watch?v=zSgiXGELjbc
Nothing beats it for making dead people sing.Report