Yeezy Boost 350 Pirate Black $189 For Sale Cheap Kanye West Size 8,9,10 Shoes Contact Adidas Yeezy 350 Boost For Sale,Yeezy 350 Boost For Sale However, Kobe Bryant showed up by himself an hour earlier than usual, unaccompanied by computer security. He sported what one reporter called "that Game 7 look" as he practiced shooting alone. Joss Stone - Introducing Joss Stone: UKs soulful power house released record a lot of people (including Joss) been recently waiting to gain. Full of limber vocal gymnastics and funky music beds, this album brought a substantial chunk of flavour towards table including a cameo from someone may very well remember - Lauryn Incline. The voice-altering technology may be used by everyone from adidas yeezy boost 750, Ron Adidas Yeezy 350 Boost For Sale Browz, nicely course T-Pain. But the pitch changing software latched onto by Cher appears to have to finally come to the unfortunate end after the discharge of 'Death of Autotune', over a Yeezy 350 Boost For Sale beat by former Common producer No ID.

So how exactly does this connect to Kanye? Well, what Kanye did was "ghetto" without having Adidas Yeezy 350 Boost For Sale it representative, I'm sure, of methods his mother raised him(never interrupt a speaker or speech). However, it appears as if since his mother passed, he has brought more etc . arrogant and brash at music cash incentives. And he needed to be closed. This event will stop him. He even said this him or her self. Jay's upcoming album 'Blueprint 3' was said to feature some sort of amount of auto-tune initially, he scrapped it all and recorded 'Auto-tune Is Dead' substitute. Nick Jonas joined quite a few dead celebrities that to help die in 2009. adidas yeezy boost 350 died in a collision long before he wrecked Taylor Swift's acceptance speech at the VMAs. Britney Spears died several times, mostly in car crashes (possibly due to the fact her terrible driving record). Miley Cyrus died far more than anyone this year, end up being seem, dying just about every other week.

Lil wayne kept getting shot and killed immediately after which getting detained in Texas for allegedly transporting drugs (but messy wasn't a hoax; he really was detained in Texas earlier this month). Still, West is too set during his ways to completely change, because had his own way of addressing the controversy. While Swift's VMA 2010 new song tried regarding uplifting, West's own performance was more envelope-pushing and Yeezy 350 Boost For Sale stylized. Nevertheless he performed his salute to the "d*****bags," most accepted he or she was mocking his own image to be a way to apologize. I Ainâ��t Lyinâ��â�¦on Henrietta Records Find Charlie Online @ Cher: Kanye West Thanked Me For Auto-Tune - Exclusive Hip Hop News, Interviews, Rumors, Rap & Music Videos | Allhiphop Cher: Kanye West Thanked Me For Auto-Tune May 7, 2015 Click to email this to a friend (Opens in new window) (AllHipHop News) Legendary performer Cher burst back onto the music scene in a major way in 1998.

That year the Academy Award and Grammy Award winner released her number one single “Believe.” The track is credited as being the first commercial release to use the Auto-Tune software. [ALSO READ: T-Pain: Kanye West Doesn’t Use Auto-Tune Correctly (VIDEO) ] Auto-Tune would become an extremely popular technique, especially with certain Hip Hop stars. One of those artists is Kanye West. The GOOD Music boss famously implemented Auto-Tune throughout his 2008 album 808s & Heartbreak. He still uses the voice altering effect in his current music including recent songs like “Only One” and “Wolves.” Cher revealed on Twitter she spoke to Kanye and his wife Kim Kardashian at the Met Gala earlier this week. According to the pop icon, Ye thanked her for popularizing Auto-Tune. 29 Responses to “Cher: Kanye West Thanked Me For Auto-Tune” Inmadopicouroz✓QUEENSᵛᵉʳᶦᶠᶦᵉᵈ arent you dead in a wooden casket somewhere in QUEENS? Anthny Mason u fat Fu(K! Anthony Mason YOU SEEM TO KNOW YOUR DEAD BASKETBALL PLAYERS THERE BUDDY! LOL.

Inmadopicouroz✓QUEENSᵛᵉʳᶦᶠᶦᵉᵈ May 7th, 2015 T Pain is one of the only artists to use Autotune that extended its range or usage beyond mere pitch correction. Kanye West also uses it as more of an artistic extension in a Juxtaposed fashion. I just made hundreds of people look up the word juxtaposed. Allhiphop, you need to hire me to write your articles. I could turn this b**** around for you really quick. May 7th, 2015 Bro you haven’t been on this site for long it seems because AHH has been lacking in content and grammar for years. Your statement has been announced on here hundreds of times by long term AHH members. You just have to deal with it. I have stated it as well as many others. It won’t change a thing. If anything the writers now have done a better job at responding to the members. I will applaud some of the writers for that. I was displeased with the the 10 rappers all people love to loathe article because they put DMX in it.

I felt the title was not appropriate for the people they put in the same category with X. The writer reached out and agreed with my points of view. It could have been titled differently. Ant I know what the word juxtaposed means but you must remember that not all of the people who come to this site are educated. It is no excuse for poorly written articles but merely putting big words here and there doesn’t mean it will be a exciting article as well. Good content that grabs the reader and at the same time is professional which are the keys to a good article. I agree with you Ant but just don’t waste time on it. Peace! I was joking about writing for this site bruh but good looking out though. LMAO. I wouldn’t waste my time. This site must pay it’s writers in Trident Layers Gum. cromthelaughinggod7 May 7th, 2015 Trident Layers hahahaha wow low blow. I take that back Ant they actually let a member some years back write an article about hiphop. Can’t remember who it was. Not sure if it was water, Edog or who. So I took you serious.

So if you really wanted to write about a particular group or hiphop topic they would let you. Dam who was it that wrote an article for the life of me I can’t remember. Trident Layers haha. Besides this site I am on forbezdvd which doggie diamonds the owner post a lot of black conscious information. A lot of good things to balance out the negativity but still keep it dope and not boring. Check it out. Undergroundhiphop is also a really good site where all of the hiphop music on the web is really at. I mean pure Vinyls(records), old albums that are hard to find. Go there. Anthony Mason Good look! I will check that out my brother this weekend. mademan3000 Auto-Tune iPhone app I Am T-Pain on sale - Telegraph Apple Auto-Tune iPhone app 'I Am T-Pain' on sale Auto-Tune, the voice alteration software pushed to its limits by the likes of Cher, Britney Spears and the rapper T-Pain, has been made available as an iPhone application.

By Matthew Moore 4:39PM BST 04 Sep 2009 The technology was originally developed to correct errors in recordings but has grown into something of an instrument in its own right. T-Pain has helped bring the Auto-Tune back into fashion Since its power to generate absurdly distorted vocals was exploited by Cher in her 1998 hit Believe, numerous pop and rock artists have turned to Auto-Tune to make their songs stand out – often to comic effect. Now Antares Audio Technologies, the company behind the software, have teamed up with an iPhone app developer to let ordinary music fans record their own auto-tuned vocals and share them online. The new App, called I Am T-Pain after the US hip hop star who has recently repopularised the vocal effect, promises "genuine Auto-Tune technology, right in the palm of your hand". Users can either sing along to T-Pain's hits or record their own distorted vocals, which can then be posted on social networking websites like Facebook and MySpace, or sent over email. What's Auto-Tune and How Does it Work? What's Auto-Tune and How Does it Work?

By Adam Hadhazy | September 11, 2010 02:47am ET MORE Some college students listen to their iPods at volumes that may lead to hearing damage, according to a new study Credit: stockxpert Missed that high note? With Auto-Tune, that's OK. Like a spellchecker or photo editing software can save us from our mistakes, the audio program Auto-Tune can correct a singer's bad notes and wavering pitch. Although the program is best known for the singing-through-a-fan, robotic vocal style that has dominated pop radio in recent years with stars like Lady Gaga, T-Pain and countless others, Auto-Tune is in fact widely used in the studio and at concerts to make artists' sound pitch-perfect . "Quite frankly, [use of Auto-Tune] happens on almost all vocal performances you hear on the radio," said Marco Alpert, vice president of marketing for Antares Audio Technologies, the company that holds the trademark and patent for Auto-Tune. The beauty of Auto-Tune, Alpert said, is that instead of an artist having to sing take after take, struggling to get through a song flawlessly, Auto-Tune can clean up small goofs.

"It used to be that singers would have to sing a song over and over, and by that time you've lost the emotional content of the performance," Alpert said. "Auto-Tune is used most often for an artist who has delivered a fabulous performance emotionally and there may be a few pitch problems here and there . . . [the software] can save a once-in-a-lifetime performance." How it works Auto-Tune users set a reference point – a scale or specific notes, for example – and a rate at which derivations from this point will be digitally corrected. This rate can be carefully calibrated so a voice sounds "natural," by tacking the voice smoothly back to the reference pitch. Or, artists can make the correction happen quickly and artificially, which results in the warbling, digitized voices now all the rage in pop, hip-hip, reggae and other types of music. Auto-Tune's invention sprung from a quite unrelated field: prospecting for oil underground using sound waves. Andy Hildebrand, a geophysicist who worked with Exxon, came up with a technique called autocorrelation to interpret these waves.

During the 1990s, Hildebrand founded the company that later became Antares, and he applied his tools to voices. The recording industry pounced on the technology, and the first song credited (or bemoaned) for introducing Auto-Tune to the masses was Cher's 1998 hit "Believe." Although a success with audio engineers, Auto-Tune remained largely out of sight until 2003 when rhythm and blues crooner T-Pain discovered its voice-altering effects. Many woozy singles later, T-Pains love of Auto-Tune became iconic, culminating in a in a Super Bowl commercial last February in which the singer asks, in his signature computerized lilt, for a partygoer to "pass the guacamole." Backlash comes from purists With the salvaging of every poorly sung vocal, however, it seems the technology has made new enemies over the years, and not just in the audiophile community . For example, rapper Jay-Z entitled a song on last year's The Blueprint 3 album "D.O.A. (Death of Auto-Tune)," and musicians including Christina Aguilera who have relied on the software have publicly blasted it.

Debates have broken out over whether Auto-Tune has cheapened or at least homogenized pop radio, and whether it has made audiences expect singers to torch through songs without vocal errors or, as some have alleged, personality. Nevertheless, Auto-Tune has won the occasional accolade from music critics for providing a theme-appropriate sonic element. A key instance is the haunting, deadened sound of Kanye West's voice on his melancholy, late-2008 album 808s & Heartbreak. Regardless of its artistic merits, the occasional unsubtle use of Auto-Tune has made its mark on pop culture. Just last month, an outfit called Gregory Brothers used Auto-Tune to create a song from a local news clip. The clip featured a rant by a young man whose sister was the victim of an attempted rape in a housing project in Huntsville, Ala. The viral video and ditty posted to YouTube, called "Bed Intruder Song," has become a Billboard 100 hit courtesy of its trilling, Auto-Tuned-to-absurdity lines such as "He's climbing in your window, he's snatching your people up . . . You better hide your kids, hide your wife . .

." The Mathematical Genius of Auto-Tune The Mathematical Genius of Auto-Tune Tweet Auto-Tune — one of modern history’s most reviled inventions — was an act of mathematical genius. The pitch correction software, which automatically calibrates out-of-tune singing to perfection, has been used on nearly every chart-topping album for the past 20 years. Along the way, it has been pilloried as the poster child of modern music’s mechanization. When Time Magazine declared it “one of the 50 worst inventions of the 20th century”, few came to its defense. But often lost in this narrative is the story of the invention itself, and the soft-spoken savant who pioneered it. For inventor Andy Hildebrand, Auto-Tune was an incredibly complex product — the result of years of rigorous study, statistical computation, and the creation of algorithms previously deemed to be impossible. Hildebrand’s invention has taken him on a crazy journey: He’s given up a lucrative career in oil. He’s changed the economics of the recording industry. He’s been sued by hip-hop artist T-Pain. And in the course of it all, he’s raised pertinent questions about what constitutes “real” music.

The Oil Engineer Andy Hildebrand was, in his own words, “not a normal kid.” A self-proclaimed bookworm, he was constantly derailed by life’s grand mysteries, and had trouble sitting still for prolonged periods of time. School was never an interest: when teachers grew weary of slapping him on the wrist with a ruler, they’d stick him in the back of the class, where he wouldn’t bother anybody. “That way,” he says, “I could just stare out of the window.” After failing the first grade, Hilbrebrand’s academic performance slowly began to improve. Toward the end of grade school, the young delinquent started pulling C’s; in junior high, he made his first B; as a high school senior, he was scraping together occasional A’s. Driven by a newfound passion for science, Hildebrand “decided to start working [his] ass off” -- an endeavor that culminated with an electrical engineering PhD from the University of Illinois in 1976. In the course of his graduate studies, Hildebrand excelled in his applications of linear estimation theory and signal processing.

Upon graduating, he was plucked up by oil conglomerate Exxon, and tasked with using seismic data to pinpoint drill locations. He clarifies what this entailed: “I was working in an area of geophysics where you emit sounds on the surface of the Earth (or in the ocean), listen to reverberations that come up, and, from that information, try to figure out what the shape of the subsurface is. It’s kind of like listening to a lightning bolt and trying to figure out what the shape of the clouds are. It’s a complex problem.” Three years into Hildebrand’s work, Exxon ran into a major dilemma: the company was nearing the end of its seven-year construction timeline on an Alaskan pipeline; if they failed to get oil into the line in time, they’d lose their half-billion dollar tax write-off. Hildebrand was enlisted to fix the holdup — faulty seismic monitoring instrumentation — a task that required “a lot of high-end mathematics.” He succeeded.

“I realized that if I could save Exxon $500 million,” he recalls, “I could probably do something for myself and do pretty well.” A subsurface map of one geologic strata, color coded by elevation, created on the Landmark Graphics workstation (the white lines represent oil fields); courtesy of Andy Hildebrand So, in 1979, Hildebrand left Exxon, secured financing from a few prominent venture capitalists (DLJ Financial; Sevin Rosen), and, with a small team of partners, founded Landmark Graphics. At the time, the geophysical industry had limited data to work off of. The techniques engineers used to map the Earth’s subsurface resulted in two-dimensional maps that typically provided only one seismic line. With Hildebrand as its CTO, Landmark pioneered a workstation — an integrated software/hardware system — that could process and interpret thousands of lines of data, and create 3D seismic maps. Landmark was a huge success. Before retiring in 1989, Hildebrand took the company through an IPO and a listing on NASDAQ; six years later, it was bought out by Halliburton for a reported $525 million .

“I retired wealthy forever (not really, my ex-wife later took care of that),” jokes Hildebrand. “And I decided to get back into music.” From Oil to Music Software An engineer by trade, Hildebrand had always been a musician at heart. As a child, he was something of a classical flute virtuoso and, by 16, he was a “card-carrying studio musician” who played professionally. His undergraduate engineering degree had been funded by music scholarships and teaching flute lessons. Naturally, after leaving Landmark and the oil industry, Hildebrand decided to return to school to study composition more intensively. While pursuing his studies at Rice University’s Shepherd School of Music, Hildebrand began composing with sampling synthesizers (machines that allow a musician to record notes from an instrument, then make them into digital samples that could be transposed on a keyboard). But he encountered a problem: when he attempted to make his own flute samples, he found the quality of the sounds to be ugly and unnatural. “The sampling synthesizers sounded like shit: if you sustained a note, it would just repeat forever,” he harps.

“And the problem was that the machines didn’t hold much data.” Hildebrand, who’d “retired” just a few months earlier, decided to take matters into his own hands. First, he created a processing algorithm that greatly condensed the audio data, allowing for a smoother, more natural-sounding sustain and timbre. Then, he packaged this algorithm into a piece of software (called Infinity), and handed it out to composers. A glimpse at Infinity's interface from an old handbook; courtesy of Andy Hildebrand Infinity improved digitized orchestral sounds so dramatically that it uprooted Hollywood’s music production landscape: using the software, lone composers were able to accurately recreate film scores, and directors no longer had a need to hire entire orchestras. “I bankrupted the Los Angeles Philharmonic,” Hildebrand chuckles. “They were out of the [sample recording] business for eight years.” (We were unable to verify this, but The Los Angeles Times does cite that the Philharmonic entered a "financially bleak" period in the early 1990s). Unfortunately, Hildebrand’s software was inherently self-defeating: companies sprouted up that processed sounds through Infinity, then sold them as pre-packaged soundbanks.

“I sold 5 more copies, and that was it,” he says. “The market totally collapsed.” But the inventor’s bug had taken hold of Hildebrand once more. In 1990, he formed his final company, Antares Audio Technology, with the goal of innovating the music industry’s next big piece of software. And that’s exactly what happened. The Birth of Auto-Tune A rendering of the Auto-Tune interface; via WikiHow At a National Association of Music Merchants (NAMM) conference in 1995, Hildebrand sat down for lunch with a few friends and their wives.

Randomly, he posed a rhetorical question — “What needs to be invented?” — and one of the women half-jokingly offered a response: “Why don’t you make a box that will let me sing in tune?” “I looked around the table and everyone was just kind of looking down at their lunch plates,” recalls Hildebrand, “so I thought, ‘Geez, that must be a lousy idea’, and we changed the topic.” Hildebrand completely forgot he’d even had this conversation, and for the next six months, he worked on various other projects, none of which really took off. Then, one day, while mulling over ideas, the woman’s suggestion came back to him. “It just kind of clicked in my head,” he says, “and I realized her idea might not be too bad.” What “clicked” for Hildebrand was that he could utilize some of the very same processing methods he’d used in the oil industry to build a pitch correction tool.

Years later, he’d attempt to explain this on PBS’s NOVA network: "Seismic data processing involves the manipulation of acoustic data in relation to a linear time varying, unknown system (the Earth model) for the purpose of determining and clarifying the influences involved to enhance geologic interpretation. Coincident (similar) technologies include correlation (statics determination), linear predictive coding (deconvolution), synthesis (forward modeling), formant analysis (spectral enhancement), and processing integrity to minimize artifacts. All of these technologies are shared amongst music and geophysical applications." At the time, no other pitch correction software existed. To inventors, it was a considered the “holy grail”: many had tried, and none had succeeded. The major roadblock was that analyzing and correcting pitch in real-time required processing a very large amount of sound wave data. Others who’d made an attempt at creating software had used a technique called feature extraction , where they’d identify a few key “variables” in the sound waves, then correlate them with the pitch. But this method was overly-simplistic, and didn’t consider the finer minutia of the human voice.

For instance, it didn’t recognize dipthongs (when the human voice transitions from one vowel to another in a continuous glide), and, as a result, created false artifacts in the sound. Hildebrand had a different idea. As an oil engineer, when dealing with massive datasets, he’d employed autocorrelation (an attribute of signal processing) to examine not just key variables, but all of the data, to get much more reliable estimates. He realized that it could also be applied to music: “When you’re processing pitch, you add wave cycles to go sharp, and subtract them when you go flat. With autocorrelation, you have a clearly identifiable event that tells you what the period of repetition for repeated peak values is. It’s never fooled by the changing waveform. It’s very elegant.” While elegant, Hildebrand’s solution required an incredibly complex, almost savant application of signal processing and statistics. When we asked him to provide a simple explanation of what happens, computationally, when a voice signal enters his software, he opened his desk and pulled out thick stacks of folders, each stuffed with hundreds of pages of mathematical equations.

“In my mind it’s not very complex,” he says, sheepishly, “but I haven’t yet found anyone I can explain it to who understands it. I usually just say, ‘It’s magic.’” The equations that do autocorrelation are computationally exhaustive: for every one point of autocorrelation (each line on the chart above, right), it might’ve been necessary for Hildebrand to do something like 500 summations of multiply-adds . Previously, other engineers in the music industry had thought it was impossible to use this method for pitch correction: “You needed as many points in autocorrelation as the range in pitch you were processing,” one early-1990s programmer told us. “If you wanted to go from a low E (70 hertz) all the way up to a soprano’s high C (1,000 hertz), you would’ve needed a supercomputer to do that.” A supercomputer, or, as it turns out, Andy Hildebrand’s math skills. Hildebrand realized he was limited by the technology, and instead of giving up, he found a way to work within it using math.

“I realized that most of the arithmetic was redundant, and could be simplified,” he says. “My simplification changed a million multiply adds into just four. It was a trick — a mathematical trick.” With that, Auto-Tune was born. Auto-Tune’s Underground Beginnings Hildebrand built the Auto-Tune program over the course of a few months in early 1996, on a specially-equipped Macintosh computer. He took the software to the National Association of Music Merchants conference, the same place where his friend’s wife had suggested the idea a year earlier. This time, it was received a bit differently. “People were literally grabbing it out of my hands,” recalls Hildebrand. “It was instantly a massive hit.” At the time, recording pitch-perfect vocal tracks was incredibly time-consuming for both music producers and artists. The standard practice was to do dozens, if not hundreds, of takes in a studio, then spend a few days splicing together the best bits from each take to a create a uniformly in-tune track. When Auto-Tune was released, says Hildebrand, the product practically sold itself.

With the help of a small sales team, Hildebrand sold Auto-Tune (which also came in hardware form, as a rack effect) to every major studio in Los Angeles. The studios that adopted Auto-Tune thrived: they were able to get work done more quickly (doing just one vocal take, through the program, as opposed to dozens) — and as a result, took in more clients and lowered costs. Soon, studios had to integrate Auto-Tune just to compete and survive. Images from Auto-Tune's patent Once again, Hildebrand dethroned the traditional industry. “One of my producer friends had been paid $60,000 to manually pitch-correct Cher’s songs,” he says. “He took her vocals, one phrase at a time, transferred them onto a synth as samples, then played it back to get her pitch right. I put him out of business overnight.” For the first three years of its existence, Auto-Tune remained an “underground secret” of the recording industry. It was used subtly and unobtrusively to correct notes that were just slightly off-key, and producers were wary to reveal its use to the public.

Hildebrand explains why: “Studios weren’t going out and advertising, ‘Hey we got Auto-Tune!’ Back then, the public was weary of the idea of ‘fake’ or ‘affected’ music. They were critical of artists like Milli Vanilli [a pop group whose 1990 Grammy Award was rescinded after it was found out they’d lip-synced over someone else’s songs]. What they don’t understand is that the method used before — doing hundreds of takes and splicing them together — was its own form of artificial pitch correction.” This secrecy, however, was short-lived: Auto-Tune was about to have its coming out party. The “Coming Out” of Auto-Tune When Cher’s “Believe” hit shelves on October 22, 1998, music changed forever. The album’s titular track -- a pulsating, Euro-disco ballad with a soaring chorus -- featured a curiously roboticized vocal line, where it seemed as if Cher’s voice were shifting pitch instantaneously. Critics and listeners weren’t sure exactly what they were hearing.

Unbeknownst to them, this was the start of something much bigger: for the first time, Auto-Tune had crept from the shadows. In the process of designing Auto-Tune, Hildebrand had included a “dial” that controlled the speed at which pitch corrected itself. He explains: “When a song is slower, like a ballad, the notes are long, and the pitch needs to shift slowly. For faster songs, the notes are short, the pitch needs to be changed quickly. I built in a dial where you could adjust the speed from 1 (fastest) to 10 (slowest). Just for kicks, I put a “zero” setting, which changed the pitch the exact moment it received the signal. And what that created was the ‘Auto-Tune’ effect.” Before Cher, artists had used Auto-Tune only supplementally, to make minor corrections; the natural qualities of their voice were retained. But on the song “Believe”, Cher’s producers, Mark Taylor and Brian Rawling, made a decision to use Auto-Tune on the “zero” setting, intentionally modifying the singer’s voice to sound robotic.

Cher’s single sold 11 million copies worldwide, earned her a Grammy Award, and topped the charts in 23 countries. In the wake of this success, Hildebrand and his company, Antares Audio Technologies, marketed Auto-Tune as the “Cher Effect”. Many people in the music industry attributed the artist’s success to her use of Auto-Tune; soon everyone wanted to replicate it. “Other singers and producers started looking at it, and saying ‘Hmm, we can do something like that and make some money too!’” says Hildebrand. “People were using it in all genres: pop, country, western, reggae, Bollywood. It was even used in an Islamic call to prayer.” The secret of Auto-Tune was out — and its saga had just begun. The T-Pain Debacle In 2004, an unknown rapper with dreads and a penchant for top hats arrived on the Florida hip-hop scene. His name was Faheem Rashad Najm; he preferred “T-Pain.” After recording a few “hot flows,” T-Pain was picked out of relative obscurity and signed to Akon’s record label, Konvict Muzik.

Once discovered, he decided he’d rather sing than rap. He had a great singing voice, but in order to stand out, he needed a gimmick -- and somewhat fortuitously, he found just that. In a 2014 interview, he explains : “I used to watch TV a lot [and] there was always this commercial on the channel I would watch. It was one of those collaborative CDs, like a ‘Various Artists’ CD, and there was this Jennifer Lopez song, ‘If You Had My Love.’ That was the first time I heard Auto-Tune. Ever since I heard that song — and I kept hearing and kept hearing it — on this commercial, I was like, ‘Man, I gotta find this thing.’” T-Pain — who is capable of singing very well naturally — decided to use Auto-Tune to differentiate himself from other artists. “If I was going to sing, I didn’t want to sound like everybody else,” he later told The Seattle Times . “I wanted something to make me different [and] Auto-Tune was the one.” He contacted some “hacker” friends, found a free copy of Auto-Tune floating around on the Internet, and downloaded it for free.

Then, he says, “I just got right into it.” An old Auto-Tune pamphlet; courtesy of Andy Hildebrand Between 2005 and 2009, T-Pain became famous for his “signature” use of Auto-Tune, releasing three platinum records. He also earned a title as one of hip-hop’s most in-demand cameo artists. During that time, he appeared on some 50 chart-toppers, working with high-profile artists like Kanye West, Flo Rida, and Chris Brown. During one week in 2007, he was featured on four different Top 10 Billboard Hot 100 singles simultaneously. “Any time somebody wanted Auto-Tune, they called T-Pain,” T-Pain later told NPR. His warbled, robotic application of Auto-Tune earned him a name. It also earned him a partnership with Hildebrand’s company, Antares Audio Technologies. For several years, the duo enjoyed a mutually beneficial relationship. In one instance, Hildebrand licensed his technology to T-Pain to create a mobile app with app development start-up Smule.

Priced at $3, the app, “ I Am T-Pain ”, was downloaded 2 million times, earning all parties involved a few million dollars. In the face of this success, T-Pain began to feel he was being used as “an advertising tool.” "Music isn't going to last forever," he told Fast Company in 2011, "so you start thinking of other things to do. You broaden everything out, and you make sure your brand can stay what it is without having to depend on music. It's making sure I have longevity." So, T-Pain did something unprecedented: He founded an LLC, then trademarked his own name. He split from Antares, joined with competing audio company iZotope , and created his own pitch correction brand, “The T-Pain Effect”. He released a slew of products bearing his name — everything from a “T-Pain Engine” (a software program that mimicked Auto-Tune) to a toy microphone that shouted, “Hey, this ya boy T-Pain!” Then, he sued Auto-Tune. T-Pain vs.

Auto-Tune: click to read the full filed complaint The lawsuit , filed on June 25, 2011, alleged that Antares (maker of Auto-Tune) had engaged in “unauthorized use of T-Pain’s name” on advertising material. Though the suit didn’t state an exact amount of damages sought, it does stipulate that the amount is “in excess of $1,000,000.” Antares and Hildebrand instantly counter-sued. Eventually, the two parties settled the matter outside of the court, and signed a mutual non-disclosure agreement. "If you can't buy candy from the candy store," you have to learn to make candy," T-Pain later told a reporter. “It’s an all-out war.” Of course, T-Pain did not succeed in his grand plan to put Auto-Tune out of business. “We studied our data to see if he really affected us or not,” Hildebrand tells us. “Our sales neither went up or down due to his involvement. He was remarkably ineffectual.” For Auto-Tune, T-Pain was ultimately a non-factor.

More pressing, says Hildebrand, was Apple, which aquired a competing product in the early 2000s: “We forgot to protect our patent in Germany, and a German company, [ Emagic ], used our technology to create a similar program. Then Apple bought [Emagic], and integrated it into their Logic Pro software. We can’t sue them, it would put us out of business. They’re too big to sue.” But according to Hildebrand, none of this matters much: Antares’ Auto-Tune still owns roughly 90% of the pitch correction market share, and everyone else is “down in the ditch”, fighting for the other 10%. Though Auto-Tune is a brand, it has entered the rarified strata of products — Photoshop, Kleenex, Google — that have become catch-all verbs. Its ubiquitous presence in headlines (for better or worse) has earned it a spot as one of Ad Age’s “hottest brands in America.” Yet, as popular as Auto-Tune is with its user base, it seems to be universally detested by society, largely as a result of T-Pain and imitators over-saturating modern music with the effect.

Haters Gonna Hate A few years ago, in a meeting, famed guitar-maker Paul Reed Smith turned toward Hildebrand and shook his head. “You know,” he said, disapprovingly, “you’ve completely destroyed Western music.” He was not alone in this sentiment: as Auto-Tune became increasingly apparent in mainstream music, critics began to take a stand against it. In 2009, alternative rock band Death Cab For Cutie launched an anti-Auto-Tune campaign. “We’re here to raise awareness about Auto-Tune abuse” frontman Ben Gibbard announced on MTV. “It’s a digital manipulation, and we feel enough is enough.” This was shortly followed by Jay-Z’s “Death of the Auto-Tune” — a Grammy-winning song that dissed the technology, and called for an industry-wide ban. Average music listeners are no less vocal: a comb of the comments section on any Auto-Tuned YouTube video reveals (in proper YouTube form) dozens of virulent, hateful opinions on the technology. Hildebrand at his Scotts Valley, California office In his defense, Hildebrand harkens back to the history of recorded sound.

“If you’re going to complain about Auto-Tune, complain about speakers too,” he says. “And synthesizers. And recording studios. Recording the human voice, in any capacity, is unnatural.” What he really means to say is that the backlash doesn’t bother him much. For his years of work on Auto-Tune, Hildebrand has earned himself enough to retire happy — and with his patent expiring in two years, that day may soon come. “I’m certainly not broke,” he admits. “But in the oil industry, there are billions of dollars floating around; in the music industry, this is it.” He gestures toward the contents of his office: a desk scattered with equations, a few awkwardly-placed awards, a small bookcase brimming with Auto-Tune pamphlets and signal processing textbooks. It’s a small, narrow space, lit by fluorescent ceiling bulbs and a pair of windows that overlook a parking lot. On a table sits a model ship, its sails perfectly calibrated. “Sometimes, I’ll tell people, ‘I just built a car, I didn’t drive it down the wrong side of the freeway,'” he says, with a smile.

“But haters will hate.” Our next post profiles an entrepreneur who wants to disrupt the only industry Silicon Valley won't touch: sex. To get notified when we post it → join our email list . A version of this article previously appeared on December 14, 2015. Announcement : The Priceonomics Content Marketing Conference is on November 1 in San Francisco. Get your early bird ticket now . Top 10 Auto-Tune Songs Top 10 Auto-Tune Songs We deliver. Get the best of About Entertainment in your inbox. Thanks, You're in! There was an error. Please try again. Please select a newsletter. Please enter a valid email address. Did you mean ? Order Yeezy Boost 350 Oxford Tan $199 For Sale Price Size 7,8,9 Release Date Price Adidas Yeezy Boost 350 'oxford Tan',Adidas Yeezy Boost 350 Tan For Sale It was exciting discover more good roles for female on TV this past year, and also their were six nominees in Emmy's drama actress category to prove it.

As an example of women's presence on television, we got Kyra Sedgwick, Glenn Close, and Mary-Louise Parker as joint presenters. The ladies looked both strong and fabulous plus little bit haughty. Sedgwick and Close had fun discussing their role model characters until they turned into Parker, feigning a sudden loss for words. In their own usual droll way, Parker solved the dilemma everything about the that her pot-selling star of Showtime's Weeds is really a career woman and single mother who makes interesting choices to support her family. Hmm. I'm wondering if she read my article about her comedy actress nomination? Although it was Adidas Yeezy Boost 350 Tan For Sale clearly unintended and far past the bedtime of young tykes, the Federal Communications Commission can still sanction NBC for the slipup. Last April, the Supreme Court overturned a ruling that stated the FCC did not penalize networks for broadcasting "fleeting obscenities" between 6 a.m. and 10 p.m. The voice-altering technology has been used by everyone from adidas yeezy boost 750, Ron Browz, along with course T-Pain.

But the pitch changing software loved by Cher appears to achieve to finally come to the unfortunate end after the making of 'Death of Autotune', over a beat by former Common producer No ID. Gerry Owens [founder of Lluther along with the early 2000's Skindive] and i wrote the songs for Moth Complex together. We worked independently of each other as almost as much ast we did together after which you'll handed bits of music and writing forwards and backwards between with us. Mostly we got a common involving what we wanted about a song, then Gerry would write an item of music and hand it over to me. I'd write melodies, lyrics accessible back Adidas Yeezy Boost 350 'oxford Tan' to him with my Adidas Yeezy Boost 350 Tan For Sale thoughts and my work. Sometimes, I'd check out him first with a plan or a melody and he'd work something around it. Ultimately, we met up with our ideas and we recorded the vocals and finished the intro. These both are deals many pregnant celebs would snatch in 2nd to not only shed their baby weight, receive tons of exposure and of course load up their bank accounts.

The second single is Adidas Yeezy Boost 350 'oxford Tan' the soulful "The People" featuring neo-soul singer Dwele. The song standout tracks on record and just fits perfectly in Common's lyrical range. The track is once again taken by adidas yeezy boost 350. I'll go as far to state that it would be different in probably every means which could possibly many types of. I would not want to be anyone else in the world, so wouldn't hopeful in every other band, and everything happens for good reason. Why We Sleep Your Brain Needs Sleep, so you can: Remember what you learn Solve problems and think of new ideas Your Body Needs Sleep, so your: Muscles, bones, and skin can grow Muscles, skin and other parts can fix injuries Body can stay healthy and fight sickness Have fun and learn about why we sleep! Come on and... Singers Surfing to Stardom on a New Sound Wave by | Creators Syndicate A- A+ Not being able to sing was once considered a detriment for aspiring pop stars. So was lip-syncing, at least at "live" performances.

But those days have passed, even as each year's new crop of "American Idol" finalists seems determined to engage in vocal gymnastics. "The percentage of people performing 'live' using prerecorded tracks has exploded and it's now standard protocol," said veteran audio engineer Kevin Leonard, who has worked with artists as varied as Whitney Houston, Emmylou Harris and Miles Davis. In this post-MTV age, eye-popping spectacle is the name of the game. That's why it is de rigueur for some performers to mime parts or all of their pyrotechnic-filled concerts, a la Britney Spears and Madonna. At the other extreme is 2010 Grammy Awards queen Taylor Swift, a gifted musical story-teller but so-so singer, whose pitch-challenged Grammy performance cried out for electronic enhancement. There was no lack of enhancement for such fellow 2010 Grammy Award-winners and performers as T-Pain, Lady Gaga and Black Eyed Peas. These acts utilize such high-tech tools as compressors and delay units to enhance their vocals.

Even more prominent is the now ubiquitous Auto-Tune, an audio processing software program that can help make marginal vocalists sound in pitch and help genuinely talented singers, such as Beyonce and Mary J. Blige, sound close to perfect. The constant use of Auto-Tune by T-Pain, Kanye West and other hip-hop vocal stars who are certifiably not singers inspired Jay-Z's recent Grammy-winning rap hit, "D.O.A. (Death Of Auto-Tune)." It includes such pointed verses as: "I know we facin' a recession / But the music y'all makin' gonna make it the great depression." Then there's last year's "Mr. Auto-Tune." A collaboration between Wyclef Jean and Nick Cannon, it takes a more satirical approach with such lines as: "I'm Mr. Auto-Tune / If you sing off-key / For a small fee / I can make you a celebrity." "Live singing or playing is the last thing acts are worried about now, because they (have) the technology," said Leonard, 53. "I have friends who work on 'American Idol' and they Auto-Tune all the finalists. It's rampant everywhere. Beyonce is a great singer, but ...

90 percent (of her vocals) are (prerecorded), because of all the dancing. Almost nobody strives to be an excellent performer anymore, because they don't need to." Ray Suen constantly hones his skills as a violinist, keyboardist, guitarist and singer. While he laments the growing reliance on technology, he believes most concertgoers don't care. "So many bands now use (prerecorded) vocal and instrumental tracks, where there's nobody playing and it's all on a computer," said Suen, 24, a touring member of The Killers who has also appeared as an auxiliary member of Flaming Lips. "But I don't think it matters, because the audience doesn't think about that. The audience is there for the show and whatever the artist gives them. It's all a suspension of reality." Not so, countered Canadian rock star Avril Lavigne, 25, a staunch foe of "live" performances that aren't. "Why do people lip-sync? Because they can't sing live," she charged. "Singing is a really hard thing to do for an hour and a half. And when you're playing with a band, finding your notes is really hard.

I'm lucky; I've been singing all my life. If something cuts out in my (audio) ear monitor and I can't hear, I'm screwed and I'll go off key. That's happened a couple of times. But for most of my career, I've stayed on key." Thanks to Auto-Tune, staying in key is not a problem for performers on stage or in a recording studio. Whether they sound real or synthetic is of little concern, as T-Pain's duet with Jamie Foxx on this year's Grammys telecast demonstrated. "This is actually the first time I've used Auto-Tune live," T-Pain, 24, said. "Jamie was using it at rehearsals, and I thought: 'Wow, I sound terrible.' Then he told me he was using it, and I said: 'I better use Auto-Tune, too.'" Created in 1997, Auto-Tune was designed to help vocalists sing in tune while they were recording. If they missed a note or two, or briefly went off pitch, rather than have to start over from the beginning, Auto-Tune corrected the vocal track automatically.

The first hit record to employ Auto-Tune was Cher's "Believe" in 1998, although it was then unclear exactly what technological tool she had used. More recently, T-Pain became a star by carving out a musical identity that seems embedded in Auto-Tune. "As hard as it is to believe now with the ubiquity of the T-Pain and Cher effect on pop music, the initial intent was that it be used to seamlessly and invisibly correct small pitch errors in vocal performances," said Marco Alpert, 62, the vice president of marketing for Antares, the Northern California company behind Auto-Tune. Cher's singing on "Believe" suggested a Vocoder, the voice-altering device featured on earlier hit records, including hip-hop pioneer Afrika Bambaataa's "Planet Rock" in 1982 and Styx's "Mr. Roboto" in 1983. But the Vocoder was instantly conspicuous to any listener. When not pushed to distorted extremes, as Cher's producers did on "Believe," Auto-Tune was so difficult to detect that few recording engineers and producers would even acknowledge they used it.

"For the first few years it was a 'dark secret' nobody wanted to talk about," Alpert said. "Producers were afraid to tarnish the names of artists using Auto-Tune. But everyone in the music world, especially in Nashville, was using it. One of the first to talk about using Auto-Tune in concert was Reba McEntire. Her position was her fans deserved a great show and Auto-Tune provided a safety net." As has been true in previous musical eras, technology is not the enemy, especially in the recording studio, where artists should be able to use every tool to make memorable musical statements. If that means using sampling units, amplifier modelers (which can simulate the sound of Fender, Marshall and other top-line amps) and Pro Tools to record and combine dozens or even hundreds of different vocal and instrumental tracks to create the perfect version of a song, so be it. But when that same technology is used live — and when more and more shows feature acrobatic acts miming to their own records, the better to simulate their videos — concerts become synthetic affairs. Gone are the dynamics and spontaneity so essential to making each performance unique, as well as the mistakes and imperfections that distinguish humans from machines.

"I don't want to sound like a grumpy old man, but I love to see somebody actually sing and play an instrument," said veteran singer-songwriter Steve Poltz, 50, best known for co-writing Jewel's 1996 mega-hit, "You Were Meant For Me." "I love technology. But with too much technology, it's like de-boning a fish. If you de-bone a song, you take all the soul out of it." Along with Dave Matthews, Elvis Costello and other stars, Poltz was featured in "Before the Music Dies," a 2006 film documentary that took a grim look at the state of music in a post-digital, image-is-everything age. In one memorable scene, after he wrote a song on the spot, a young female model "sang" it using Auto-Tune. "I've been in studios where they asked me to try Auto-Tune because I sang a line flat," he recalled. "I said: 'Let me sing it again.'" It's inaccurate, however, to say that older singers shun Auto-Tune and younger ones embrace it.

Consider the golden-voiced Carly Simon, who for the first time in her career recently performed live using her own prerecorded vocal and instrumental tracks. No band or other singers, just Simon and a DJ/audio mixer, on stage at a New York nightclub late last year. "It was really fun because I was more free to dance around the stage and sing with my own (prerecorded) voice," Simon, 64, said. "I sang live on every one of the songs, but it was the first time I'd experienced what it was like to sing partially to a track. Part of me was thinking: 'Hey! This is great. Why didn't I know about any of this before?' I've been told — although I can't say this about myself — that when a song of mine comes on the radio, you can tell instantly it's me. With the current state of singing, you can't always tell." Of course, inept singing by photogenic pop stars dates back at least to the 1950s and such vocally challenged acts as Fabian. But what about technically skilled singers, who try to belt every other note into the stratosphere?

"I'm so sick of this 'Mariah Carey approach' by all these vocal acrobats," said Ozzy Osbourne, 61. "Nobody sings a song straight anymore. Whitney Houston was great in her day, but now everybody in that style sings the same." It is for this reason that veteran singing teacher Didi Stewart stresses the importance of nuance, inflection and individual interpretation to her students at the Berklee College of Music in Boston. "One way my vocal students have been affected by this false perfection we now hear on records and at concerts is that they sometimes expect way too much of themselves," Stewart, 55, noted. "If they hit a bum note, they're so dismayed. I was working with a really good student who was trying to replicate these incredibly high notes on Madonna's 'Ray of Light.' I told her she was trying to sing something Madonna is not capable of and that maybe it's OK to not aspire to something that's not real to begin with." With more and more fans expecting to hear stars exactly replicate their recordings on stage, the line between live and canned music becomes even more blurred.

"The consumer has gotten used to hearing a pitch-perfect vocal on record, so when they go to a concert, they want to hear it the same way," said Grammy Award-winning songwriter and vocal producer Kuk Harrell, whose credits include Rihanna's "Umbrella" and Beyonce's "Single Ladies (Put a Ring On It)." "It's good if the artist can pull it off and make it seamless. It's bad because it opens the door for a lot of people who shouldn't be artists to pursue it." But are products like Auto-Tune the culprit? Or is it the deceptive misuse of Auto-Tune that's ultimately to blame? "It's got this reputation that it allows talentless people to sing, and that's not true," Auto-Tune's Alpert said. "There's more to being a great singer than being in pitch, like timbre, dynamics and the ability to convey information and emotions in a compelling way. If you're a bad singer, with Auto-Tune you're still a bad singer; you just happen to be in tune." To find out more about George Varga and read features by other Creators Syndicate writers and cartoonists, visit the Creators Syndicate website at Like it? Share it!

I Am T-Pain by Smule - Experience Social Music about 2 hours ago T-Pain Video is here! Now you can create your own music videos straight from your iPhone 4 or 3GS, complete with the T-Pain effect and T-Pain's background tracks. Or, tune your pets, friends, or local law enforcement officials, capturing the result with video. With a single click, you can upload your video straight to YouTube. The T-Pain Video feature is included at no additional cost to iPhone 4 and iPhone 3GS “I Am T-Pain” users. The iPhone 3GS requires iOS 4 to use the T-Pain Video feature. You ARE T-Pain Sing into your phone and sound just like T-Pain! I Am T-Pain adds the vocal effect made famous by T-Pain himself. Transform your voice and get your T-Pain on with scrolling lyrics and original beats from the hottest producers.

Authentic T-Pain Sound Employing the same authentic T-Pain style voice/pitch correction technology used in recording studios around the world, I Am T-Pain creates, in real-time, the vocal effects made famous by T-Pain and utilized by other megastars like Kanye West, Lil Wayne and even Cher with her iconic hit Believe. Sing Along or Do Your Own Thing Use I Am T-Pain, with your headphones, to record your own songs, or connect your iPhone to an external speaker and perform in front of your friends and fans. Sing the nine songs included in the app, purchase premium tracks, go acapella or give your voice the T-Pain effect while singing along to any song in your iTunes library. Share Your Songs via Facebook, Twitter and Email Once you've recorded your songs you're going to want people to hear them, right? Sharing your creativity with the world is easy. Just upload your performance, and you can post it on your Facebook wall, share it on twitter and email it to your friends. Smule is a premier developer of interactive sonic applications for the iPhone and iPod touch.

Smule's applications, including Ocarina, Leaf Trombone World Stage and Sonic Lighter, have been described as "magical", "addictive" and "instant classics" and have topped numerous iPhone app top-10 lists. To date, Smule apps have been downloaded more than 2 million times. T-Pain is a groundbreaking American hip-hop and R&B singer, songwriter, and producer. In addition to releasing three best-selling albums of his own and numerous hits for other rappers, T-Pain has had over ten top-10 singles chart on the Billboard Hot 100. T-Pain has received Grammy, BET and Vibe awards, and he was rated 34th of the most influential people in the world. I Am T-Pain 2.0 uses the new T-Pain effect pitch correction by Izotope, not Antares Auto-Tune.

Question: What voice-altering technology was famously used by T-Pain and Cher?
Answer: Auto-Tune