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By way of what can only be explained as audio engineering voodoo, Auto-tune artistsartosts to pitch correct their vocals to perfection.
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She'd noticed early on that her son had a gift for music — clapping his hands to his ears when someone sang off pitch, correcting the bassist when he played in the wrong time signature.
Here's something else that I didn't know that I didn't know: Auto-tune, the pitch correcting software that many music purists consider a major culprit in the ruin of modern pop, was invented by a classical flautist and geophysicist who developed it from technology that is used to find oil reserves.
If you hear a lot of new singers, the vowels and the way they change notes almost sound pitch corrected already.
Absolute pitch possessors typically score 50-100% on such tests (Levitin and Rogers, 2005); moreover, possessors are often correct within one semitone of the target pitch, and B.R. identified 85% of pitches correct within one semitone.
The musicians all used Auto-Tune to pitch-correct their voices; the songwriters all copied the last big hit; the same producers worked on every track.
This new set not only has more complete version of the songs, but claims to pitch-correct them better than the Sony box.
The advantages of digital recording are obvious: Pro Tools allows for endless editing and manipulation of sound, from pitch-correcting vocals to splicing up ten takes of a song into one seamless track.
Producers of "The X Factor," which Mr. Cowell created and plans to bring to American television next year, have acknowledged that they used the pitch-correcting program Auto-Tune to correct the voices of some singers on the show, though they said it was to compensate for the different microphones used during their performances.
The crowd knew all of those songs too, including every rhyme of "Novacane," which laments a culture of numbness and artificiality in the bedroom and on the radio: "Every single record, Auto-Tuning/Zero emotion, muted emotion, pitch-corrected computed emotion".
Music writer Robert Christgau called it a "slow, sad-ass and self-involved... breakup album" and analyzed that West's choice to "robotize as well as pitch-correct his voice both undercuts his self-importance and adds physical reality to tales of alienated fame that might otherwise be pure pity parties".
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