![]() ![]() ![]() By giving hip-hop artists who aren't traditional singing talents a tool for making their music more melodic, Since T-Pain's 2005 debut album Auto-Tune has brought a mulititude of new voices into the realm of popular music and pushed hip-hop's most daring artists to try exciting new things-both intrinsic principles of the genre. Not only do these reductive takes on the technology ignore the different ways pitch correction software can be used, they also ignore all the innovation it has enabled. Headlines like “10 Auto-Tune Songs That Don't Suck” are not uncommon, or questions like “What happens when an entire industry decides it’s safer to bet on the robot?” With an impossible-to-deny reputation for enabling bad singing, Auto-Tune has come to stand for many related evils: the lack of talent in pop music, the lack of quality in pop music, the homogenization of pop music, hip-hop's rejection of authenticity in favor of pop, and the general decline of American culture. When Auto-Tune is defended, it's usually in a backhanded way, with the assumption that digital pitch correction is inherently shitty. "They will never try to be good, because yeah, you can do it just on the computer." ![]() "Otherwise, musicians of tomorrow will never practice," bassist Nick Harmer told MTV News at the time. ![]()
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