K.d.lang Auto Tune
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Lang released her first major-label album in 1987, she caused considerable controversy within the traditional world of country music. With her vaguely campy approach, androgynous appearance, and edgy, rock-inflected music, very few observers knew what to make of her or her music, although no one questioned her considerable vocal talents. Jun 02, 2009 Auto-Tune has become so ubiquitous that indie rockers Death Cab for Cutie wore blue ribbons at this year’s Grammy Awards ceremony to protest its overuse. Lady Gaga - Million Reasons (Live From The Bud Light x Lady Gaga Dive Bar Tour Nashville) by Lady Gaga. Fawn Weasel Moccasin. Listen free to k.d. Lang – Drag (Don't Smoke in Bed, The Air That I Breathe and more). 12 tracks (52:26). Discover more music, concerts, videos, and pictures with the largest catalogue online at Last.fm. Nov 29, 2017 Based on what 'gen x' listens to these days, I think we need Owsley 'Bear' Stanley to come back from the dead in order for their auto-tuned trained brains to turn-on to come actual MUSIC with soul and substance. Also, I think the whole 'I listen to everything' line. Re: This Day in History. May 6th On this day in 1937: (70 years ago today) The airship Hindenburg, (LZ-129), crashes and burns while on final approach to the airfield at Lakehurst, New Jersey, claiming 36 lives in.
K D Lang Today
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The following sentence might come as a huge shock to teens and Millennials, so stop tweeting for a second, kids, and get prepared for a totally outlandish statement. Here it is: Once upon a time, pop singers were actual singers.
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Yes, I know. That’s hard to comprehend since the pop charts are now dominated by artists who use Auto-Tune, the software plug-in that corrects the pitch of those who can’t really cut it in the vocal department and turns their vocals into robo-voices. While everyone under 30 recovers from that revelation, here’s what I mean by “actual singers.”
Back in the day, pop artists like Frank Sinatra and the Beatles used to be able to record albums in just a few days. Country musicians like Patsy Cline and George Jones trudged through grueling tours in out-of-the-way rural locales yet still missed nary a note. R&B musicians like the Supremes and the Four Tops navigated their way through complex choreography but still belted out songs out like their lives depended on it.
And while today, we still have singers with massively impressive pipes, a whole lotta them could never have rocked it for real like the Motown gang. These days, artists are able to get by on looks, publicity and aid from Auto-Tune.
You can hear the robotic, processed sound of the plug-in on recent hit records like “Blame It” by Jamie Foxx and T-Pain, “Just Dance” by Lady Gaga and “Right Now (Na Na Na)” by Akon. It’s also heard on tracks by Kanye West, Britney Spears and Lil Wayne. When West attempted to sing “Love Lockdown” without the plug-in on “Saturday Night Live,” the results were none too impressive and got ridiculed online. You can hear 10 examples of “Auto-Tune Abuse in Pop Music” on Hometracked, a blog geared toward home recording enthusiasts.
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Paula Abdul also uses Auto-Tune on her new song, “Here for the Music,” which she performed (i.e. lip-synched) on “American Idol” May 6. It was evident just how artificial Abdul’s vocals were when she was followed by Gwen Stefani, who gave a warts-and-all live vocal on No Doubt’s “Just a Girl.”
Country and rock singers are said to use Auto-Tune to protect themselves from hitting bum notes in concert. Pop singers use it when they have a hard time singing while executing complicated dance moves (raising the question as to why they’re letting their dancing take precedence over their music). Auto-Tune has become so ubiquitous that indie rockers Death Cab for Cutie wore blue ribbons at this year’s Grammy Awards ceremony to protest its overuse.
Building the ‘perfect’ beast
The prevalence of Auto-Tune comes from two longstanding pop music traditions — the desire to alter the human voice and the quest for perfection at the expense of real talent and emotion.
The first of these can lead to inspiring moments, as the New Yorker’s Sasha Frere-Jones noted in an essay last year. Pioneering voice tweakers include producer Quincy Jones, who punched up Lesley Gore’s vocals with double tracking on “It’s My Party,” and George Martin, who gave us a childlike sped-up John Lennon on “Lucy in the Sky with Diamonds.” Later on, Peter Frampton wowed audiences with his talk box guitar effect and a decade later, vocals were being put through harmonizers to get jarring outer space effects.
Of course, to pull off any of those effects, you had still had to be able to sing. With Auto-Tune you don’t.
Then there’s the quest for perfection. By the 1970s, producers were able to edit or splice together vocal takes from various tracks and eventually they started to use hardware that corrected vocal pitch to create “perfect” performances. When the sound editing program Pro Tools became the industry norm in the 1990s, kludged-together vocal tracks became the norm.
But too much meticulousness in pop music strips away passion. And the very reason we listen to music, noted the late rock critic Lester Bangs, is to hear “passion expressed.” Auto-Tune makes people sound like robots. And if there’s no feeling, why listen at all?
Some people apparently aren’t listening anymore. Sales of major label CDs are down. But more authentic sounding music still has fans. Paste magazine recently reported that indie music is selling more, and the one area of commercial music that’s remained popular is “American Idol,” where you can’t fake it (unless you’re Paula Abdul).
The producers speak
A lot of producers like to use Auto-Tune because it saves time, says producer Craig Street, who has worked with Norah Jones, k. d. lang and Cassandra Wilson. “If you have a smaller budget what you’re doing is trying to cram a lot of work into a small period of time,” Street says. “So you may not have as much time to do a vocal.”
Craig Anderton, a producer and music writer, observes that Auto-Tune “gets no respect because when it’s done correctly, you can’t hear that it’s working.
“If someone uses it tastefully just to correct a few notes here and there, you don’t even know that it’s been used so it doesn’t get any props for doing a good job,” Anderton notes. “But if someone misuses it, it’s very obvious — the sound quality of the voice changes and people say ‘Oh, it’s that Auto-Tune — it’s a terrible thing that’s contributing to the decline and fall of Western music as we know it.”
One producer who dislikes Auto-Tune is Jon Tiven, who cut his musical teeth in the punk rock era with his band the Yankees, and went on to produce soul singers Wilson Pickett and Don Covey as well as Pixies founder Frank Black. Tiven thinks Auto-Tune has led to the destruction of great singing.
“I don’t know how many levels you want to drop the bar for what it takes to become a successful musical person,” Tiven says. “You could sacrifice on some levels, but it would seem to me one of the first things you would really be hard pressed to sacrifice is if the person could sing in tune or not.”
Street says the like or dislike of Auto-Tune largely comes down to aesthetics, and likens people’s feelings about listening to unnatural sounds with the way some people feel about unnatural body modifications, such as breast implants. How many computers can you install traktor pro 2 online.
And that makes sense. After all, today we have models and actors whose faces and bodies were never intended by nature, reality TV that’s not real, and sports “heroes” whose strength comes from pills not practice. It’s totally understandable that the commercial pop world would embrace an unnatural aesthetic. Whether audiences will someday want pop singers who are first and foremost singers remains to be seen.
© 2013 msnbc.com. Reprints
K.d.lang Auto Tuners
Artist Biography by Stephen Thomas Erlewine
When k.d. lang released her first major-label album in 1987, she caused considerable controversy within the traditional world of country music. With her vaguely campy approach, androgynous appearance, and edgy, rock-inflected music, very few observers knew what to make of her or her music, although no one questioned her considerable vocal talents. That confusion never quite dissipated over the course of her career, even when she abandoned country music for torchy adult contemporary pop in 1992 with her fourth album, Ingénue. Born in Alberta, Canada, lang was first drawn toward music while she was in college. In particular, she was attracted to the music of Patsy Cline. She became acquainted with Cline's music while she was preparing to star in a collegiate theatrical production based on the vocalist's life. Soon, lang immersed herself within Cline's life and music and decided that she would pursue a career as a professional singer. With the help of guitarist/co-songwriter Ben Mink, she formed a band, named the Reclines in tribute to Patsy Cline, in 1983, and they recorded a debut album, Friday Dance Promenade, which received some positive notices in independent papers. A follow-up album, A Truly Western Experience, was released in 1984 and received even better reviews and led to national attention. In 1985, lang was named the Most Promising Female Vocalist by the Juno Awards. All of the Canadian attention led to the interest of a number of American record labels. Sire signed lang in early 1986, and she recorded her first record for the label later that year. The result, Angel with a Lariat, was produced by Dave Edmunds and appeared in the fall of 1986. The mix of '50s-styled ballads, kitschy rockabilly, and honky tonk numbers on Angel with a Lariat received good reviews, especially from rock critics. The album had heavy support from college radio as well as cutting-edge country stations. Though it was a mainstream hit in Canada and an underground smash in the U.S., Nashville resisted lang, especially her tongue-in-cheek concert appearances. As she was recording her second Nashville album in 1987, lang performed a duet with Roy Orbison on his old hit 'Crying,' which was recorded for the film Hiding Out. The single was released at the end of the year and was a hit, marking her first appearance on the country charts. Shadowland, her second Sire album, made her debt to Patsy Cline explicit. Recorded with Cline's producer, Owen Bradley, the album lacked the campy humor of Angel with a Lariat, which helped it succeed in traditional country circles -- 'I'm Down to My Last Cigarette,' the first single from the record, was her first to break the country Top 40. Shadowland became a sizable word-of-mouth hit, both in modern country and alternative music circles, which led to it going gold. The following year lang released the harder-edged Absolute Torch and Twang, which increased her mainstream American country audience, in addition to being a college radio and Canadian hit. Lang won a Grammy -- Best Country Vocal Performance, Female -- for the album in 1989, and 'Full Moon of Love' became a Top 25 hit in the summer of 1989. The attention made lang a minor celebrity, which meant that when she launched a protest against meat eating in 1990, it became a media sensation.K D Lang Songs List
Before the release of her fourth album, lang declared that she was a lesbian in an interview in The Advocate, which could have been a risky proposition, since Nashville's industry was notorious for not accepting people who fell outside of the margins of the mainstream. However, the new album was not a country album. Ingénue was a set of adult contemporary pop that owed very little to country. Its first single, 'Constant Craving,' became a Top 40 American hit and won the Grammy Award for Best Pop Vocal Performance, Female, leading the album to platinum status in America, Britain, and Australia; it went double platinum in Canada.