Auto-Tune always and forever

For the second episode in our three-part miniseries about the future of music, Charlie Harding, a music journalist and co-host of the Switched on Pop podcast, joins the show to tell the story of Auto-Tune. He walks us through how a simple plugin became such a recognizable sound in music, why both artists and fans gravitated to the Auto-Tune sound, and why Auto-Tune has continued to grow even through backlash in the music business. Then we look ahead to AI, and try to figure out what — if any — lessons we might be able to learn about the sound and culture of the AI era to come. Further reading: Charlie Harding on X Switched on Pop From Pitchfork: How Auto-Tune Revolutionized the Sound of Popular Music From Rick Beato: How Auto-Tune DESTROYED Popular Music From Gabi Belle: The Problem with Autotune on TikTok Email us at [email protected] or call us at 866-VERGE11, we love hearing from you. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Speaker names marked ? are inferred from speaking time and the show’s known hosts — they are not voice-verified.

• 0:02David Pierce?

  Welcome to The Vergecast, the flagship podcast of the difference between reverb and deverb. I'm your friend David Pierce, and I have decided that I am going to relearn how to play the guitar. So I have this guitar that sits behind me on all of my meetings and all of my podcast recordings. And so people are often like, "Oh, that's cool. Did you play guitar? What's your favorite song? Do you know 'Time of Your Life' by Green Day?" Like, all this stuff. And the answer is, I don't really play. I used to. I played a lot when I was a kid for a long time. I was actually pretty good at it. But then I got to that point that you get to with a lot of things where my guitar teacher was like, "You either need to try harder and care about this more, or just quit." And so I just quit. Bad choice in retrospect, but like, I was 12. What are you gonna do? But now, I have this guitar, and I've decided I'm gonna remember how to play it. So I got

• 0:47David Pierce?

  this app, Usition, that people really recommend, and I really like so far. It just sits here on the iPad, and it tells me what to play, and it actually uses the microphone to see if I'm playing it correctly, and gives you this sort of dynamic feedback as you go. It's not as good as having, like, a person to teach me, but I can do it in my basement. So I'm calling it a victory. So far, I have learned, basically, that this is a C chord, and not much else. But you know, it's progress. We're doing it one day at a time. Anyway, that is not what we're here to talk about. This is the second episode in our mini-series all about the future of music. Last week, we talked to Jack Koin about Trackstar and basically music content, and how we, as fans, discover new music, and how musicians discover

• 1:32David Pierce?

  new fans, and be in the world. This week, we're talking about a technology that I think you could argue is the single most important thing that has happened to music in the last two decades. And that thing is autotune. We're talking to Charlie Harding, who is a longtime Vergecast contributor and a friend of the show, and also the co-host of the excellent podcast Switched on Pop. I'll link it in the show notes. If you don't listen to it, you should. It's excellent. He's gonna tell us all about the history of autotune, how it changed music, and maybe try to figure out with us if there's a way to take what happened to autotune over the last two decades and think ahead. As we get to AI, and TikTok, and all the other changes that are happening to the music industry, what can we learn

• 2:14David Pierce?

  from what has happened with autotune that might give us a hint about where we're going the next 25 years? All that is coming up in just a sec. We have a lot of very fun songs to play. They are going to stick in your brain for months, and I'm very, very sorry about that. But it's gonna be worth it. It's gonna be awesome. All that is coming up, but I just remembered how to play a D chord. And so I'm gonna go do that a bunch of times and feel very good about myself. I know two chords now. I'm basically a guitar player. This is The Verge Cast. We'll be right back.

• 2:42Speaker 01

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• 3:11David Pierce?

  Welcome back. All right, let's just get into it. So Charlie Harding, like I said, is a music journalist. He's a professor of music. He's also the co-host of Switched on Pop, one of my absolute favorite, deep, wonky music podcasts. I really cannot recommend it enough. He's been on this show with us before, talking mostly about AI music. We did a great episode with him last fall where we tried to make a song with AI, and it got weird and very fun. He was around for the whole laser bong craziness. We talked a lot about AI Drake with him. We've talked a lot about AI with Charlie. Today, we're gonna talk about something different, and that is autotune. But one of the reasons I wanted to have Charlie here to do this is that I think there might be some similarities between the story of autotune and the story of AI.

• 3:56David Pierce?

  So in order to do that, Charlie is going to show up here, and he's going to tell us the story of autotune, how it changed music, how it changed the world. And then we're gonna try to figure out if there's anything we can learn about what comes next. So here we go. Let's just get into it. Here's my conversation with Charlie Harding. Charlie Harding, welcome back to the show. Pleasure to be here. It's been a minute. This is, this is very fun. I was like having a reason to talk to you. And this time, it's not about like weird AI videos on YouTube. This is very exciting for us.

• 4:24Speaker 02

  I imagine we will get to AI because that is the topic.

• 4:27David Pierce?

  We will almost certainly get to AI videos on YouTube. I just realized that is where we are headed here at some point, but we're going to take a minute to get there.

• 4:34Speaker 02

  Yeah.

• 4:35David Pierce?

  So I want to start like this. This is sort of a like needlessly pedantic way to start this conversation. But I've realized in prepping for this, that when we talk about autotune, we're kind of talking about a bunch of things, but also one very specific thing. So before we get into the whole story of autotune, like, what, what is autotune? What do people mean when they refer to autotune today in 2024?

• 4:59Speaker 02

  I think there's two different definitions of autotune. The sort of formal definition is that there's a company called Antares that made a audio software tool called Autotune that is used to help people adjust the pitch of their vocal after they have recorded it. Or actually, you can even record it live into autotune today. That is also an effect people use. It's an audio processing effect. And it is also, second definition, basically becomes synonymous with any kind of pitch correction. There are many companies that help us do pitch correction. And so when you say autotune, you could either mean this audio plugin or you could mean any form of pitch manipulation and correction.

• 5:38David Pierce?

  Okay, so autotune is like the Kleenex of the space. It is, it is both a thing, but it's also the name everybody uses to refer to everything, kind of like it.

• 5:46Speaker 02

  Yes, exactly.

• 5:47David Pierce?

  Okay, got it. So let's go all the way back to the beginning here. You mentioned autotune, the product.

• 5:53Speaker 02

  Yes.

• 5:53David Pierce?

  Where did it come from?

• 5:55Speaker 02

  There are so many things in audio that have come from the military industrial complex aerospace. And in this case, the oil industry. Because autotune was invented by a guy named Andy Hildebrand, who was a geologist who worked in oil and gas. And he used techniques like the Fourier transform analysis, which is used both in geophysics and in audio processing. And he helped find oil deposits using wave seismology tools. I don't quite know the science of this stuff. I'm a music journalist and. And he had this idea that he wanted to pursue his passion in music. He was a flautist.

• 6:40Speaker 02

  And that is one who plays the flute, to be clear. And, uh, and so he, he launched this software company in the nineties and built a tool that used some of the math and science that he had used in oil and gas to create a pitch correction tool. Somehow the wave technology he used to identify oil fields also applied to how we can better tune our vocals. So, thank you, Oil and Gas, for pitch correction. If there's any reason you didn't like autotune, I just gave you another one.

• 7:09David Pierce?

  Yeah, right. It's for, for better or for worse. I have to say, no single part of that answer was remotely close to what I expected. I love it. This is great.

• 7:17David Pierce?

  So, how, how does it go from like Guy Makes Science Project to actually being used? I think, brief spoiler alert, we're gonna get to Cher here very quickly.

• 7:28Speaker 02

  Yeah, of course.

• 7:29David Pierce?

  Is Cher the very, very beginning of that story? Or was autotune kind of around in the industry before Cher happened?

• 7:36Speaker 02

  It's very close to Cher. Uh, the tool autotune launches in 1997. Cher's Believe,

• 7:52Speaker 02

  which is really the song where people start to recognize the effect, isn't until the fall of 1998. The idea of autotune was that it would be a sort of subtle effect to help slightly enhance a out of tune vocal. Not completely out of tune. Like, you still had to sing pretty well in tune, but it could help sort of nudge the, the bad moments back into tune. And so there certainly were some producers that were using it, uh, before Cher. What Cher did is that, uh, she and her team took this tool and kind of abused it. They, uh, set the settings so that it pitch corrected as fast as it possibly could in such a way that it created this, this very, uh, strange vocal effect that they started calling the Cher Effect.

• 8:37Speaker 02

  I do have to note, though, there is an important recording that came out before Cher's Believe that also had this over the top autotune effect. And it's very unfortunate that it is Kid Rock's Only God Knows Why, released a few months before Cher's Believe.

• 9:01David Pierce?

  Yeah, that's tough. We'll give it a Cher. I think, I think it's right.

• 9:03Speaker 02

  Absolutely. And, and the thing is, that song was released as an album cut, not as a single. But after Cher's Believe, they were like, oh, that's, that's a cool sound and we already did it. So they later released, uh, only God knows why, as a single. And so it's often heard as having occurred after Cher's Believe. It was technically released beforehand. So.

• 9:23David Pierce?

  Fair enough.

• 9:23Speaker 02

  We've got Oil and Gas, we've got Kid Rock. We're just, we're hitting all the marks right now.

• 9:28David Pierce?

  Some tough bedfellows on the Vergecast today. So it's super interesting to me that at the very beginning, like months after this thing was launched for this ostensibly pretty straightforward purpose.

• 9:42Speaker 02

  Yeah, anodyne, totally.

• 9:42David Pierce?

  It's already being used in these wild, out there, surprising ways. Did it happen like that from the very beginning? Like, was it? It, it seems like it got crazy before it got quiet in, in such a really interesting way with autotune.

• 9:57Speaker 02

  Well, the Cher effect was almost a one-off. Like, some people started to do similar-ish things. You can think of like Madonna's music in 2000 has a sort of pitch correction-y sound. Daft Punk's One More Time in 2001 actually uses a different pitch correction tool. But people start to mimic this effect for sure. It's much more common that people are using autotune, the proper tool, this, this effect, as like really gentle pitch correction. And, and so the Cher effect was kind of like, I think at first, kind of a one-off novelty. People were using autotune though. Like, you can hear it very audibly

• 10:41Speaker 02

  on, um, a song like Maroon 5's She Will Be Loved from 2002.

• 10:57Speaker 02

  Where it was supposed to be subtly used, but there's something just like a little bit wrong with the recording. And people picked up on the fact that like, I don't know, there's something about that vocal which is slightly inhuman. I can't identify it because it's not that like hard tuning share effect. It's it's the auto tune tool, but kind of overused. And people started to complain, oh, this is the sign of the end of music. People aren't really singing. They're they're doing something after the fact to, you know, make it glossy and shiny.

• 11:26David Pierce?

  Fascinating. Was that the reaction to Cher? Even because she was not trying to hide what was going on there.

• 11:34Speaker 02

  No, no. Well, when you listen to the song, Believe, it uses both a mix of tuning and no tuning. In the verse, she begins with auto tune on. And she's sort of singing about, you know, trying to find love after a broken heart. And there's this sort of feeling of like this, you know, this robotic, just going through the motions kind of person. And the vocal tuning almost matches the the presentation of of the lyric.

• 12:08Speaker 02

  Then, as she goes into the chorus, she sings, I believe in life after love. She actually drops the auto tune.

• 12:24Speaker 02

  So it's actually this creative effect in what she's saying, like, I can feel robotic and like soulless. And then I can sort of break through and Cher is of course an amazing vocalist. And so she turns that effect on and off to match the lyric of the song. When it came out, though, everyone's like, whoa, what is she doing? Not like, oh, she's not singing. But that is a very strange and cool effect. I want to do that, too. And Sharon, her producers actually misled people and didn't tell them what they did. Because they wanted to have this kind of cool proprietary sound that nobody else could mimic.

• 12:57David Pierce?

  That's so interesting. And at that point, autotune, I guess, was new enough that we hadn't already sort of explored the edges of it in that same way.

• 13:06Speaker 02

  Oh, yeah, absolutely not. This was this was this was totally novel to people. They'd never heard a thing quite like it. But there is a whole history of other vocal processing techniques, tools like the vocoder or the TalkBox. And people probably assumed, and actually, the producers misled interviewers and said, oh, yeah, it's just like a vocoding tool, which is a tool that actually goes back to World War II. It was invented as a way of encoding and decoding messages to be sent undersea so they wouldn't be caught by German U-boats. I'm telling you, wow, audio is like all the military industrial stuff. We wouldn't have recorded music if it weren't for early sort of military audio tools. But in any case, they said that it was this tool that had been around for decades and decades and decades so that they could have their, you know, secret sauce.

• 13:51David Pierce?

  That's so interesting. So, real quick, just give me like the the technical explanation of how autotune actually works. Like you mentioned, its job ostensibly is to take a pitch that you sing incorrectly and make it the correct pitch. I understand that much.

• 14:09Speaker 02

  Yeah.

• 14:10David Pierce?

  What else is useful to understand about how autotune actually works in order to understand how people use it?

• 14:15Speaker 02

  Basically, it's a tool that is trying to identify what pitch are you attempting to sing? And then it does what you would call pitch quantization, basically pushing the pitch that you are singing to the pitch that you're trying to sing. And you can do this at different speeds. So if I'm singing here, uh, but I'm trying to sing here, uh, it would go, uh, it would sort of glide you to your pitch. And when we think of the share effect or the autotune effect, that is turning that pitch speed all the way down to zero, meaning it automatically immediately jumps your voice from one pitch to another. And when it does that, it creates this sort of digital artifacting that is unnatural, it

• 14:57Speaker 02

  is strange, and it is now very desirable. People like this sound and intentionally bake it into how they sing because it is a fun, creative effect.

• 15:09David Pierce?

  Got it. Okay. But in, in theory, it really is just that simple of like you, you have a pitch and you have a pitch that you want and autotune makes those the same thing.

• 15:18Speaker 02

  Yes. And you can say, how, how fast does it do it? You can maybe add some vibrato. There's all these little, you know, fine tune parameters, but basically fix my pitch.

• 15:25David Pierce?

  Okay.

• 15:26Speaker 02

  And you do this by sort of saying, I'm trying to sing in this scale and you set your scale. And then it just knows that, hey, you're singing way off your scale. Let me, let me fix that for you.

• 15:36David Pierce?

  Okay. So in sort of that basic definition of it, I can actually understand why autotune, if it worked at the beginning, and it sounds like it did, would be an immediate gigantic hit, right? And like it, from the way you described it, it sounds like it was like, you, you talk about Madonna, you talk about Maroon 5, you talk about, like, these are

• 15:54Speaker 02

  Yeah.

• 15:55David Pierce?

  A plus list artists who are using autotune basically immediately. Did this thing just like come out and take over the music industry?

• 16:03Speaker 02

  I mean, it definitely today is used on the majority of recordings. And when I say majority, I mean, like over 90% of recordings, the only recordings that won't use autotune are probably going to be, and I should say, use some kind of pitch correction. The only recordings that don't use pitch correction would be like a very naturalistic rock song, maybe an indie song. You're certainly certain rappers who are not singing use it, but the majority of, of any song vocal is using autotune. When it came out the gate, sure. I mean, anytime that somebody needed to post-process, fix something that was out of tune, autotune was the tool to use. There have been tools for quantizing rhythm that had existed before autotune so that you could say, hey, you meant to hit the snare here, but you actually hit it a little bit late. Let's nudge it back over. And so producers have always wanted to find ways to fix

• 16:49Speaker 02

  pitch problems and they actually had really challenging, slow ways of fixing pitch all the way back into the seventies, where you would go into a piece of tape, there were digital processors you would send it to, and you could like nudge one little note a little bit north or south of where it's supposed to land. It was very slow and laborious. So people have been always trying to perfect recordings that are slightly imperfect to, to make them, you know, more exactly in key.

• 17:15David Pierce?

  So I, I just, I keep coming back to the share thing because it's like, I'm so fascinated by the idea of like, a lot of what you just described are sort of tools in a producer's toolkit, right?

• 17:25Speaker 02

  Yes.

• 17:26David Pierce?

  Things that in theory, Aren't sort of front and center in the recording. They're just designed to like solve a set of problems that you have. And I, I think there was clearly a lot of that in how autotune is used and still is. And I think like to your point, it not every song sounds like Believe, but if every song has autotune, like that's it's being used in the way it's supposed to.

• 17:46Speaker 02

  Yeah.

• 17:47David Pierce?

  But also it became an instrument in a very real way, in a way that most of these technological things don't.

• 17:55Speaker 02

  Right. And that's thanks to T-Pain, right? So like it goes from being the Cher effect to becoming the T-Pain effect. T-Pain, who like Cher, great singer.

• 18:04David Pierce?

  Which no one knew forever, by the way. My favorite thing about T-Pain, like everybody knew Cher could sing before she did Believe, but we spent like a decade being like, oh, T-Pain can't sing. And it's all because of autotune.

• 18:14Speaker 02

  Right, right. So Cher puts up Believe in 1998. Fast forward to 2005, T-Pain's I'm Sprung is one of the first time that people hear this effect in the world of R and B.

• 18:33Speaker 02

  And it goes from being the Cher effect to being the T-Pain effect. And pretty quickly it becomes the sort of way that people sing. In particular, it gives rappers the capacity to sing. And there are a number of early recordings, but the one that really sort of lands it for folks is Kanye's 808s and Heartbreak, the song Heartless in 2008.

• 19:02Speaker 02

  All of a sudden Kanye, who he's not a particularly strong singer, has the capacity to hit a pitch and sing melodies. Once that track is out the gate, every rapper realizes that they have the opportunity to start embedding hooks into their music. And you know, oftentimes it is the chorus hook that people sing. And so I, I would say it's from Cher to T-Pain to Kanye and then everybody. That's really, it's really in the sort of late aughts that the autotune effect becomes ubiquitous. It takes more than a decade from Cher's Believe before people start using it as, um, in the same way they might use distortion or reverb.

• 19:46Speaker 02

  It just becomes another tool in the toolbox that people are using as this overblown effect, not the gentle version of it.

• 19:54David Pierce?

  Right, but I guess one key difference is that, at least to my knowledge, and you're much more in this than I am, but I don't remember there being a huge cultural backlash against reverb. And yet, there have been at least a couple that I can remember of sort of big, loud, angry moments where the music industry or someone big in the music industry said, you know, we have to get rid of autotune. It's ruining everything. It is destroying this thing we believe in. What, just before we get into all that, make the case against autotune. Like if you were, put yourself in the position, you Charlie Harding hate autotune and think it should be excised from the earth. Tell me why.

• 20:35Speaker 02

  Uh, I guess you could say that autotune homogenizes the voice. I'm having trouble saying this because I actually don't believe it.

• 20:47David Pierce?

  We're just gonna clip that part and just play it.

• 20:50Speaker 02

  Okay, perfect.

• 20:52Speaker 02

  Like, someone's unique vocal identity is the way that they hit a pitch. Not, nobody sings perfectly in pitch. We all scoop into our notes. We use vibrato differently. And autotune sort of, you know, carves out all of those imperfections. Part of what makes us sound like ourselves, makes us sound human. And so you could say that, yeah, it's a homogenizing tool. You could also say that, you know, Prince stars who don't have proper vocal training and technique. But, you know, that's like the history of rock and roll are people who were not trained singers, who sing properly with all their air and, you know, oh, but like rather have personality to their voice and maybe intentionally don't sing.

• 21:37Speaker 02

  Like Henry Rollins is a great example. Like the entire world of like punk music is not about singing properly. So I think both these arguments of it homogenizes the voice and it allows people who don't sing well to be stars, are probably the primary criticisms. In the aughts after Kanye's record, as more and more people start to copy the sound, there were plenty of critics who are just like, everyone's starting to sound the same. That's the age old criticism of all popular music. Everyone sounds the same. There are still plenty of, you know, boomer YouTubers who like to talk about how autotune is still ruining music. And the reality is that autotune only becomes more popular after that era. Listeners want more of it. It's not some cabal of music

• 22:20Speaker 02

  executives being like, ah, ha, ha, ha, we are going to give autotune to the people. But rather, it's like, clearly, people are listening to this music and they want more of it. The counterargument to autotune homogenizing voices is that like, if you listen to Drake's Passion Fruit.

• 22:43Speaker 02

  It does not sound like Charli XCX's 360.

• 22:54Speaker 02

  It does not sound like Travis Scott's Sicko Mode.

• 23:04Speaker 02

  Like, you can still identify who people are. And I love that about autotune. Is that actually, it's what you do with it that makes it your own way of recording. I think about it kind of like, you know, when you, when you pick up an old style phone, there's all kinds of ways that the voice is being processed. All the low end information and the high end information is being cut off. And all of the dynamic, uh, uh, volume changes are also being squashed and compressed. And they're doing that to save data on their, on networks. And yet, like, I mean, if you call me on the phone, I would immediately know it's your voice and not Neelai's voice. Right. Right? Like, the ear is so meldable to whatever effects that we use to change

• 23:46Speaker 02

  it. I think that's awesome. So I think where autotune goes from here is that people learn to use this effect to enhance their own. Creativity, their own artistry. Artists like Drake start embedding really great hooks in his raps because he can now sing in ways that he couldn't otherwise. He's not a, he's not a great vocalist. He's a great rapper and he's a great melodist, but like, again, he's not trained to be a great vocalist.

• 24:18David Pierce?

  Right.

• 24:19Speaker 02

  Singer. You know, we don't get Travis Scott without autotuning. You don't get Charli XCX without autotune. People end up using this tune, this, the sound very creatively and it explodes.

• 24:28David Pierce?

  Okay. And do you think of it in, in your own world and work as sort of spiritually different from any other tool that in, in a, in a toolkit that a producer or an artist has? Like, is it, does it belong on the same level as reverb and distortion? Or is it something else entirely?

• 24:46Speaker 02

  I think about it as a producer and as an educator in music as just another tool, toolbox for sure. I think that a lot of the backlash has to do with this question of like, what is human and what is inhuman? The synthesizer had the same kind of backlash in its development that, oh, it's not a real person playing a real instrument. This is mechanical. It doesn't sound as expressive. I mean, clearly those critics also lost the plot because the synthesizer is one of the predominant sounds of popular music. I think about it as just a normal effect that anybody can use and one that should be used creatively to enhance the feeling of a song.

• 25:23David Pierce?

  Okay. How has autotune changed? It's what, 27 years old now?

• 25:28Speaker 02

  Yeah.

• 25:29David Pierce?

  Is it, is it functionally still the same piece of software it was in the nineties? Or has it?

• 25:33Speaker 02

  Sure, sure. There are many, autotune is a software developer. Thus they need to constantly develop new things.

• 25:41David Pierce?

  They gotta show quarterly growth, man.

• 25:42Speaker 02

  Yeah, you gotta keep buying the next version. So I think, I don't know, we're well past autotune X. I can't remember what version we're on right now.

• 25:49David Pierce?

  Their engagement metrics are off the charts. There's like a social network in there somewhere.

• 25:52Speaker 02

  Oh, they have, they have a subscription service. They've got everything. The reality is that actually a lot of people still like the autotune effect of yesteryear. And so if you use autotune today and you buy the latest version of it, you can turn Turn on classic mode so you can actually go back to how it used to sound. Auto-tune today is much more naturalistic. It does a better job of tuning your vocal in ways that are less obvious. But the effect, the auto-tune effect that people love, whether it's with T-Pain or Cher or Kanye, whoever, what you like is that hard tuning, the thing which is inhuman, and you like to play with it. And so, most people actually will just go back to the classic mode.

• 26:31David Pierce?

  All right, I want to talk about more about where we are right now with auto-tune. But first, we gotta take a quick break. We'll be right back.

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• 27:13David Pierce?

  All right, we're back. Charlie Harding's still here. Hi, Charlie.

• 27:15Speaker 02

  Hello.

• 27:16David Pierce?

  So, I want to talk about auto-tune kind of right now. Because I think you've mentioned this a little bit a couple of times. But I think the idea that the existence of auto-tune has, A, changed the kinds of music that people are like able to make who didn't have certain kinds of skills or whatever before, but also the kinds of people who might be coming into the music industry has changed. So I'm curious if you look at sort of the sweep of like who is making music and the music that they're making, can you look at it as like auto-tune changed all of this? The fact that auto-tune is everywhere and can make anyone singing sound pretty good? Like, has that changed the entire music universe?

• 27:58Speaker 02

  I kind of think about it more like the development of the electric guitar. It was like a new instrument that people could pick up and it created this new sound. And so, I think produce, young producers today want to sound like auto-tune. Just as in the 60s, they wanted to sound like Hendrix, right? Like, it's this sound that is attractive. And so... Yeah, it does let anybody sing, but it only lets people sing if they can't sing with the autotune effect, and that's probably the thing that they're going for anyway.

• 28:26David Pierce?

  It's slightly surprising, by the way, that that that sound has been popular for this long, right? Like, we're a long way into this world. And again, you go all the way back to T-Pain in the early aughts and Cher even before that. And like, the idea that people like the sound of autotune has lasted a really long time.

• 28:46Speaker 02

  That's why it's more like a guitar or a distortion effect. It's a feeling that it gives people. It's not about vocal tuning. Like, this is what gets people angry. It's like, that makes you inhuman. But no, no, no, no. It's like, the electric guitar is also unreal, right? Like, it's generating electrical signals that has to be amplified by an amplifier. It doesn't have all the acoustic properties of a beautiful acoustic guitar, but it also sings and speaks in its own unique way. And so that's how I think about it. I think that young people wanting to produce music want to sound like autotune. I mean, truly, when you record with autotune today, it's not a post-processing technique. I mentioned it earlier. People put autotune on their vocal from the get-go, and they're trying

• 29:26Speaker 02

  to play with the effect to get it to do this weird artifacting thing. They like all the things that it does imprecisely. That's why they use the classic mode. They want it to sound like this thing from 1998. They don't want it to sound like a pristine, pure tool that allows them to sing better. It's not about that.

• 29:46David Pierce?

  Interesting. So, explain that to me a little bit, because I think one thing I've read a bunch is that one big shift was when autotune went from a thing you did in post after you laid down a vocal track, like, it was a post-processing tool, to now something that you do live in the beginning. And there was a line in the, there's a really good Pitchfork story that you sent me about the history of autotune.

• 30:10Speaker 02

  Oh, by Simon Reynolds, yeah, spectacular.

• 30:12David Pierce?

  There's a line in there that's basically like, there are a lot of singers who have never heard their takes without autotune. That is like, just my brain exploded thinking about that. And so, but you mentioned, like, thinking differently about the way that they're actually making this stuff in real time because of autotune. What does that look like? Like, what would it be like in the studio to record in a sort of immediately post-autotune universe?

• 30:37Speaker 02

  I mean, people do this not just in studios, but in home bedrooms. I mean, the biggest stars in the world would intentionally travel to Hawaii to record and record it in Airbnb. They bring a microphone. They bring a portable, small recording interface. Oftentimes they'll use one called the Universal Audio Apollo. That allows you to run autotune on this little interface live without any sort of latency. So that when you're speaking into your microphone, you just hear yourself through autotune. And then they are singing, trying to get it to do things that make weird autotune-y sounds. I'm bad at singing with autotune. Here's the thing, like you actually have to be good at using the effect to make it sound right. You have to intentionally sing slightly out of tune to get it to sort of bend back into tune. You have to-

• 31:22David Pierce?

  So if you sing well, it actually, it doesn't get to do anything, so it doesn't-

• 31:25Speaker 02

  Yeah, it's not gonna be interesting.

• 31:27David Pierce?

  Yeah.

• 31:27Speaker 02

  I don't, I don't, I don't sing well, by the way. I'm not a vocalist, but like, I am not good at using autotune to make it sound fun and creative. You actually have to be talented at using autotune and practice with it. So yeah, it's something you like bake into the sound before it even goes into your software. Like you can't turn it off after the fact now. Some people still do, but like, a lot of people don't want to hear what their voice sounds like without it on. This is what I'm saying where it's like, I think of it more like the electric guitar. Because to play electric guitar with a lot of distortion is fundamentally different than playing classical guitar. And if you ask a classical guitarist to play a super distorted electric guitar, they might not be able to control all the feedback that it creates. They might not be aware of how to get it to sing properly.

• 32:10Speaker 02

  And vice versa, you know, like a fast lead guitarist's electric guitar might sound absolutely terrible on an acoustic guitar. It's a skill that you have to learn to sing into autotune.

• 32:19David Pierce?

  So you, you actually think of singing into autotune and singing without autotune as two just utterly different skills?

• 32:27Speaker 02

  I think that they are related skills.

• 32:30David Pierce?

  Sure.

• 32:30Speaker 02

  But to make autotune sound good, I think you gotta be good at it. Again, it doesn't necessarily mean you have to, I'm not arguing that you have to go to music school to learn how to do this, but you have to practice at it. Like it takes time. It's a skill that you have to develop as a musician. And when I do it, I don't sound good. It is common that people will use autotune to practice melodies and, you know, use it as a way of dealing with the fact that they aren't good vocalists. But I, again, I think that if you want to sound like T-Pain, you have to practice singing like T-Pain.

• 33:00David Pierce?

  Yeah.

• 33:00Speaker 02

  And again, T-Pain is a great vocalist. Cher is a great vocalist.

• 33:04David Pierce?

  They're just not doing the same thing as, you know, Frank Sinatra was decades ago.

• 33:08Speaker 02

  It's just, yeah, it's just a different way of singing.

• 33:10David Pierce?

  Yeah. I feel like there are going to be some people who hate that, but I find that kind of fascinating. I love.

• 33:14Speaker 02

  I think there are a lot of people that are not going to like what I just said, but I really believe it.

• 33:18David Pierce?

  We'll put Charlie's email in the show notes. You can tell him yourself.

• 33:21Speaker 02

  Thank you. I just, I mean, I just know this through practice of working with musicians in studios. And some people are really good at using autotune and other people aren't.

• 33:30David Pierce?

  Yeah. What, how does that pertain to live music? Is it the same, is it the same sort of thing like as, as autotune has gotten more powerful? It's just present live the same way it is in recordings and it's fine?

• 33:42Speaker 02

  Once again, there are both ways of using autotune live. Some people need to have that effect on when they sing because like if you're Travis Scott and you're performing live in concert, that is your sound. So they developed, Ontario's developed an autotune live tool that you can run, you know, through your microphone on a live stage. It's not baked into the microphone. It's an effect down the audio chain at some point.

• 34:05David Pierce?

  Sure.

• 34:06Speaker 02

  There is also autotune live used for that subtle vocal tuning to help people. You know, when you're running around on stage, it's exhausting. You might be out of breath. You're not hitting your pitches as effectively. There's all kinds of ways that vocals are enhanced to sound more like the original recording. Subtle autotuning is one version of that. Also playing backing tracks of like a thousand chorus vocals that are perfectly already in tune is another way that things sound more in tune. When you're at a live recording.

• 34:33David Pierce?

  Yeah. So you, you sing the one, but there's 50 other U's singing it correctly around you.

• 34:38Speaker 02

  Yeah, exactly.

• 34:39David Pierce?

  I want that every time I sing. That sounds great.

• 34:40Speaker 02

  I know totally. It's like, I always want my backing tracks. That's because people expect the recordings that they hear. And when you listen to your favorite artist, they're usually in the chorus singing at least

• 34:51Speaker 02

  nine versions of the track to add depth with chorusing, like the thing that just makes it sound big and awesome. And, you know, bringing eight extra backup singers on tour is expensive. So we might just play the backing track and add a little tuning to your vocal because you're out of breath. So those are all different ways that people use autotune live, either the autotune effect or the sort of more subtle pitch correction version of it.

• 35:14David Pierce?

  What's the like simplest, most mainstream version of that at this point? I think about the, the, maybe video is a good metaphor, right? Where at the very high end, you have. Super high-end video editing software. But we've boiled it all the way down to like, you can edit pretty successfully inside of TikTok. And it has made it available to tons of people who are doing tons of different things. Do we have that equivalent for autotune? Like, is that just available to regular people in the way that like Instagram filters are?

• 35:43Speaker 02

  Yeah, I mean, there are iPhone apps that are like the autotune effect that have been developed by the Gregory Brothers, who famously made autotune the news years ago.

• 35:59Speaker 02

  If you buy Apple's Logic, which is their like audio recording software, it comes with their own free version of pitch correction. Every software developer that makes audio tools have tried to make their own autotune effect, and they are cheaper than the Antares version. So there's all kinds of way of getting into autotune if you want to try to autotune your vocals. It's very accessible.

• 36:21David Pierce?

  Okay, and is that, is that a good thing? I feel like you would argue that's a good thing, yeah.

• 36:25Speaker 02

  Yeah, I don't know. It's like, are you trying to argue that there should be like fewer paintbrushes and paints in the world? So that we can have more Monets? I don't like, I think more creative tools for more people is great.

• 36:36David Pierce?

  Yeah, I support it. So there is one sort of new backlash to this that I'm, I've been thinking about a lot, and I'm curious to get your feedback on. So one thing I see on TikTok and Instagram and everywhere else these days is like, these videos of singers in their kitchen or in like a garage or just wandering down the street, singing these, these beautiful soulful melodies. Do you know, do you know the ones I'm talking about? There's this one that's like a guy with a salt and pepper beard, and he's just pouring coffee and his girlfriend is standing behind him, and he just starts singing into an AirPod, and it sounds incredible.

• 37:22David Pierce?

  And I'm like, first of all, the way I know this isn't real is because AirPods don't sound like that and you're lying. But like, all that aside, there's been this really fascinating thing where a bunch of singers have come up and gotten a lot of, a lot of fans and a lot of fame and like record deals and some stuff out of these social videos. It's a very like natural, you know, musician creator way to come up. But then, in every single one of their videos, there is this giant comment section saying, oh, they're using autotune. I'd love to hear what it sounds like without autotune. Ugh, it's autotune. And it's like, on the one hand, maybe the argument is who cares. But on the other hand, it's like, we're in this moment where authenticity is everything. And also, you're standing in your kitchen singing.

• 38:07David Pierce?

  So the idea that I'm supposed to process this like a professional recording, there's a disconnect there that I have always struggled to wrap my head around, how I'm supposed to feel about this. And I'm curious, like, if they were playing an electric guitar, I'd be able to see the electric guitar, right? So I'm curious how you think about how autotune is supposed to fit in that version of music that we're in right now.

• 38:29Speaker 02

  Well, I think autotune has become a sort of like catchall for any sound that is post-processing that makes things sound more perfect than they are. So, for example, like, if I'm singing in my kitchen, there's going to be a bunch of reverb and it's going to sound really bad. But there's all kinds of tools you can use to get rid of reverb after the fact. There are ways that you can use just EQ and compression and other very common tools and post-processing to make your voice sound better. So even if I record with an iPhone, I can get my iPhone to sound pretty close to a professional recording by having good post-processing tools. I think autotune has just been, yeah, is the catchall enemy for anyone who doesn't like music, which is slightly unnaturalistic. I just want to

• 39:10Speaker 02

  say, if you don't like the sound of autotune, that's fine. Like, I think it's totally fine to have your taste. If you prefer how Sinatra sings, that's cool. Like, if you prefer how punk rockers sing, that's also fine. There are different aesthetics and autotune is just one of them. It is the one that's really popular at the moment. If you feel that it's like, it sounds unnatural, I don't like unnatural, that's fine. But it just, it just is another way of singing. And I think that this, this criticism is fair, is a bit overblown.

• 39:44David Pierce?

  Okay, I guess I agree to a large extent, but I do think there is something that I've, I just can't sort out inside of me that there's something about autotune that feels like hiding. That it's like, if you're, if you're, if, because I actually, I buy the thesis that there are things that sound like autotune, but I do think, and maybe I'm wrong about this, that there is still a real use of autotune that is not designed to be seen, right? Like, if you're right that 90% percentage of music is using autotune in some way, like, I don't know, Taylor Swift is not somebody people like, she sounds like autotune, but she's using it, and there are people who get really pissed about that.

• 40:26David Pierce?

  And because they're like, oh, it's dishonest in some way, that this isn't actually what you sound like. This is, this is you, this is the equivalent of like putting a face filter on yourself before you post a picture, which is now another thing people have sort of visceral reactions to online in this moment of like fake authenticity. And I don't know, like, do we need, is there like, is there like an autotune watermark that should exist on every song that uses it? I don't know.

• 40:52Speaker 02

  Well, okay, so you're, you're getting at this question of like authenticity just with the pop star. Like, we want, something about us wants our pop star to be sitting right next to us, our best friend, telling their personal stories. And yet we know that they're recording it in a professional studio, working with producers and songwriters to make this presentation, which is exciting and, you know, enhances all of our emotions. So there's always this conflict about what is real and unreal in recorded music. And I think especially in pop music than other forms, we don't expect our actors to be themselves in a film. And yet pop stars are putting on a performance, and yet we have this expectation of they are who they say they are. You brought up Taylor Swift, for example, and Taylor Swift uses all kinds of vocal processing in her music. On the song Delicate, she uses

• 41:36Speaker 02

  a vocoder. On the song Midnight Rain, she uses a tool called formant shifting, where she sort of shifts the voice to sound more masculine. I don't like the moments in a Taylor Swift vocal where I can hear audible pitch correction done poorly. And I've heard it done one or two times. Sometimes when you're producing a song and you need to get it out fast for whatever reason. Getting these pitch tuning tools to sound natural actually is a skill. You can get paid a good amount of money just to do the really slow version of hand drawn autotune. This is a big part of the craft. And what you're trying to do is make something which was a beautiful emotional performance, be a little bit more in tune.

• 42:22Speaker 02

  And if you do it wrong, you hear this, like this weird artifact. It's unpleasant. I don't like when I hear that because it's the attempt of a naturalistic performance clearly being manipulated. You have to hide the tools you're using to clean things up in order for it to sound good. In the same way that a photoshopped photo that is poorly done and you can see some kind of weird, like the anatomy of the person isn't right. We don't like that, even though we completely accept that every single magazine photo is photoshopped.

• 42:53David Pierce?

  Interesting. So there's a, there's a real, as long as you don't make me think about it, I can rock with it kind of thing. But it's like, as soon as you put this, you know, cognitive dissonance in front of my face, it's going to feel bad. But otherwise I can sort of internalize that it's happening. I just won't have to think about it.

• 43:09Speaker 02

  It's the same thing with CGI, right? So I just watched Alien Romulus recently. And the CGI of the, of the android character is trying to recreate a deceased actor. And it doesn't work. It's, it's so obviously inhuman. And even though they're an android, it's just like, it doesn't look right. But the rest of Alien Romulus is like full of CGI. And at no point am I like, Alien just doesn't like feel alien enough to me. So it's, it's all about the context and his presentation. Anything which is supposed to be completely authentic and entirely natural that is processed, we will perceive as that doesn't feel right. Things that are presented as I am a pop star on a stage and everything about me is like perfectly composed.

• 43:54Speaker 02

  We accept that there is, we don't accept, we expect that things are going to have been enhanced. So I just want to give everyone permission to be mad at autotune at certain moments. But when it's intentional, let go of it, whatever. Like if someone's trying to do it, let them do it. If someone's doing it poorly, fine, criticize them.

• 44:13David Pierce?

  Yeah, I like it. All right, we gotta take one more break and then we're going to come back and talk about where we go from here. We'll be right back.

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• 44:54David Pierce?

  All right, we're back.

• 44:55Speaker 02

  Hello.

• 44:55David Pierce?

  Charlie, we've gone long enough without talking about AI videos on YouTube.

• 44:59Speaker 02

  We've arrived.

• 45:00David Pierce?

  Videos on YouTube. So I want to, I actually want to talk about basically two different pieces of where I think things might be headed from here. One is AI and one is back to the kind of authenticity thing. Let's talk about AI first. And I bring this up because I think there is a possible future for AI that looks a lot like the arc of autotune that you just described, where tool becomes available. Some people use it like a tool and it's rendered mostly invisible and it does, it helps in the process and it becomes a tool in the toolkit. Other people will use it incredibly aggressively and showy and it will allow new people to do new kinds of things.

• 45:43David Pierce?

  Ultimately, some people will be pissed off about it, but eventually it will just be rolled into how the music industry works and may even become like the dominant aesthetic in the way that autotune is. Could be totally wrong, but I, there's something about that rhymes to me with where AI might be headed. What do you make of that comparison?

• 46:02Speaker 02

  Well, we'd have to break AI down into all the various ways that it's being used for music because AI is just sort of like a process that can be used in lots of different ways, from writing lyrics to separating STEM recordings. So you can separate the bass and drums and vocals and instruments from a recording, to generating whole songs for you from a prompt. There's so many different ways that AI is being used, some of which are maybe more invisible. For example, like if you use ChatGPT to help you find a rhyme, there's no way that I can identify that you did that. Except for this, sometimes ChatGPT makes really bad rhymes. It's getting better and better.

• 46:34David Pierce?

  It really likes to rhyme like do and to and it's like, great job ChatGPT.

• 46:37Speaker 02

  Yeah, that's the thing. AI songs and poorly written songs use too many perfect rhymes. They're kind of just overly sweet, really bad, single syllable, perfect rhymes. That's, that's the tell. But I, I don't think we've seen a tool yet that is marketed as an AI tool that has become a predominant sound in, in popular music. There's all kinds of AI tools that I use in my music production, but I don't think of them as AI. So like, I use a deverb plugin if there's too much reverberation in a recording. And like technically it's using a neural net, but it doesn't really have a sonic fingerprint in the way that, that autotune does.

• 47:15Speaker 02

  So I imagine there will be some kind of effect that will use some kind of AI neural net in its thing that will become a sound. But the AI as a, as a methodology is, is sort of too broad to say that, well, we're going to hear AI in the future. Does that make sense?

• 47:33David Pierce?

  It does. And I think, I hadn't really thought about it like that until you put it like that, but it is, it, maybe the strength and weakness of AI is that it doesn't have a mark in its way. Like you can make

• 47:43Speaker 02

  Yeah.

• 47:44David Pierce?

  an AI song that sounds like anything, but it's never really going to sound like itself in a, in a way that is, I think by design, right? Like the, all these tools are meant not to sound like themselves. They're all trying to mimic something else and they're all generally doing a bad job of it. And that maybe it would be more interesting if they had, like if you went and made a song with Suno, that it sounded like something and, and that maybe, maybe there is something to that that is actually missing from these tools.

• 48:11Speaker 02

  So you know how like, if you try to currently make an image of a person in Dolly three or Mid Journey, like it kind of has, there's a style, there's a default style. And obviously there's all kinds of ways you can get around that style, but it's this weird, somewhat cartoony, magazine glossy, very thin,

• 48:32David Pierce?

  Yep.

• 48:32Speaker 02

  like very white.

• 48:34David Pierce?

  Well, and there are the things, right? Like you look at the fingers and you look at the lapels and like they have their tells in that.

• 48:39Speaker 02

  They have their tells. Yeah, exactly. So right now, if you use tools like Suno or Udio, they do have their tells. And perhaps, you know, in 20 years in the future, people are like, I want to use classic Suno because I like the things that it does wrong.

• 48:52David Pierce?

  Wait, what are those tells? Like, how would you describe those?

• 48:54Speaker 02

  Um, okay. So first of all, a lot of it's trained on actually really low sample rate and bitrate MP3s. Just to like reduce the size of the, of the data. And so there is this like grainy hissy sound. Like it sounds, it sounds like a bad MP3 from 1997 being played in Winamp. Or maybe, maybe like more relatable for folks would be like, if you turn on AM radio, AM radio has a sound where it's just like not quite high fidelity. There's a low fidelity sound.

• 49:24Speaker 02

  The, the, the sounds of instruments are strange. Like, okay, take for example, a horn section. If you try to make like a funk song with horns. The great thing about a horn section is nobody hits the note at exactly the same time, at exactly the right pitch. The excitement is the subtle differences of, you know, eight horns all trying to do their thing at almost the exact same time. And that actually, that inhuman imperfection is what makes it sound really good. AI oftentimes just like makes it all too perfect. Same with vocals. The vocals sound actually pre-tuned. And so you can identify these things. And in addition to the vocals are, the lyrics are, have way too many perfect rhymes, et cetera, et cetera.

• 50:09Speaker 02

  I actually assigned my students to NYU. One of their assignments was go to Suno, prompt it to write a song. Grade that song based off of everything that you've learned in class. Now write your own song from the same prompt. And all of my freshman students wrote significantly better songs than the Udio and Suno song. And most of them threw them out entirely. I asked them to try to incorporate elements of them into their track and they're like, it's too hard. It's too bad. So, um, but maybe this badness could be something that we, we like in the future.

• 50:37David Pierce?

  Yeah, and that comes back to the other thing I want to talk about with this authenticity thing. I think a theory that I'm starting to hear more and more from people is that the next phase of culture in so many ways is going to be a spin all the way back to, again, whatever you want to think of as like, quote unquote, authentic stuff.

• 50:59Speaker 02

  Let's call it punk rock.

• 51:00David Pierce?

  Yeah, it's right. And we're gonna, people are going to deliberately start releasing vocals that sound worse because they are more honest somehow. And we're gonna go back to, you know, not using the internet in the ways that we've been using it. Like this idea of just sort of eschewing all of this stuff because it has made us not ourselves anymore and going back to like, I don't know, I'm gonna, I'm gonna just put a bunch of instruments in a room and record like the Beatles 60 years ago and that that is the next thing.

• 51:31Speaker 02

  Who famously used the music studio for all of its wild creative tools and use all kinds of post-processing vocal tools like Verispeed and et cetera. So I'm just saying, we've always been doing this, but yes, I hear where you're going.

• 51:43David Pierce?

  Again, yeah, again, the question of like, how far back do you have to go to find something, quote unquote, authentic is a good one.

• 51:48Speaker 02

  We're all gonna play the mandolin guitar and banjo and violin and, you know, sing in old timey bands is what you're saying.

• 51:56David Pierce?

  Yeah, and like if I sang flat on the take, it's gonna be flat on the record. And I would say historically speaking, there have been a lot of people who want us to go that way and we have never, ever, ever gone that way. But I do think there's a reasonable argument that AI is like the end of a certain road of inauthenticity that maybe we are due for a pushback the other way.

• 52:19Speaker 02

  I think that that's a completely acceptable expectation. Like, we've seen that trend many times in the history of popular music. In the rise of electronic recording and the electric guitar, louder sounds in rock and roll, you had the folk resurgence. After the super highly produced era of the 1980s, you had grunge as a pushback to that. So I think it's completely likely that we're gonna see new sounds and styles emerging that do. Try to hearken to our most human sound as a pushback to anything that is AI. At the same time, I wonder if we've already reached peak authentic.

• 52:59Speaker 02

  Because if you go on TikTok today, I feel like every other thing on TikTok is the TikTok shop. Is some sort of advertisement and it's all filmed the exact same way. It doesn't matter if it's a creator with 10 likes or if it's progressive insurance. It's all like, hey, I'm holding my phone, I'm backlit. I'm just like talking naturally, just shooting the breeze, whatever. Oh, and by the way, this is progressive insurance. And so it's already been that like the authentic human thing in video has already been co-opted by advertisers. So where people go next, I think it might be weird. It might be something like autotune that is the effect of the of the of the next generation of music.

• 53:41David Pierce?

  Do you have any theory about what that might be in in this world? Like, what are the what are the teens doing that is going to seem crazy to the old folks in a couple of years?

• 53:49Speaker 02

  They're still using a lot of autotune. There's it's not going anywhere right now. It seems like we have like a I joked about everybody playing the mandolin. And there does seem to be like a Lumineer style resurgence in the the music of like Noah Khan is a great example.

• 54:12David Pierce?

  I was gonna say, thank you, stick season.

• 54:14Speaker 02

  Yeah, exactly. So I don't I don't think there is the emergent thing yet. People are still having a lot of fun making music on their computers because it's the easiest way to record. So I think we're seeing more a like branching of many different kinds of expression than a solidification around one sound.

• 54:33David Pierce?

  Can I tell you my theory? And I'm very curious.

• 54:34Speaker 02

  I want to hear it.

• 54:35David Pierce?

  Think of this. My theory is that the like voice memo demo is going to become an actual honest to God like genre of music.

• 54:45Speaker 02

  Oh, interesting.

• 54:46David Pierce?

  Yeah, you see this all the time, right? Where like the a song will come out and then like Charlie Puth does this all the time. Where he'll he'll go on TikTok or whatever at some late night show and play his demo of the song where he's just like sort of inventing the melody in his head and trying to get it down into his phone. And that part of me is starting to wonder like, maybe we're going to get to the point where. The polished thing and the unpolished thing actually get to live next to each other? If instead of there just being sort of one canonical finished version of the thing, what we actually want is lots of different experiences of this same kind of thing, all the way down to just like the artist riffing into their phone for a minute. And that that like, we want to experience all of that as fans.

• 55:31Speaker 02

  The new Halsey record has multiple tracks that are exactly that. That are basically like voice memos and demos and things that are interspersed. And you know, that has a long history of like interlude tracks on hip hop tracks that are kind of like, oh, this is a phone call, but I like that. I mean, I want to just point out one other trend that has popped up as well as like the return to 1920s, 30s jazz.

• 55:54David Pierce?

  Yeah.

• 55:54Speaker 02

  Or like what you might call classical pop with the artists like Loewe, who are making things that are a false nostalgia for our music, which is 100 years old and that young people are into. So yeah, there's all kinds of routes. I don't know if I really want to hear a lot of people's voice memos though.

• 56:14David Pierce?

  As we look at, you know, we're 27 years into autotune, which is a long time in music genre and in pop music. Do you think if you fast forward a while, we will look back at this as kind of an autotune era in the way that we've had sort of distinct eras in music? And it'll linger, but like the idea of autotune being kind of the dominant sound of music will go away and will be replaced by something else. And this will be the autotune moment? Or is this just gonna be how music is forever?

• 56:47Speaker 02

  What's amazing about all listeners, whether they're a trained musician or not, is they can turn on a recording and often tell you, oh, that's like an 80s thing. And I don't like the 80s. And the reason why they can do that is because snare drums were produced in a very specific way from the 1980s. There's lots of other production techniques that sound 1980s. And every era has these sonic artifacts of their moment. And you can, and they place them in time, the same way that a point and shoot Kodak photograph from the early 2000s screams early 2000s. You can even have AIs generate things that look like point and shoot. Kodak photographs, which are actually having a comeback. I've been at birthday parties recently where people are handing these things around to get that aesthetic.

• 57:25David Pierce?

  Yeah, people are out here buying like Coolpix cameras from 2003 again.

• 57:29Speaker 02

  Yeah, exactly. And so I think that, you know, 20 years in the future, it may be that autotune is no longer the predominant sound. I think that's probably likely, but when someone's like, but I want to sound like, you know, 2008, they're going to use that again as a, you know, and as an act of sort of creative nostalgia. So I think that we have been in the autotune decades. We'll probably move beyond it, but in the same way that like the electric guitar is not the most popular instrument today, but it's still ubiquitous in recording. I think that autotune will be around in some kind of form and it might just sort of fade into the background and pop forward later on. Who knows?

• 58:04David Pierce?

  Okay, but right now we're still very much in the autotune era.

• 58:07Speaker 02

  I mean, I think the coolest record of the year was Brat by Charli XCX. And she admits that she has no longer has the ability to sing without autotune, because it's just so part of her sound. She's like, I don't sound good with autotune anymore. And that record is amazing.

• 58:23David Pierce?

  Yeah, yeah. If, if, if autotune is what it took for us to get Brat, I'll take it. We'll be all right.

• 58:28Speaker 02

  Amen.

• 58:30David Pierce?

  All right, Charli, thank you so much as always. This is really fun.

• 58:33Speaker 02

  Thanks.

• 58:34David Pierce?

  All right, that's it for the Vergecast today. Thank you to Charli again for being here and thank you as always for listening. There's more on everything we talked about in the show notes. I highly recommend the Pitchfork story on the history of autotune. There's a ton of good stuff in there. I'll also link to Switched on Pop. So many great episodes of that show that you should listen to. Truly cannot recommend it highly enough. As always, if you have thoughts, questions, feelings, or other autotune songs that belong in the canon of autotune over the years, please tell me. You can always email us at [email protected] or call the hotline 866 VERGE11. We love hearing from you. We have a bunch of fun hotline stuff coming up between now and the end of the year. So get your questions in. This show is produced by Liam James, Will Poor and Eric Gomez.

• 59:18David Pierce?

  The Vergecast is Verge Production and part of the Vox Media Podcast Network. We'll be back with your regularly scheduled programming on Tuesday and Friday. Lots of news, lots of stuff going on, lots of fun things to talk about. We'll see you then. Rock and roll.

• 59:39David Pierce?

  Off the top of your head.

• 59:40Speaker 02

  Yes.

• 59:40David Pierce?

  Give me a intro to autotune playlist. What are like for, for somebody who is like, I want to experience autotune. What are some songs you would just recommend off the top of your head?

• 59:51Speaker 02

  Okay. Well, I would first go to other vocal processing techniques. And you'd have to listen to like Kraftwerk's Trans Europe Express using the vocoder. You have to put Harder, Better, Faster, Stronger from Daft Punk, not autotune technically. You have to listen to some talk box like, uh, Show Me The Way by Peter Frampton, Living On A Prayer by Bon Jovi, California Love by Tupac and Dre. And then, you know, obviously you need to have lollipop on there because I mean, what, what is autotune without lollipop? You need, uh, what else has to go on there? Certainly Travis Scott, Highest In The Room, the entire album of Brat. But if any one song, I'm more of a 365 than a 360. So I'm going to say 365.

• 1:00:36Speaker 02

  Drake's In My Feelings, um, Cher's Believe, T-Pain's I'm Sprung. And I'm not going to recommend Maroon 5's She Will Be Loved.

• 1:00:46David Pierce?

  You also left out Blue by Eiffel 65, which I find personally outrageous, but.

• 1:00:50Speaker 02

  Uh, no, that's because, I mean, that, that is, I would have to have like a consumer warning on that playlist if you put Blue on there because it is, it is a devilish earworm. But I did say Lil Wayne's Lollipop. So, uh, you know.

• 1:01:04David Pierce?

  That's true.

• 1:01:05Speaker 02

  Proceed with caution.

• 1:01:08Speaker 04

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