Auto-Tune
Sign in to saveAlso known as autotune
Auto-Tune is audio processor software released on September 19, 1997, by the American company Antares Audio Technologies. It uses a proprietary device to measure and correct pitch in music. It operates on different principles from the vocoder or talk box and produces different results. Auto-Tune can be used in both post-production music mixing and in real-time live performances.
Key facts
- Software.name
- Auto-Tune
- Software.screenshot
- 220px
- Software.caption
- Auto-Tune running on GarageBand
- Software.author
- Andy Hildebrand
- Software.developer
- Antares Audio Technologies
- Software.latest release version
- 11
- Software.operating system
- Windows and macOS
- Software.genre
- Pitch correction
- Software.license
- Proprietary
via Wikipedia infobox
Wikidata facts
- Official website
- www.antarestech.com/product/auto-tune-pro
Show 4 more facts
- name
- Auto-Tune
- Commons category
- Auto-Tune
- inception
- 1997-00-00
- software version identifier
- 10.0.0
Sources (2)
via Wikidata · CC0
~16 min read
Article
10 sectionsContents
- Function
- Development
- Reception
- Positive
- Negative{{anchor|Artist backlash}}
- Impact and parodies
- Acquisition & Ownership Transition
- See also
- References
- External links
Auto-Tune is audio processor software released on September 19, 1997, by the American company Antares Audio Technologies. It uses a proprietary device to measure and correct pitch in music. It operates on different principles from the vocoder or talk box and produces different results. Auto-Tune can be used in both post-production music mixing and in real-time live performances.
Auto-Tune was initially intended to disguise or correct off-key inaccuracies, allowing vocal tracks to be perfectly tuned. Cher's 1998 song "Believe" popularized the use of Auto-Tune to deliberately distort vocals, a technique that became known as the "Cher effect". It has since been used by many artists in different genres, including Daft Punk, Radiohead, T-Pain and Kanye West. In 2018, the music critic Simon Reynolds felt that Auto-Tune had "revolutionized popular music", calling its use for effects "the fad that just wouldn't fade. Its use is now more entrenched than ever."