Pitchy Dawgs – Great AutoTune story in The New Yorker

I don’t usually do this here, but I just finished reading a surprisingly brief, yet wonderfully succinct, New Yorker article about the post-production effect known as Antares Auto-Tune. The piece, called THE GERBIL’S REVENGE is by the fine writer Sasha Frere-Jones and it’s in the June 3 double issue. The link will take you to the New Yorker site, where Jones has an extra audio treat, his auto-tuned performance of Kelly Clarkson’s “Since You’ve Been Gone”.

As a musician, music writer and music nerd, I seem to spend an inordinate amount of time explaining sounds to people, some of whom have asked me over the years “What’s that sound on Cher’s voice in “Believe”?”

Cher: “I BELIEVE I’ve lost my pants…”

Well, thank goodness then that Sasha Frere-Jones has written this piece, which is mainly about the ubiquitous R&B singer T-Pain and his copious use of Auto-Tune as his signature sound.

I’ll write something of my own in a bit, but until then, I urge you to link over to The New Yorker and read Jones’s excellent article.

One Response to “Pitchy Dawgs – Great AutoTune story in The New Yorker”

  1. Cher is always classy and sexy at the same time.

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