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In Reply to: RE: But does he use auto-tune in his recording work? posted by Ivan303 on November 09, 2014 at 18:05:47
With how he's gone after me for merely pointing out the use of Auto-Tune, I'd say most definitely.
David strikes me as one of those recording producers who may have presumed that mild applications of Auto-Tune would never be noticed by anyone. But became alarmed that someone has noticed. For I find no reason to repeatedly and fanatically go after people for merely pointing out its use.
Follow Ups:
Dave didn't "go after you", as you put it, for "merely pointing out the use of Auto-Tune". He asked you to listen to some singing by the rapper T-Pain, a known user of Auto-Tune, in an online performance on npr's site in which he expressly acknowledged that Auto-Tune was not being used, and identify where his singing is out of tune.
Of course, you did not have to respond. But you did respond, saying that you could hear that this npr performance had in fact been modified by Auto-Tune, possibly by npr's producers without T-Pain's knowledge.
Do I have that pretty much right? Because if so, your position is ridiculous. First, ime significant use of Auto-Tune tends to have an audible effect, making voices sound artificial and robotic. There is no trace of that in T-Pain's npr performance. Second, it is beyond implausible that anyone at npr would do this without T-Pain's permission, or that he would allow it if asked, after he explicitly told the world it was being done without Auto-Tune.
Earlier you said that a Dudamel performance of a Beethoven symphony was identical to an earlier one by Szell. I listened to them both, and that is also ridiculous. They are different.
I also listend to some remastered Frank Sinatra on youtube that also has no trace of Auto-Tune, though one selection did have some awful artificial reverb that may or may not have been in the original.
Your paranoia has apparently overwhelmed your sense of hearing.
"Earlier you said that a Dudamel performance of a Beethoven symphony was identical to an earlier one by Szell."
I didn't say that. I said that the recording originated from the Szell recording, and then doctored and time-stretched/compressed. (I wouldn't call it a "performance".)
For what it's worth, here are two tracks of the final movement from the two recordings in question.... One of them time stretched to match the other. The same orchestra/conductor recording the same piece twice in succession wouldn't even produce tracks that look this close.... (The tracks from the third movement look completely different, by the way.)
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