16 November,2024 07:43 AM IST | Mumbai | Spandana Bhura
Singer-songwriter Utsavi Jha at her home studio in Vile Parle. Jha—known for blending jazz pop, blues rock, and electro-pop—deeply appreciates how auto-tune adds finesse to her music and helps her forge a unique sound. Pic/Anurag Ahire
For decades, auto-tune has led a double life, loved by some, scorned by others, this digital pitch-correction tool has been dismissed by critics as a shortcut for lazy singers while also being hailed as a revolutionary means of sonic expression. Originally designed to fix minor pitch issues, auto-tune has now transformed into an instrument of choice, fully integrated into the creative process.
International artistes such as Charli XCX, whose smash hit album Brat embraces auto-tune, and Troye Sivan, who uses it to sharpen his live performances, have sparked global curiosity around the sonic tool's evolving role. This shift is especially noticeable in India's indie music scene, where artistes are using it not just for pitch correction, but as a tool for emotional and sonic exploration.
Despite this transformation, auto-tune still carries a stigma, especially in Indian music circles that place a high value on vocal âpurity' and authenticity of live performances. Many traditionalists see it as a crutch for unskilled singers. Samad Khan, an indie artiste with roots in Hindustani classical music, reflects on this bias: "Due to my Hindustani classical vocal training, there was always a strong emphasis on singing perfectly in tune," he shares. It wasn't until later that Khan discovered auto-tune's creative potential through artistes like T-Pain and Usher, moving beyond the idea of auto-tune as a âmistake-fixer' to appreciate its artistry.
But how exactly does auto-tune work? First developed in 1997 by Antares Audio Technologies, the software detects the pitch of an incoming vocal track and adjusts it to align with a pre-set scale, typically tuned to A440 (where A above middle C vibrates at 440 Hz). In simpler terms, it's a tool that âlistens' to a voice and shifts the notes to match a predefined scale.
Early on, auto-tune was primarily a behind-the-scenes tool, employed to subtly adjust minor imperfections that most listeners wouldn't notice. Today, however, the case is different. "Pitch correction in modern music is often less of an aesthetic choice and more of a standard, as all music today is tuned to 440 Hz," says Qaran, the voice behind pop hits such as Haaye Oye, Tareefan and, more recently, Desi Wine.
"A common misconception among audiences is that pitch correction is always used to turn a bad singer into a good one. However, even a perfect performance would require some pitch correction to conform to the ubiquitous tuning standards in modern music," he continues.
In India's indie music scene, auto-tune has become a way for artistes to shape their sound and create unique atmospheres. Utsavi Jha, known for blending jazz pop, blues rock, and electro-pop, uses auto-tune sparingly but appreciates the finesse it adds. "After seeing my raw takes and those with auto-tune refinement, I've come to realise that auto-tune can't make a bad singer sound good," she says, "It can only make a good singer sound great while maintaining a natural sound."
Auto-tune's uses have diversified. "Singers and musicians have a choice between inbuilt auto-tune, included with most Digital Audio Workstations (DAWs) like Logic Pro and Ableton, and advanced external plugins like Antares Auto-Tune or Melodyne," says Robica Chaudhuri, singer, songwriter and attendee of the 2023 Warner Music India Camp. "Stock auto-tune software provides standard pitch correction, suitable for smaller adjustments, but lacks the depth and flexibility of third party plugins" she continues. Chaudhari was was also introduced to auto-tune through T-Pain's music.
Musicians often use auto-tune emphasise certain moods and emotions. "Auto-tune vocals are able to capture very intimate settings; it can produce atypical emotions," says music producer and singer-songwriter Aman Sagar, "It's robotic precision, for example, mirrors urban life's mechanical existence, and that darkness resonates well in melancholic songs." For Sagar, auto-tune adds an intentional distance to the voice, reflecting the complexities of modern emotions. Aryan Sharma, who performs under the stage name Nikamma, approaches the audio processing tool with careful restraint. "Auto-tune is like seasoning," he explains, "If you use it too much, it may backfire. You've got to use it in the right proportions." Sharma's balanced approach speaks to the nuanced way indie artistes navigate auto-tune's artistic and technical aspects.
Even as artistes embrace auto-tune as a creative tool, listener perceptions can lag behind. Many listeners misunderstand or overestimate its impact on a track. The Rish, an artiste from a musically trained family, finds that listeners often mistake other effects for auto-tune. "A lot of the audiences who comment on my songs with "too much auto-tune" are misinformed," he says, "They hear reverb and delay and mistake it for auto-tune. The moment people feel that disconnect between a natural voice and a processed one, they perceive it as auto-tune."
Even hugely popular artistes can't escape the audience's ire on this issue. "Artistes such as AP Dhillon have used auto-tune so tastefully. I would really urge audiences to stop spamming them with so much hate for an artistic choice, especially when these are the songs they dance to on Saturday nights," says Rish.
"Resonating with an audience is about echoing a story worth telling, whether that's with âraw' vocals or with auto-tune, just like Travis Scott does," he adds. This shift reflects an evolving audience that values narrative and production as much as vocal prowess.
Genre expectations, too, shape listeners' acceptance of auto-tune. "New genres like hyperpop and dance hits focus on production and storytelling more than just pure vocals, so auto-tune enhances that," says Rish.
Music producer Sooraj Bishnoi treats it as a creative choice rather than a one-size-fits-all solution. "In a recent anthem I composed for IndianOil's Asian Para Games team, the chorus is just me singing, overdubbed multiple times with a few overdubs using different levels of auto-tune," he says, adding, "Auto-tune depends on the genre of music and the comfort of using it. I'd never use auto-tune on an Indian classical track. On a hip-hop track, though? Sure, go for it if it enhances the sound."
Auto-tune also helps indie artistes balance emotional authenticity with the polish expected of professional recordings. "The producers I've worked with recognise that my strongest suit as an artiste is my voice and my ability to channel emotions," says Jha, "If a take has better notes but less feel, and the other has the feel we're looking for but a few off notes, we choose the latter. Emotions move the listeners, not technical perfection." For this Vile Parle resident, auto-tune's ability to enhance relatability is its most valuable asset, even if it occasionally corrects an imperfect note.
Jha, however, warns that auto-tune's ease of use has led to a saturation of average music. "In my honest opinion, genres such as hyperpop have created a lot of clutter. People with no musicianship are using auto-tune generously to release average music, and that dilutes the industry," she says. Her critique points to the double-edged nature - while auto-tune can elevate artistry, it can also be used to mask inexperience.
Abhishek Patil, A&R (artistes and repertoire) producer at Warner Music, believes auto-tune has democratised the field, allowing more performers to engage audiences. "Being just a singer isn't enough," he says. "Stage presence, personality, and charm, they all matter. Most rappers and artistes today use auto-tune, even live. It has widened the landscape and made it possible for a broader range of artistes to thrive."
For those who regularly perform live, auto-tune serves as both a tool of enhancement and support. "If we're okay with actors using makeup, why shouldn't singers use auto-tune?" asks Patil.
He adds, "Touring schedules are physically demanding. It's inhuman to expect artistes to perform perfectly all the time. Auto-tune lets them give their best despite fatigue."
Old-school listeners might question why we hear more auto-tune in music now and perhaps link it to laziness. This trend, in fact, points to advancements in audio technology. "In general, one of the main reasons people use auto-tune more now than before is because recording technology has advanced significantly," says Carl Nazareth, a mix engineer and sound designer, further explaining, "Earlier, if I wanted to record, say, a 60-piece orchestra, I'd have to hire 60 musicians, practise with them for about four days, book a studio that could accommodate everyone, set up 20 mics, and capture each part individually. The process required a huge amount of time and resources."
Much of the process now happens digitally and remotely - "Today, for example, a singer might be recording in Bangalore, a guitarist in Delhi, and I'll be producing the track in Bombay," he says, "We rely a lot more on auto-tune softwares to bring these pieces together. When you add live instruments with digitally programmed ones, you realise that some parts might not match up perfectly. For instance, my digital piano sounds so precise that if another part of the track is even slightly off tune, it suddenly feels wrong. So, we have to use auto-tune to correct these inaccuracies and make sure it all sits together seamlessly".
For others, auto-tune is a way to discover their voice. "Staying true to your roots doesn't mean being closed to new perspectives," says Khan, a classically trained singer, "The essence of a song lies in the lyrics, music, and composition, and auto-tune lets me create a fresh sound while staying grounded," he continues.
Sagar, on the other hand, finds that auto-tune has helped him embody different influences. "It's almost like wearing a new personality," he says, "Coming from a traditional music background, auto-tune lets me put on a different persona and channel influences from modern music."
Chaudhuri echoes this sentiment of personal growth and artistic exploration. Her use of auto-tune is both expressive and empowering, showcasing how artistes can use technology to forge their unique sound. "As a female artiste, standing out means blending strength with vulnerability," she says, "Auto-tune has been instrumental - not as a crutch, but as a creative extension. It lets me add depth, texture, new dimensions and sometimes even mystery to my music."
Qaran sees it as a tool that has allowed him to shape his sound. "A big part of finding my voice was realising I needed to make music I'd want to listen to myself," he shares, "Auto-tune has been instrumental as a creative extension that allows me to shape my sound in unique ways."
