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Auto-Tune Is Now For The Masses

November 10, 2008


As if being constantly pummeled by pop radio wasn’t enough.. it’s now possible to get your Auto-Tune vocal tweak fix on the cheap.  Antares Auto-Tune EFX, a streamed down and simplified version of Auto-Tune Evo, is now available for the affordable sum of of $129 in VST, RTAS, and Audio Units formats, PC/Mac compatible, and complete with an iLok.

See Antares for more info.

Related posts:

  1. Antares Auto-Tune Evo + Vocal Studio Updated
  2. T-Pain Suing Maker of Auto-Tune Antares
  3. Brief History of Auto-Tune And T-Pain’s Technological Predecessors
  4. T-Pain Talks Auto-Tune Haters And Pop Champagne Effect Misuse
  5. T-Pain Auto-Tune iPhone App By Smule

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» Now Every Aspiring Artist Can Auto-Tune on The Cheap | Highbrid Nation | Because Knowledge is Power
November 12, 2008 at 8:34 am

{ 9 comments… read them below or add one }

Beatkilla November 11, 2008 at 5:49 pm

This crap has gotten way out of hand!
T-Pains, days are numbered. He’ll need to find a new gimmick
since everybody is sucking lemons from this Fad.


TONY TRAXX November 12, 2008 at 3:03 am



Loop Analysis November 17, 2008 at 12:51 pm

Im sure if anyone had an auto-tune they would be having fun…but i agree, Tpain is buggin me now. wheres pete, we need some old skool Black Eyed Peas.

“That’s the joint, that’s the jam
Turn that shit up, play it again”


PSUSTUD February 26, 2009 at 1:47 pm

“Someone once asked Hildebrand if Auto-Tune was evil. He responded, “Well, my wife wears makeup. Is that evil?” Evil may be overstating the case, but makeup is an apt analogy: there is nothing natural about recorded music. Whether the engineer merely tweaks a few bum notes or makes a singer tootle like Robby the Robot, recorded music is still a composite of sounds that may or may not have happened in real time. An effect is always achieved, and not necessarily the one intended. Aren’t some of the most entertaining and fruitful sounds in pop—distortion, whammy bars, scratching—the result of glorious abuse of the tools? At this late date, it’s hard to see how the invisible use of tools could imply an inauthentic product, as if a layer of manipulation were standing between the audience and an unsullied object. In reality, the unsullied object is the Sasquatch of music. Even a purely live recording is a distortion and paraphrasing of an acoustic event.”
New Yorker


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