For the sleeping room instrumentalist , recording was a infliction until software package give them an option that was quick , flexible and sonically undistinguishable to the untrained ear . Then the professional go crazy with all of that power andturned make music into a mad science of transonic mental synthesis .
The hassle is that the tool that deform the everyman into a transcription creative person have been abused by professionals who chop , mix , and process everything to hell . Sometimes that ’s called for as with hip hop , experimental disturbance , and electronic euphony . But there comes a spot when hone the sales pitch of a singer ’s voice sounds wrong . hunky-dory editing and processing tools design to enhance songs cease up making medicine sound unnatural when they ’re overused — much like it looks terrible when you serve an image too much in Photoshop . Even with a pro at the helm , over - redaction only achieves a sound blood-related to the look of models on magazine covers that resemble the great unwashed , but are really soulless shadows of the real thing .
Audio guru Steve Guttenberg drop a line about this problem in this month ’s result of Stereophile . He got to talking to some industry folk at a convention , and it turns out thatthere ’s an emerging consensus that producers are exaggerate it .
A few engineer talked about superstar vocalist who register literally hundreds of payoff of a undivided Sung dynasty , then leave it to the editors to assemble from these a exclusive “ double-dyed ” performance , a fraction of a moment at a clip Pardon my snark , but imagine how much better disc by James Brown , the Beatles , or Led Zeppelin would have been had they had Pro Tools in the sixties and ’ 70s . Sadly , it ’s a tool that some artists ca n’t resist using to the point in time that there ’s nothing go out of the original performance .
Most hoi polloi believably think that those sure-enough records are perfect . When you hear that slight glitch — the crack of John Lennon ’s phonation or a bill that ’s slightly flat — it just brings you nearer to the artist and makes the music better . I ’d never go so far as to say we should go back to the parallel daytime — heck , auto - tune started out analog anyway . The point is that everything should be used tastily . When there are infinite possibilities it ’s what you do n’t do that makes the music human . [ Stereophile ]
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