Auto-Tune 一開波毫無疑問係飽受批評。

JASON ZELDES: “When auto-tune just came out, I remember people used to sit around listening to the radio and going, “ I can tell which song has Autotune on it”. It was the thing that you could hear. It was a way the software worked that sounded like cheating.”

就算連 Paul McCartney, Kevin Parker, King Princess & Nick Rhodes 呢堆大師早期嘅時候都係怒屌Auto-Tune，批評 Auto-Tune 一用就聽得出、用 Auto-Tune 就等如作弊、用 Auto-Tune 係因為唔識唱歌、Auto-Tune 係Modern Music 嘅敵人等等。

（今日的我當然已經打倒曬昨天的我，就好似JAY-Z 早期都係反對用 Auto-Tune，而家咪都係一樣用 Auto-Tune🤣。其實呢點小弟本人幾欣賞，呢個位之後再講多啲）

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後來大家都進步咗，提升咗用 Auto-Tune 嘅技術，去到一個位喺用咗 Auto-Tune 你都唔知嘅地步。

Hrishikesh hirway: If it’s done well, you never know that it is being used, it’s only when you use it in a really creative forceful way, that you can think of it as this sort of music-making tool. Otherwise, it should be invisible.

呢個時候又有人會話你 Tune 到岩曬會無曬感情，藝術或音樂有陣時就係要有瑕疵，It is Perfect to be Imperfect!

（大家又點睇呢？盡最大努力唔Tune？定其實 Tune 都係無法避免？定要 Tune 得嚟保留感情？）

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但講到第一個將 Auto-Tune 當一個 Vocal Effect 咁用嘅人，一定要提到 Cher – Believe 呢首歌(自己去 Youtube 聽！）。當年Mark Taylor 同 Brian Rawling（Producers of Believe) 將個 Auto-Tune 嘅 ”Return Speed” Perimeter Set 做零，整走曬所有 Portamento （Pitch sliding from one note to another)，副歌個效果就喺咁整出嚟！

*Believe 係42nd Annual Grammy Awards, 2000 嘅以下範疇都被提名或得獎

Record of the Year
Best Dance Recording
Best Pop Collaboration with Vocals
Best Pop Album

呢個時候隨即就掀起左一場一發不可收拾嘅 Auto-Tune 熱潮。

下次我地講吓講Auto-Tune 不可不提嘅一位猛人 T-Pain, 講吓佢點樣將 Auto-Tune 帶去另一個層次！之後講吓Auto-Tune – Harmony Engine 同埋 Auto-Tune 係 Live Stage 嘅發展！