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MILLI VANILLI NO DIFFERENT FROM AUTO TUNE MUSIC TODAY

Posted on  10.06.2020 by  admin
 * Milli Vanilli No Different From Auto Tune Music Today Show
 * Milli Vanilli No Different From Auto Tune Music Today Youtube
 * Milli Vanilli No Different From Auto Tune Music Today 2017

 * Aug 04, 2013 In the early '90s, Milli Vanilli ruled the Billboard charts.
   Then, the duo's lip-syncing scandal rocked the music industry and changed
   everything for group members Fab Morvan and Rob Pilatus.
 * Nov 14, 2019 Provided to YouTube by Universal Music Group Milli Vanilli Pins
   & Dimeh Nindo II ℗ 2019 Pins & Dimeh / Bendo Music Released on: 2019-11-15
   Producer: Pins & Dimeh.
 * Today no one’s quite so bold as to hire pretty frontmen for frumpy singers.
   But there’s Auto-Tune to tidy up messy singers. Or what about getting a great
   singer to record the demo, which the mediocre singer memorises, right down to
   the quirky phrasing. No, I do not like Milli Vanilli because I think that
   they are crap!!!! I mean, they.
 * Milli Vanilli became one of the most popular pop acts in the late 1980s and
   early 1990s, with millions of records sold. However, their success turned to
   infamy when Morvan, Pilatus, and their agent Sergio Vendero confessed that
   Morvan and Pilatus did not sing any of the vocals heard on their music
   releases.
 * Jul 12, 2009  Time magazine article on Auto-Tune (2/2009) Discussion in
   'Music Corner' started by Vidiot, Feb 8, 2009. The Milli Vanilli songs don't
   sound that horrible. The fraud that producer Frank Farian perpetuated was
   horrible, but the sound quality was fine. And I know this is an old post
   but.I think that 'auto tune' has ruined the music.

Seriously, Milli Vanilli are freakin' Led Zepplin compared to the utter. that's
currently being fostered on the clueless masses. Watch Lil Wayne's 'performance'
on the 2011 VMAs. That is the state of the art in 2011. Culture and art did have
a good run though. Now it's apparently at an end. (and not with a bang, but with
an auto-tuned whimper). Fabrice Morvan is a French singer-songwriter, rapper,
dancer, and model. He was half of the pop duo Milli Vanilli, with Rob Pilatus,
selling multi-platinum albums around the world. However, he was later involved
in one of the largest scandals in pop music history when it was revealed that
neither he nor Pilatus had actually sung on any of Milli Vanilli's recordings.

Auto-Tune — one of modern history’s most reviled inventions — was an act of
mathematical genius.

The pitch correction software, which automatically calibrates out-of-tune
singing to perfection, has been used on nearly every chart-topping album for the
past 20 years. Along the way, it has been pilloried as the poster child of
modern music’s mechanization. When Time Magazine declared it “one of the 50
worst inventions of the 20th century”, few came to its defense.

But often lost in this narrative is the story of the invention itself, and the
soft-spoken savant who pioneered it. For inventor Andy Hildebrand, Auto-Tune was
an incredibly complex product — the result of years of rigorous study,
statistical computation, and the creation of algorithms previously deemed to be
impossible.

Hildebrand’s invention has taken him on a crazy journey: He’s given up a
lucrative career in oil. He’s changed the economics of the recording industry.
He’s been sued by hip-hop artist T-Pain. And in the course of it all, he’s
raised pertinent questions about what constitutes “real” music.

The Oil Engineer

Andy Hildebrand was, in his own words, “not a normal kid.”

A self-proclaimed bookworm, he was constantly derailed by life’s grand
mysteries, and had trouble sitting still for prolonged periods of time. School
was never an interest: when teachers grew weary of slapping him on the wrist
with a ruler, they’d stick him in the back of the class, where he wouldn’t
bother anybody. “That way,” he says, “I could just stare out of the window.”

After failing the first grade, Hilbrebrand’s academic performance slowly began
to improve. Toward the end of grade school, the young delinquent started pulling
C’s; in junior high, he made his first B; as a high school senior, he was
scraping together occasional A’s. Driven by a newfound passion for science,
Hildebrand “decided to start working [his] ass off” -- an endeavor that
culminated with an electrical engineering PhD from the University of Illinois in
1976.

In the course of his graduate studies, Hildebrand excelled in his applications
of linear estimation theory and signal processing. Upon graduating, he was
plucked up by oil conglomerate Exxon, and tasked with using seismic data to
pinpoint drill locations. He clarifies what this entailed:

“I was working in an area of geophysics where you emit sounds on the surface of
the Earth (or in the ocean), listen to reverberations that come up, and, from
that information, try to figure out what the shape of the subsurface is. It’s
kind of like listening to a lightning bolt and trying to figure out what the
shape of the clouds are. It’s a complex problem.”

Three years into Hildebrand’s work, Exxon ran into a major dilemma: the company
was nearing the end of its seven-year construction timeline on an Alaskan
pipeline; if they failed to get oil into the line in time, they’d lose their
half-billion dollar tax write-off. Hildebrand was enlisted to fix the holdup —
faulty seismic monitoring instrumentation — a task that required “a lot of
high-end mathematics.” He succeeded.

“I realized that if I could save Exxon $500 million,” he recalls, “I could
probably do something for myself and do pretty well.”

A subsurface map of one geologic strata, color coded by elevation, created on
the Landmark Graphics workstation (the white lines represent oil fields);
courtesy of Andy Hildebrand

So, in 1979, Hildebrand left Exxon, secured financing from a few prominent
venture capitalists (DLJ Financial; Sevin Rosen), and, with a small team of
partners, founded Landmark Graphics.

At the time, the geophysical industry had limited data to work off of. The
techniques engineers used to map the Earth’s subsurface resulted in
two-dimensional maps that typically provided only one seismic line. With
Hildebrand as its CTO, Landmark pioneered a workstation — an integrated
software/hardware system — that could process and interpret thousands of lines
of data, and create 3D seismic maps.

Landmark was a huge success. Before retiring in 1989, Hildebrand took the
company through an IPO and a listing on NASDAQ; six years later, it was bought
out by Halliburton for a reported $525 million.

“I retired wealthy forever (not really, my ex-wife later took care of that),”
jokes Hildebrand. “And I decided to get back into music.”

From Oil to Music Software

An engineer by trade, Hildebrand had always been a musician at heart.

As a child, he was something of a classical flute virtuoso and, by 16, he was a
“card-carrying studio musician” who played professionally. His undergraduate
engineering degree had been funded by music scholarships and teaching flute
lessons. Naturally, after leaving Landmark and the oil industry, Hildebrand
decided to return to school to study composition more intensively.

While pursuing his studies at Rice University’s Shepherd School of Music,
Hildebrand began composing with sampling synthesizers (machines that allow a
musician to record notes from an instrument, then make them into digital samples
that could be transposed on a keyboard). But he encountered a problem: when he
attempted to make his own flute samples, he found the quality of the sounds to
be ugly and unnatural.

“The sampling synthesizers sounded like shit: if you sustained a note, it would
just repeat forever,” he harps. “And the problem was that the machines didn’t
hold much data.”

Hildebrand, who’d “retired” just a few months earlier, decided to take matters
into his own hands. First, he created a processing algorithm that greatly
condensed the audio data, allowing for a smoother, more natural-sounding sustain
and timbre. Then, he packaged this algorithm into a piece of software (called
Infinity), and handed it out to composers.

A glimpse at Infinity's interface from an old handbook; courtesy of Andy
Hildebrand

Infinity improved digitized orchestral sounds so dramatically that it uprooted
Hollywood’s music production landscape: using the software, lone composers were
able to accurately recreate film scores, and directors no longer had a need to
hire entire orchestras.

“I bankrupted the Los Angeles Philharmonic,” Hildebrand chuckles. “They were out
of the [sample recording] business for eight years.” (We were unable to verify
this, but The Los Angeles Times does cite that the Philharmonic entered a
'financially bleak' period in the early 1990s).

Unfortunately, Hildebrand’s software was inherently self-defeating: companies
sprouted up that processed sounds through Infinity, then sold them as
pre-packaged soundbanks. “I sold 5 more copies, and that was it,” he says. “The
market totally collapsed.”

But the inventor’s bug had taken hold of Hildebrand once more. In 1990, he
formed his final company, Antares Audio Technology, with the goal of innovating
the music industry’s next big piece of software. And that’s exactly what
happened.

The Birth of Auto-Tune

A rendering of the Auto-Tune interface; via WikiHow

At a National Association of Music Merchants (NAMM) conference in 1995,
Hildebrand sat down for lunch with a few friends and their wives. Randomly, he
posed a rhetorical question — “What needs to be invented?” — and one of the
women half-jokingly offered a response:

“Why don’t you make a box that will let me sing in tune?”

“I looked around the table and everyone was just kind of looking down at their
lunch plates,” recalls Hildebrand, “so I thought, ‘Geez, that must be a lousy
idea’, and we changed the topic.”

Hildebrand completely forgot he’d even had this conversation, and for the next
six months, he worked on various other projects, none of which really took off.
Then, one day, while mulling over ideas, the woman’s suggestion came back to
him. “It just kind of clicked in my head,” he says, “and I realized her idea
might not be too bad.”

What “clicked” for Hildebrand was that he could utilize some of the very same
processing methods he’d used in the oil industry to build a pitch correction
tool. Years later, he’d attempt to explain this on PBS’s NOVA network:

'Seismic data processing involves the manipulation of acoustic data in relation
to a linear time varying, unknown system (the Earth model) for the purpose of
determining and clarifying the influences involved to enhance geologic
interpretation. Coincident (similar) technologies include correlation (statics
determination), linear predictive coding (deconvolution), synthesis (forward
modeling), formant analysis (spectral enhancement), and processing integrity to
minimize artifacts. All of these technologies are shared amongst music and
geophysical applications.'

At the time, no other pitch correction software existed. To inventors, it was a
considered the “holy grail”: many had tried, and none had succeeded.

The major roadblock was that analyzing and correcting pitch in real-time
required processing a very large amount of sound wave data. Others who’d made an
attempt at creating software had used a technique called feature extraction,
where they’d identify a few key “variables” in the sound waves, then correlate
them with the pitch. But this method was overly-simplistic, and didn’t consider
the finer minutia of the human voice. For instance, it didn’t recognize
dipthongs (when the human voice transitions from one vowel to another in a
continuous glide), and, as a result, created false artifacts in the sound.



Hildebrand had a different idea.

As an oil engineer, when dealing with massive datasets, he’d employed
autocorrelation (an attribute of signal processing) to examine not just key
variables, but all of the data, to get much more reliable estimates. He realized
that it could also be applied to music:

“When you’re processing pitch, you add wave cycles to go sharp, and subtract
them when you go flat. With autocorrelation, you have a clearly identifiable
event that tells you what the period of repetition for repeated peak values is.
It’s never fooled by the changing waveform. It’s very elegant.”

While elegant, Hildebrand’s solution required an incredibly complex, almost
savant application of signal processing and statistics. When we asked him to
provide a simple explanation of what happens, computationally, when a voice
signal enters his software, he opened his desk and pulled out thick stacks of
folders, each stuffed with hundreds of pages of mathematical equations.

“In my mind it’s not very complex,” he says, sheepishly, “but I haven’t yet
found anyone I can explain it to who understands it. I usually just say, ‘It’s
magic.’”




The equations that do autocorrelation are computationally exhaustive: for every
one point of autocorrelation (each line on the chart above, right), it might’ve
been necessary for Hildebrand to do something like 500 summations of
multiply-adds. Previously, other engineers in the music industry had thought it
was impossible to use this method for pitch correction: “You needed as many
points in autocorrelation as the range in pitch you were processing,” one
early-1990s programmer told us. “If you wanted to go from a low E (70 hertz) all
the way up to a soprano’s high C (1,000 hertz), you would’ve needed a
supercomputer to do that.”

A supercomputer, or, as it turns out, Andy Hildebrand’s math skills.

Hildebrand realized he was limited by the technology, and instead of giving up,
he found a way to work within it using math. “I realized that most of the
arithmetic was redundant, and could be simplified,” he says. “My simplification
changed a million multiply adds into just four. It was a trick — a mathematical
trick.”

With that, Auto-Tune was born.

Auto-Tune’s Underground Beginnings

Hildebrand built the Auto-Tune program over the course of a few months in early
1996, on a specially-equipped Macintosh computer. He took the software to the
National Association of Music Merchants conference, the same place where his
friend’s wife had suggested the idea a year earlier. This time, it was received
a bit differently.

“People were literally grabbing it out of my hands,” recalls Hildebrand. “It was
instantly a massive hit.”

At the time, recording pitch-perfect vocal tracks was incredibly time-consuming
for both music producers and artists. The standard practice was to do dozens, if
not hundreds, of takes in a studio, then spend a few days splicing together the
best bits from each take to a create a uniformly in-tune track. When Auto-Tune
was released, says Hildebrand, the product practically sold itself.

With the help of a small sales team, Hildebrand sold Auto-Tune (which also came
in hardware form, as a rack effect) to every major studio in Los Angeles. The
studios that adopted Auto-Tune thrived: they were able to get work done more
quickly (doing just one vocal take, through the program, as opposed to dozens) —
and as a result, took in more clients and lowered costs. Soon, studios had to
integrate Auto-Tune just to compete and survive.

Images from Auto-Tune's patent

Once again, Hildebrand dethroned the traditional industry.

“One of my producer friends had been paid $60,000 to manually pitch-correct
Cher’s songs,” he says. “He took her vocals, one phrase at a time, transferred
them onto a synth as samples, then played it back to get her pitch right. I put
him out of business overnight.”

For the first three years of its existence, Auto-Tune remained an “underground
secret” of the recording industry. It was used subtly and unobtrusively to
correct notes that were just slightly off-key, and producers were wary to reveal
its use to the public. Hildebrand explains why:

“Studios weren’t going out and advertising, ‘Hey we got Auto-Tune!’ Back then,
the public was weary of the idea of ‘fake’ or ‘affected’ music. They were
critical of artists like Milli Vanilli [a pop group whose 1990 Grammy Award was
rescinded after it was found out they’d lip-synced over someone else’s songs].
What they don’t understand is that the method used before — doing hundreds of
takes and splicing them together — was its own form of artificial pitch
correction.”

This secrecy, however, was short-lived: Auto-Tune was about to have its coming
out party.

The “Coming Out” of Auto-Tune

When Cher’s “Believe” hit shelves on October 22, 1998, music changed forever.

The album’s titular track -- a pulsating, Euro-disco ballad with a soaring
chorus -- featured a curiously roboticized vocal line, where it seemed as if
Cher’s voice were shifting pitch instantaneously. Critics and listeners weren’t
sure exactly what they were hearing. Unbeknownst to them, this was the start of
something much bigger: for the first time, Auto-Tune had crept from the shadows.

In the process of designing Auto-Tune, Hildebrand had included a “dial” that
controlled the speed at which pitch corrected itself. He explains:

“When a song is slower, like a ballad, the notes are long, and the pitch needs
to shift slowly. For faster songs, the notes are short, the pitch needs to be
changed quickly. I built in a dial where you could adjust the speed from 1
(fastest) to 10 (slowest). Just for kicks, I put a “zero” setting, which changed
the pitch the exact moment it received the signal. And what that created was the
‘Auto-Tune’ effect.”


MILLI VANILLI NO DIFFERENT FROM AUTO TUNE MUSIC TODAY SHOW

Before Cher, artists had used Auto-Tune only supplementally, to make minor
corrections; the natural qualities of their voice were retained. But on the song
“Believe”, Cher’s producers, Mark Taylor and Brian Rawling, made a decision to
use Auto-Tune on the “zero” setting, intentionally modifying the singer’s voice
to sound robotic.


Cher’s single sold 11 million copies worldwide, earned her a Grammy Award, and
topped the charts in 23 countries. In the wake of this success, Hildebrand and
his company, Antares Audio Technologies, marketed Auto-Tune as the “Cher
Effect”. Many people in the music industry attributed the artist’s success to
her use of Auto-Tune; soon everyone wanted to replicate it.

“Other singers and producers started looking at it, and saying ‘Hmm, we can do
something like that and make some money too!’” says Hildebrand. “People were
using it in all genres: pop, country, western, reggae, Bollywood. It was even
used in an Islamic call to prayer.”

The secret of Auto-Tune was out — and its saga had just begun.

The T-Pain Debacle

In 2004, an unknown rapper with dreads and a penchant for top hats arrived on
the Florida hip-hop scene. His name was Faheem Rashad Najm; he preferred
“T-Pain.”

After recording a few “hot flows,” T-Pain was picked out of relative obscurity
and signed to Akon’s record label, Konvict Muzik. Once discovered, he decided
he’d rather sing than rap. He had a great singing voice, but in order to stand
out, he needed a gimmick -- and somewhat fortuitously, he found just that. In a
2014 interview, he explains:

“I used to watch TV a lot [and] there was always this commercial on the channel
I would watch. It was one of those collaborative CDs, like a ‘Various Artists’
CD, and there was this Jennifer Lopez song, ‘If You Had My Love.’ That was the
first time I heard Auto-Tune. Ever since I heard that song — and I kept hearing
and kept hearing it — on this commercial, I was like, ‘Man, I gotta find this
thing.’”


MILLI VANILLI NO DIFFERENT FROM AUTO TUNE MUSIC TODAY YOUTUBE

T-Pain — who is capable of singing very well naturally — decided to use
Auto-Tune to differentiate himself from other artists. “If I was going to sing,
I didn’t want to sound like everybody else,” he later toldThe Seattle Times. “I
wanted something to make me different [and] Auto-Tune was the one.” He contacted
some “hacker” friends, found a free copy of Auto-Tune floating around on the
Internet, and downloaded it for free. Then, he says, “I just got right into it.”

An old Auto-Tune pamphlet; courtesy of Andy Hildebrand

Between 2005 and 2009, T-Pain became famous for his “signature” use of
Auto-Tune, releasing three platinum records. He also earned a title as one of
hip-hop’s most in-demand cameo artists. During that time, he appeared on some 50
chart-toppers, working with high-profile artists like Kanye West, Flo Rida, and
Chris Brown. During one week in 2007, he was featured on four different Top 10
Billboard Hot 100 singles simultaneously. “Any time somebody wanted Auto-Tune,
they called T-Pain,” T-Pain later told NPR.

His warbled, robotic application of Auto-Tune earned him a name. It also earned
him a partnership with Hildebrand’s company, Antares Audio Technologies. For
several years, the duo enjoyed a mutually beneficial relationship. In one
instance, Hildebrand licensed his technology to T-Pain to create a mobile app
with app development start-up Smule. Priced at $3, the app, “I Am T-Pain”, was
downloaded 2 million times, earning all parties involved a few million dollars.

In the face of this success, T-Pain began to feel he was being used as “an
advertising tool.”

'Music isn't going to last forever,' he toldFast Company in 2011, 'so you start
thinking of other things to do. You broaden everything out, and you make sure
your brand can stay what it is without having to depend on music. It's making
sure I have longevity.'

So, T-Pain did something unprecedented: He founded an LLC, then trademarked his
own name. He split from Antares, joined with competing audio company iZotope,
and created his own pitch correction brand, “The T-Pain Effect”. He released a
slew of products bearing his name — everything from a “T-Pain Engine” (a
software program that mimicked Auto-Tune) to a toy microphone that shouted,
“Hey, this ya boy T-Pain!”

Then, he sued Auto-Tune.

Extract the zip file first of all. Little snitch mac os.




T-Pain vs. Auto-Tune: click to read the full filed complaint

The lawsuit, filed on June 25, 2011, alleged that Antares (maker of Auto-Tune)
had engaged in “unauthorized use of T-Pain’s name” on advertising material.
Though the suit didn’t state an exact amount of damages sought, it does
stipulate that the amount is “in excess of $1,000,000.”

Antares and Hildebrand instantly counter-sued. Eventually, the two parties
settled the matter outside of the court, and signed a mutual non-disclosure
agreement. 'If you can't buy candy from the candy store,' you have to learn to
make candy,' T-Pain later told a reporter. “It’s an all-out war.”

Of course, T-Pain did not succeed in his grand plan to put Auto-Tune out of
business.

“We studied our data to see if he really affected us or not,” Hildebrand tells
us. “Our sales neither went up or down due to his involvement. He was remarkably
ineffectual.”




For Auto-Tune, T-Pain was ultimately a non-factor. More pressing, says
Hildebrand, was Apple, which aquired a competing product in the early 2000s:

“We forgot to protect our patent in Germany, and a German company, [Emagic],
used our technology to create a similar program. Then Apple bought [Emagic], and
integrated it into their Logic Pro software. We can’t sue them, it would put us
out of business. They’re too big to sue.”

But according to Hildebrand, none of this matters much: Antares’ Auto-Tune still
owns roughly 90% of the pitch correction market share, and everyone else is
“down in the ditch”, fighting for the other 10%. Though Auto-Tune is a brand, it
has entered the rarified strata of products — Photoshop, Kleenex, Google — that
have become catch-all verbs. Its ubiquitous presence in headlines (for better or
worse) has earned it a spot as one of Ad Age’s “hottest brands in America.”

Yet, as popular as Auto-Tune is with its user base, it seems to be universally
detested by society, largely as a result of T-Pain and imitators over-saturating
modern music with the effect.

Haters Gonna Hate

A few years ago, in a meeting, famed guitar-maker Paul Reed Smith turned toward
Hildebrand and shook his head. “You know,” he said, disapprovingly, “you’ve
completely destroyed Western music.”

He was not alone in this sentiment: as Auto-Tune became increasingly apparent in
mainstream music, critics began to take a stand against it.

In 2009, alternative rock band Death Cab For Cutie launched an anti-Auto-Tune
campaign. “We’re here to raise awareness about Auto-Tune abuse” frontman Ben
Gibbard announced on MTV. “It’s a digital manipulation, and we feel enough is
enough.” This was shortly followed by Jay-Z’s “Death of the Auto-Tune” — a
Grammy-winning song that dissed the technology, and called for an industry-wide
ban. Average music listeners are no less vocal: a comb of the comments section
on any Auto-Tuned YouTube video reveals (in proper YouTube form) dozens of
virulent, hateful opinions on the technology.

Hildebrand at his Scotts Valley, California office

In his defense, Hildebrand harkens back to the history of recorded sound. “If
you’re going to complain about Auto-Tune, complain about speakers too,” he says.
“And synthesizers. And recording studios. Recording the human voice, in any
capacity, is unnatural.”

What he really means to say is that the backlash doesn’t bother him much. For
his years of work on Auto-Tune, Hildebrand has earned himself enough to retire
happy — and with his patent expiring in two years, that day may soon come.

“I’m certainly not broke,” he admits. “But in the oil industry, there are
billions of dollars floating around; in the music industry, this is it.”

He gestures toward the contents of his office: a desk scattered with equations,
a few awkwardly-placed awards, a small bookcase brimming with Auto-Tune
pamphlets and signal processing textbooks. It’s a small, narrow space, lit by
fluorescent ceiling bulbs and a pair of windows that overlook a parking lot. On
a table sits a model ship, its sails perfectly calibrated.


MILLI VANILLI NO DIFFERENT FROM AUTO TUNE MUSIC TODAY 2017

“Sometimes, I’ll tell people, ‘I just built a car, I didn’t drive it down the
wrong side of the freeway,'” he says, with a smile. “But haters will hate.”

Our next post profiles an entrepreneur who wants to disrupt the only industry
Silicon Valley won't touch: sex. To get notified when we post it →join our email
list. A version of this article previously appeared on December 14, 2015.

Announcement: The Priceonomics Content Marketing Conference is on November 1 in
San Francisco. Get your early bird ticket now.


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