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Auto-Tune can also be used as an effect to distort the human voice when pitch is raised or lowered significantly, such that the voice is heard to leap from note to note stepwise, like a synthesizer. Auto-Tune has become standard equipment in professional recording studios.

The following sentence might come as a huge shock to teens and Millennials, so stop tweeting for a second, kids, and get prepared for a totally outlandish statement. Here it is: Once upon a time, pop singers were actual singers.

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Yes, I know. That's hard to comprehend since the pop charts are now dominated by artists who use Auto-Tune, the software plug-in that corrects the pitch of those who can't really cut it in the vocal department and turns their vocals into robo-voices. While everyone under 30 recovers from that revelation, here's what I mean by 'actual singers.'

Back in the day, pop artists like Frank Sinatra and the Beatles used to be able to record albums in just a few days. Country musicians like Patsy Cline and George Jones trudged through grueling tours in out-of-the-way rural locales yet still missed nary a note. R&B musicians like the Supremes and the Four Tops navigated their way through complex choreography but still belted out songs out like their lives depended on it.

And while today, we still have singers with massively impressive pipes, a whole lotta them could never have rocked it for real like the Motown gang. These days, artists are able to get by on looks, publicity and aid from Auto-Tune.

You can hear the robotic, processed sound of the plug-in on recent hit records like 'Blame It' by Jamie Foxx and T-Pain, 'Just Dance' by Lady Gaga and 'Right Now (Na Na Na)' by Akon. It's also heard on tracks by Kanye West, Britney Spears and Lil Wayne. When West attempted to sing 'Love Lockdown' without the plug-in on 'Saturday Night Live,' the results were none too impressive and got ridiculed online. You can hear 10 examples of 'Auto-Tune Abuse in Pop Music' on Hometracked, a blog geared toward home recording enthusiasts.

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Paula Abdul also uses Auto-Tune on her new song, 'Here for the Music,' which she performed (i.e. lip-synched) on 'American Idol' May 6. It was evident just how artificial Abdul's vocals were when she was followed by Gwen Stefani, who gave a warts-and-all live vocal on No Doubt's 'Just a Girl.'

Country and rock singers are said to use Auto-Tune to protect themselves from hitting bum notes in concert. Pop singers use it when they have a hard time singing while executing complicated dance moves (raising the question as to why they're letting their dancing take precedence over their music). Auto-Tune has become so ubiquitous that indie rockers Death Cab for Cutie wore blue ribbons at this year's Grammy Awards ceremony to protest its overuse.

Building the ‘perfect' beast
The prevalence of Auto-Tune comes from two longstanding pop music traditions — the desire to alter the human voice and the quest for perfection at the expense of real talent and emotion.

The first of these can lead to inspiring moments, as the New Yorker's Sasha Frere-Jones noted in an essay last year. Download sara cooking class full version apk. Pioneering voice tweakers include producer Quincy Jones, who punched up Lesley Gore's vocals with double tracking on 'It's My Party,' and George Martin, who gave us a childlike sped-up John Lennon on 'Lucy in the Sky with Diamonds.' Later on, Peter Frampton wowed audiences with his talk box guitar effect and a decade later, vocals were being put through harmonizers to get jarring outer space effects.

Of course, to pull off any of those effects, you had still had to be able to sing. With Auto-Tune you don't.

Then there's the quest for perfection. By the 1970s, producers were able to edit or splice together vocal takes from various tracks and eventually they started to use hardware that corrected vocal pitch to create 'perfect' performances. When the sound editing program Pro Tools became the industry norm in the 1990s, kludged-together vocal tracks became the norm.

But too much meticulousness in pop music strips away passion. And the very reason we listen to music, noted the late rock critic Lester Bangs, is to hear 'passion expressed.' Auto-Tune makes people sound like robots. And if there's no feeling, why listen at all?

Some people apparently aren't listening anymore. Sales of major label CDs are down. But more authentic sounding music still has fans. Paste magazine recently reported that indie music is selling more, and the one area of commercial music that's remained popular is 'American Idol,' where you can't fake it (unless you're Paula Abdul).

The producers speak
A lot of producers like to use Auto-Tune because it saves time, says producer Craig Street, who has worked with Norah Jones, k. d. lang and Cassandra Wilson. 'If you have a smaller budget what you're doing is trying to cram a lot of work into a small period of time,' Street says. 'So you may not have as much time to do a vocal.'

Craig Anderton, a producer and music writer, observes that Auto-Tune 'gets no respect because when it's done correctly, you can't hear that it's working.

'If someone uses it tastefully just to correct a few notes here and there, you don't even know that it's been used so it doesn't get any props for doing a good job,' Anderton notes. 'But if someone misuses it, it's very obvious — the sound quality of the voice changes and people say ‘Oh, it's that Auto-Tune — it's a terrible thing that's contributing to the decline and fall of Western music as we know it.'

One producer who dislikes Auto-Tune is Jon Tiven, who cut his musical teeth in the punk rock era with his band the Yankees, and went on to produce soul singers Wilson Pickett and Don Covey as well as Pixies founder Frank Black. Tiven thinks Auto-Tune has led to the destruction of great singing.

'I don't know how many levels you want to drop the bar for what it takes to become a successful musical person,' Tiven says. 'You could sacrifice on some levels, but it would seem to me one of the first things you would really be hard pressed to sacrifice is if the person could sing in tune or not.'

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Street says the like or dislike of Auto-Tune largely comes down to aesthetics, and likens people's feelings about listening to unnatural sounds with the way some people feel about unnatural body modifications, such as breast implants.

And that makes sense. After all, today we have models and actors whose faces and bodies were never intended by nature, reality TV that's not real, and sports 'heroes' whose strength comes from pills not practice. It's totally understandable that the commercial pop world would embrace an unnatural aesthetic. Whether audiences will someday want pop singers who are first and foremost singers remains to be seen.

© 2013 msnbc.com. Reprints

Auto-Tune Mobile brings vocal pitch correction to vocal performance, using Antares' world-class Auto-Tune®technology. Now Antares' professional pitch correction recording studio technology is available for local performers touse live, on stage, or in recording apps on your iPhone / iPad.

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The Auto-Tune Mobile app does not do anything until you sing through it. When you sing, Auto-Tune Mobile detects whatnote you are singing, and corrects the pitch of your notes, to the nearest valid note, from the ones you select on thescreen. The corrected vocals go out through the speakers (when you turn on Audio Out); also Auto-Tune Mobile iscompatible with other apps if you wish to record.

Connect Auto-Tune Mobile to your sound system between your microphone and your P.A. / speakers to use Auto-TuneMobile in a live performance setting. Use a microphone audio interface device to connect the 1/8 inch jack to yourmicrophone line and the headphone output to your sound system. Turn on Audio Out on the Auto-Tune Mobile app to getaudio to pass through the system. If you turn on Audio Out without connecting to your sound system, you are likely tohear the internal feedback of the internal speaker to the internal mic. Adjust your mic and speakers so there is nofeedback.

Vocals are corrected to the nearest pitch based on the key and scale of the song, or to a set of melody notesselected on the screen. Use the Chromatic scale when you don't know what key or scale a song is in. This is theeasiest way to correct your voice to the nearest pitch.

The Retune speed is the time it takes for Auto-Tune to pitch correct your voice. The Normal Retune speed is a settingof 50 msecs -- this gives a natural humanized pitch correction effect. Normal Retune speed is appropriate for a moderatetempo song, for example a song at 120 bpm with a melody in eighth notes.

A funky or fast tempo tune, or a song requiring sixteenth note precision, will likely require a Fast Retune speed.The Fast Retune speed corrects notes within 25 msecs; this is better for faster notes. For slow songs or balladsfeaturing long held notes, the Slow Retune speed (75 msecs) may provide a more natural sound.

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In addition to natural sounding pitch correction, you can also apply the iconic Auto-Tune effect. The Auto-Tuneeffect in essence retunes your pitch immediately (in 0 msecs). Ironically, if you sing really well, there is not muchcorrection for Auto-Tune to do. The Auto-Tune effect is most noticeable when you are off key or you slide into a note.Also when you set the app to the Auto-Tune Effect setting, a meter appears at the top (red bouncing ball) that visuallyindicates whether you are singing sharp or flat.

The Bypass button is provided as a quick way to stop and start adding the effect as you sing.

Auto-Tune Mobile conforms to the Inter-App Audio (IAA) standard so you can use Auto-Tune with your other IAA apps. Notice when using with GarageBand that the Auto-Tune filter takes effect as you record the track. If you want to pitchcorrect a pre-existing vocal you will need to replay it outside of GarageBand and re-record it to a new track. Midicontrol of pitch correction is included, so you can connect a Midi keyboard and direct the vocals to sing on aparticular melody or on a set of scale notes as pressed on the keyboard. Midi note presses will show up in red on theapp.

Auto-Tune Mobile is Audiobus compatible, allowing Auto-Tune Mobile to work with your other iOS music apps. Auto-TuneMobile acts as a filter in the 'Effects' category, so you can apply pitch correction and the Auto-Tune effect to otherAudiobus-compatible apps. (see http://audiob.us).

* Vocal real-time pitch correction designed for live performance
* Compatible with other IAA and Audiobusapps
* Built with Antares Audio Technologies' Auto-Tune® professional pitch correction
* Tested with TascamiXZ and IK Multimedia's iRig microphone audio interfaces.
* Made for musicians.