thinglets: Robot Rappers and Cyber Singers

As I opined in a recent podcast, the idea that Microsoft's Songsmith does such a weak job of providing accompaniment to stray vocal tracks shouldn't surprise me the cynic in me, but it does. I maintain that current technology had advanced enough to allow such a product to not only create pleasing, instead of jarring, tracks, but likely produce the next hit single. That technology has perpetuated lies and boosted artists' "talent" is inescapable.

A Gizmodo article points out the prominence of vocal auto-tuners used by almost every major studio today: 

"And lately, some rappers, most notably T-Pain and most distressingly Kanye West, have taken up the robotic vocal torch. Even stark minimalist Bon Iver used the software, made by Antares Audio Technologies, on his most recent EP. But Time's recent article explains that auto-tune is used on just about every major-label pop album these days, from Britney Spears to Faith Hill. It's now assumed that auto-tuning will be applied to almost any recording that doesn't specifically refuse it."

Thankfully there are still some relatively honest artists and producers who eschew the use of the software and prefer to allow natural singing voices. Most notably producer Rick Rubin and alt-country songstress Neko Case who "in typical brash honesty, declared, "That shit sounds like shit!" regarding auto-tuned singers, and compared it to the artificiality of diet soda."

Coming soon, Skynet recordings pumping out Top 40 hits to your favorite mp3 download service.

auto-tune

Podcast Thirty Four: Beware of Geeks Bearing Gifts

Concerning employers trying to become our new social networks, tech blog entries full of sound and fury, signifying nothing, Comcast pays us to watch porn and the how I'm preparing to blow out the last candle on the integrity of popular music.

lovehate: Auto-accompaniment and the Failures of Simulation

I've been playing piano since I was five and, while there have been short periods when performing music has fallen out of my interests, I have almost always had an appreciation for a completely live performance. Such a performance can include anything from a single instrument and voice all they way up to a full orchestra.

I remember playing as a teenager in the 80s-drenched synth-oriented dance pop that pervaded the charts. I remember even buying into the concept of a synthesizer or two but hated the concept of the dreaded sequencers and samplers that would allow even the most inept players to spout forth with "cool" sounding patterns and loops. I could tolerate the idea of a synthesizer making sounds that were unique to the instrument itself and not trying to generate something else. With the persistent adoption of drum machines and string patches and horn sections and poorly-modelled electric pianos, I retreated further into a state that I considered a bit of musical elitism: a piano sound should come from a piano, a drum sound should come from a drum, and a bass guitar sound should come from a bass guitar.

Don't get me wrong, I understand the attraction of simulation. I have recorded songs where I've used a keyboard to create multiple music tracks, but always, in my head at least, the exercise was just that - an exercise. Call me old-fashioned when it comes to music, but I believe there should be something organic to musical sound. And this from a guy who grew up idolizing Keith Emerson and his endlessly-tweakable envelope filters.

As I grew older, I developed a certain tolerance for auto-accompaniment, but always with a sense of kitsch. The idea of the cheesy home organ with beat generator and portamento was to being smiled at and laughed with instead of laughed at. I am willing to listen to someone satrize a traditionally serious song by giving it the Wurlitzer treatment.

And it was with all this derision that I shook my head in disbelief when I learned of Microsoft's Songsmith software during CES last month. While this product's limitations have been shown to glorious and humorous effect by copying the vocal lines of past hits into its engine and watching the generic "reggae" or "soft rock" accompaniment get triggered, could anyone have really expected anything different... you know what? I was exepecting better.

While I believe the concept abhorrent and completely against all of my sensibilities about music, I fully expect that the technology is not out of reach to mesh anyone's random vocalizing with a very solid sounding accompaniment. I anticipate that no matter how bad someone sings, the software's engine should, on the fly, fix any out of tune notes and quantize the rhythmless until they sound inoffensive. I expect that music AI has advanced far enough that realistic-sounding instruments can be modelled in real time to sound at least as good as many of the mediocre ballads that are in the top ten of most pop music charts.

I expect we're on that threshold and, while it should scare the hell out of me, I've discovered I really don't care because if some out-of-tune arhythmic cellar dweller can one day sell a million copies of a song they produced in their basement, and maybe flip the RIAA and the Big Four the finger while doing so, I'll buy a cake and with wry, smiling dismay blow out the last candle on musical integrity.

funmaker

lovehatetunes.com is now a group site

lovehatetunes.com, the sister site to lovehatethings, is now a group site which means ANYONE can share their musical love hates.

Feel free to email your mp3 attachments or youtube video links to post@lovehatetunes.posterous.com

Remember that my role on this platform is to moderate, so your post may not show up right away - although I am online several times a day.

If you'd like to include a short explanation of why you love or hate the song, include it in the email. Feel free to comment on other people choices as well.

If you'd like to follow the naming structure I've tried to stick to, feel free, but really, do what ever you want.

Please try to keep it somewhat reasonable. I don't want be moderating submissions of someone's nazi punk discography.

Have fun and share you musical likes and dislikes, especially some obscure tracks that people may not have heard before.

lovehatetunes

lovehate: Fan to Store to Con to Web

Did you ever notice that, when you've eaten enough of your Cheerios to have the remaining lingerers left bobbing on the ripple surface of the milk like so many little beige inner tubes, they tend to clump together? Their round shapes allow each unit to hug each other in a tenuous fashion until others come to shore up the group in flowery patterns around the central group leader. And with each bite comes decay, disruption, and even the occasional disassembly of one group that prompts scattered, bobbing floating to a new group. Such are the life patterns of the Cheerios who were far too busy with other things to join the masses of their of lemming-like siblings into the orifice of doom.

There used to be a time where the concept of an in-person social network involved a pub, a movie, a dance, a concert, or some other event where like-minded people would gather for the sake of a shared experience. You see, today there's really not that much need to go to a film when we've got screen that fill walls and surround sound that rumbles the seats. Yet we still go out in record numbers to big films, not because we're afraid we're going to miss them, but because of the shared experience. We need the cluster. Even by two we tend to roll off each other.

I used to find the activity of flipping through record or CD bins a couple of times a week very therapeutic. I would flip absent-mindedly, knowing there was little to no chance I would find anything to buy, but there used to be a culture to a record store that was unparalleled for someone in their teens and twenties. There was a certain level of comfort in being able to rhyme off the names of 1000 bands and song titles that most other people hadn't heard of. Sure, maybe we were music snobs, but snobs cherish a certain aloof status that can often breach the realm of xenophobic. We were not such animals. We could not live without the culture. I knew at least a dozen people by look alone that would rifle through over 60 covers a minute and just wait for the opportunity to share an ounce of precious knowledge with the assembled masses. 

Woe be the neophyte that walked in and asked a clerk to identify a song by a broken, dyslexic boopboopbeep melody line that could have been a hundred songs. We craved the ineptitude of the clerk. We wanted to possess that grail of knowledge that could pluck the arcane track from the depths of oceans of discographies. We loved Pete Frame. We floated, avoiding spoons, in this bowl for years. We were comfortable. We were not alone.

And then, just as now, there were "shows". Comic book shows, record shows, trade shows, and collectors would gather from far and wide to barter on limited run indie comics or bootleg concert vinyl or video tape. Again, most of the stuff we saw there wasn't anything that we couldn't have had our local dealer order in, but the mass experience of dozens, if not hundreds, of people sharing a common interest, gathering to pursue acquisition dreams was just too good to pass up. Our clusters got larger. Soon we would fill the top of the bowl and leave nowhere to run should the utensils try to pick us off again. Because while we contained our quiet elitism in our home group, while the cluster ocean was exciting, our elitism was lost - we had become "normal" to this environment. This was not acceptable. We needed a sense of elitism yet again while not being robbed of the ocean's lure.

The face of the gatherings, or the "shows" has changed. Shows still exist at the local level, but the growing ability to communicate their existence has promoted the knowledge of the conventions to a wider audience.  Conventions which only used to draw dealers, now reached for a select group of consumers. We had found our Panacea. We could live out the fantasies of the sprawling ocean of knowledge where we could abandon our elitism and forsake the gravitas we held back in our home clusters. We were no longer afraid to look occasionally uninformed because WE HAD TRAVELED TO THE CONVENTION!

By, like so many snowbirds going south on the I-75, traveling to the ocean, there would always be a locale to return to where we could be the expert. Some people considered us crazy: 

"You're paying how much money to go and see a bunch of comic books?" 

"You're going to Las Vegas for four days and you're going to look at TVs and DVD players?" 

"You're taking time off work so that you can watch a guy in a black turtleneck get on stage and do a commercial for an hour about a computer named after a fruit!?!"

But for everyone of the unwashed masses that would bat an eye back home, we were the envies of those in the clusters and the stores and the shows. We finally found a place where we could indulge our obsessive knowledge and wander with admitted awe and reverence. We could share our joy with sometimes thousands of people who shared our predilection of medium or genre. We could share, relax, ingest, experience and enjoy. For when we returned home we would certainly be deities amongst our cluster. We were sure all the other Cheerios would rise on edge out of the bowl and cry, "He has returned! He has returned! Please share your invaluable knowledge with us!"

We were sure of all this until we remembered every one of our friends had watched a streaming video of the entire convention and subsequently read every blog, blogged themselves, tweeted and retweeted a thousand tidbits of information. You discovered that you wouldn't be revered, that your knowledge was maybe even less about the events you attended live than your friends. And your oncoming disappointment turned to surprise when your friends still gathered 'round, still in sufficient awe, still with excitement to ask, "What was it like?" Because no matter how much knowledge you have about something, no matter how many links you click, or followers you have, or blog postings you read or write, there's nothing that will replace a visceral experience of being among a thousand, ten thousand, or a hundred thousand people with whom you share something.

It's why, forsaking the store and local cluster, we flock to the web, because short of being at a convention, or a concert, or a movie every day, we can at least participate in the illusion of the full bowl of Cheerios all standing as one in defiance of the spoon - and when the visceral is unavailable or unattainable, maybe the illusion is the next best thing.

DyscultureD Episode Fifteen: "The Quint" is up!

DyscultureD

Click HERE to listen or subscribe to DyscultureD on iTunes!

Full Dysclosure
MacWorld Expo: The Show Before The Show
Phishing for the Fail Whale on Twitter
Facebook Says No Boobs Allowed - Unless You Are One Of Their Policy-Makers
Why Facebook is losing its status as “Treehouse 2.0″ - Parents Welcome!
Spotify: The Torrent Alternative

Tech Segment
The 6 Things That Kinda Shoulda Probably Won’t Happen in 2009

Wheel of Pop
Movies 1990

Websites Of The Week
Mike: www.makezine.com
Anth: www.ponoko.com

Musical Selection
Fembots

thinglets: The Sadder Songs of the Holidays

Christmas in the Trenches - John McCutcheon

River - Joni Mitchell

Brick - Ben Folds

Hallelujah - Leonard Cohen (Jeff Buckey's Version)

A Christmas Song - Jethro Tull

Someday At Christmas - Stevie Wonder

Christmas Sucks - Porn Orchard (impersonating Peter Murphy and Tom Waits)