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• Jun 02, 2009  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.
• Artist information Sort name: Pickett, Wilson Type: Person Gender: Male Born: 1941-03-18 Born in: Prattville, Alabama, United States Died: 2006-01-19 (aged 64) Died in.
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Dave Grohl’s 2013 documentary Sound City – a requiem for a Los Angeles recording studio that hosted records for the Red Hot Chili Peppers, Neil Young, Nirvana and Fleetwood Mac – was a reminder that the analog infrastructure of the music industry’s heyday was falling to rising real estate values and the ubiquity of laptop production.

Once busy sonic hubs like New York's The Hit Factory, MSR Studios, and the Magic Shop, along with London’s Maison Rouge and the Manor Studio, and Atlanta’s Doppler Studios have all disappeared, as record labels and artists turned to the economic efficiencies of home studios.

Block rhino with little snitch. But a funny thing is happening on the way back from the funerals. A few of the most iconic of American music’s incubators have been brought back from the brink and given new leases on life.

In Memphis, Nashville, and Muscle Shoals, Alabama, the reappearance and renewed vitality of these seminal sound sanctuaries goes beyond the museumification of music epitomized by the Rock & Roll Hall of Fame or Graceland.

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Their return could also be seen as a rebuke to the laptop mentality, to Auto-Tune, to infinite tracks of Pro Tools. They remind us that it was always about a bunch of people crammed into a small room making music, a long-buried nerve these studios seem to be touching.

Sun Studio

Sam Phillips opened Sun Studio at 706 Union Avenue in Memphis on January 3, 1950. Jackie Brenston and his Delta Cats recorded Ike Turner’s “Rocket 88” there, the song many regard as the first true rock & roll record, in 1951. But Sun Studios’ main fame came from Phillips’s productions of Elvis Presley, Johnny Cash, Carl Perkins and Roy Orbison for the Sun Records label.

Sun Studio

In 1959, Phillips moved on to construct a larger studio, and it wasn’t until 1987 that the original Union Ave location was brought back to life. The new owners established an interesting balance early on, one that Sun’s reawakening siblings are looking to as their own business model.

Aficionados tour the studio from 10 to 6 during the day, buying a hat or a T-shirt on their exit through the gift shop. Musicians can then book the studio starting at 6 after the tours end. Those nocturnal visitors have been everyone from aspirants who wanted to make one of those “yellow Sun records” John Sebastian immortalized in the song “Nashville Cats” (the record label moved to Nashville in 1969) to major recording acts like U2, Brian Setzer, Ringo Starr, and Def Leppard.

You can’t re-cut a part if you didn’t like it. Making a record then was all or nothing. That’s missing today, and people want that.'

Matt Ross-Spang, a tour guide and intern who became the studio’s chief engineer during his 2004-2015 stint at Sun says the studio’s legacy has a lot to do with its allure to a younger generation. But that legacy is steeped in how it ran in its prime.

“Everyone was in the same room at the same time, playing and singing – it pulls things out of you that you didn’t know you had,” he explains. “You can’t re-cut a part if you didn’t like it. There were no iso booths, so part of the lead vocal is on the drum tracks. Making a record then was all or nothing. That’s missing today, and people want that.”

Muscle Shoals

The cover of Cher’s 1969 LP 3614 Jackson Highway – named for the address of what is otherwise a nondescript cinder block hut off of a two-lane state road in Sheffield, AL – is akin to looking at the cover of Sgt. Pepper’s Lonely Hearts Club Band. The figures on Cher’s cover are equally as historical as those on the Beatles’ cover.

Bassist David Hood, drummer Roger Hawkins, guitarist Jimmy Johnson and keyboardist Barry Beckett are featured. They were the foursome that comprised the Swampers – Muscle Shoals's session crew that left legendary FAME Studios in the nearby town of Muscle Shoals to found their own studio after a rift over money in 1969.

Also in the picture are producers Jerry Wexler and Arif Mardin and producer/engineer Tom Dowd, the brain trust behind modern R&B who funneled tons of work to the studio from their Atlantic Records label in New York.

Muscle Shoals Sound Studio became a music machine, churning out hit records thanks to Atlantic Records and the Muscle Shoals mystique. Its offbeat location and the alluring impenetrability of the Deep South in those days attracted countless artists, like Aretha Franklin, Wilson Pickett, the Staples Singers, and a slew of other soul and R&B pioneers.

Cher was just one of dozens of major rock and pop artists, including the Rolling Stones, Elton John, Paul Simon, Bob Dylan, and Julian Lennon who all sought out the studio’s juju.

But neither time nor the culture was on Muscle Shoals’s side, and its demise was a common one in 20th century America. As the music business became more industrial, MSSS remained a kind of family farm whose founders mostly stayed with it instead of deserting for New York or Los Angeles. The results were unfortunately predictable.

Muscle Shoals

Fast forwarding to 2013, a critically acclaimed documentary film was released that year on the area’s musical legacy that resparked interest. And the studio building – which had gone through several iterations, including time as a second-hand appliance store – was acquired by the Muscle Shoals Music Foundation.

Starting in 2014, producer Jimmy Iovine and hip hop superstar/entrepreneur Dr. Dre – who had already joined forces to build the Beats headphones brand – directed funding from Apple’s philanthropic ventures to the renovation of the studio starting. They brought in studio builder Michael Cronin, who researched and sourced many of the studio’s original elements. This included an obscure Daniel Flickinger mix console and the monitor speakers whose own journey had brought them to producer Dave Cobb, who then donated them to the newly refurbished studio.

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Everything was just as they left it. The control room and the drum booth were still where they always were. As though it was all just waiting for this moment.”

Today, under the Foundation’s regime, the studio still does sessions but is also a thriving roadside attraction during tourist season. MSSS has drawn 32,000 visitors from 40 countries who, like Cher, wanted to see where all that wonderful noise came from.

Wilson Pickett Wiki

Judy Hood, David’s wife and the studio’s director, remembers walking back into the building years after it closed in 1978. “It was spooky,” she recalls. “Everything was just as they left it. The control room and the drum booth were still where they always were. Even that ugly orange shag carpet. As though it was all just waiting for this moment.”

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RCA Studio A

RCA Studio A has perhaps gotten more attention than either the Sun or Muscle Shoals studios, though not necessarily of the desired kind.

Caught up in Nashville’s swirling real estate boom, Studio A – part of RCA Records’ Nashville headquarters built in 1965 by label heads Chet Atkins and Owen Bradley – was slated for demolition in 2013 to make way for more condos along what was left of Music Row.

A groundswell built among several factions, including musicians and those seeking to limit gentrification. Their outcries culminated in intense demonstrations outside the studio in which artists from Brenda Lee to Gretchen Wilson made country classics. However, it was two carefully worded letters that seemed to make each side’s case most succinctly.

Ben Folds at RCA Studio A

Alt icon Ben Folds had been leasing the studio since 2002, using it for productions with Regina Spektor, Nick Hornby, and others. He took a semi-spiritual tone asking folks to “…take a moment to stand in silence between the grand walls of RCA Studio A and feel the history and the echoes of the Nashville that changed the world.”

Meanwhile, Owen Bradley’s brother Harold (who was himself regarded as the most recorded session guitarist ever) sent his own letter to the Nashville city council, suggesting that this studio – or any studio – is just a fungible shell.

“The architecture of the Nashville sound was never of brick and mortar,” Bradley wrote. “Certainly, there are old studio spaces that, in our imaginations, ring with sonic magic. But in truth, it's not the room, it’s the music… That's still here, and it has nothing to do with this building.”

The architecture of the Nashville sound was never of brick and mortar. Certainly, there are old studio spaces that, in our imaginations, ring with sonic magic. But in truth, it's not the room, it’s the music…'

A consortium of affluent but genuinely passionate backers ultimately saved Studio A, and Dave Cobb has succeeded Folds as the producer in residence there. The studio’s parquet flooring and signature RCA acoustical walls rising to the 30-foot ceilings are still intact, and a 1976 API 3232 console mimics what the control started out with 52 years ago.

Harold Bradley might be right about where the actual magic made in studios comes from. But at a time when music recording is edging deeper into virtuality, the renaissance of these rooms serves to remind that the music that has proven most durable perhaps really does need some kind of real house to rock.

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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.

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. 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.”

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.

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