Taylor Swift Quotes

I don't see anything wrong in using auto-tune.

I listen to a lot of the people that use Auto-tune.

Anytime people read my tweets, they hear it in Auto-Tune.

What is auto-tune? I don't even know what auto-tune is.

I use Auto-Tune but it's not to mask anything. If you come to see me live, I can sing on the spot. Auto-tune is just for the recording. It keeps everything really precise.

I think everyone uses Auto-Tune.

The best way to use the auto-tune is not to! And that's what I do: I do not use auto-tune!

Cranking the Auto-Tune is so easy to do that there's almost no systemic resistance to trying it. So when someone's stuck for an idea, that's what they do. I mean, to the extent that it's been embraced by an entire idiom of club music and culture.

Everybody I've ever seen live sings out of tune, even the greatest singers in the world. And of course if you make a single nowadays, they'll autotune it anyway.

There's a lot of stuff you've gotta know about Auto-Tune before you can start using it, because it's the hot thing to do.

I think Eminem should use Auto-Tune.

It's great if you can afford to carry a string section on the road with you, but most people are used to the idea of just a keyboard player creating those string sounds.

Time has changed and artists release more songs in a short span of time and that's where the auto-tune steps-in. One doesn't have to record a song multiple times to make it better.

Because my early music was heavily produced, people assume my voice was also heavily produced.

People got a little too self-conscious about the techniques that go into recording because sometimes, if you sing too well in tune, people accuse you of auto-tuning. It's like you have to use auto-detuning or something.

I think from age 13, 14, 15, I thought, yes, this rich studio produced music is the future, but it can't be the future to go run away into the recording studio. How can we take that kind of complexity and richness and make it possible for people to touch it and play it live. That's what hyperinstruments are.

Everything we did, we did live - and then Bobby took it home and chopped it up and edited it. Which is pretty much what they did with every jazz record you've ever heard.

Because you have things like 'American Idol' and you've got radio stations that play music made entirely by computers, it's easy to forget there are bands with actual people playing actual instruments that rock.

And the general opinion is we are much better on stage than in the studio.

The voices on the record, that was trying to treat my voice like guitar players treat guitar tones.

In the studio you can auto tune vocals, and with drums, you can put them on a grid and make them perfect. I hate that sound. When someone hands me a record and the drums are perfectly gridded and the vocals are perfectly auto tuned, I throw it out the window. I have no interest in rock music being like that.

We gave up on the idea of trying to make the record a good representation of the live performance.

I do most of my vocals - aside from a couple of little one-shot vocal samples. I record everything into the Saffire with an SM58 then scratch it with loads of plug-ins. I don't do much vocoding to be honest. All my vocals are usually done with Melodyne and a ton of other plug-ins to make it sound weird.

There's a clip where he had someone miming me running around from keyboard to keyboard. Oh dear, I am sure a lot of people didn't know what he was going on about.

I thought it was magic to be able to catch something identically on tape and then be able to play around with it, run it backwards; I thought that was great for years.