Cher singt auf einem Konzert 1999. Cher's 'Believe' (December 1998) was the first commercial recording to feature the audible side-effects of Antares Auto‑Tune software used as a deliberate creative effect.
It pioneered the use of Auto-Tune as a recognizable vocal effect; at the time it was known as the “Cher effect”. Cher liked the way that producer Mark Taylor used the effect and insisted that Warner Bros. leave the auto-tune as Taylor intended. Cher's 1998 worldwide smash hit "Believe" was the calling card for auto-tune as a tool for vocal manipulation as an intended effect. There's a long history of artists using vocal modifications, but this song brings the Auto-Tune front and center. Cher’s “Believe” is about getting over heartbreak.
Cher's producers used the device to "exaggerate the artificiality of abrupt pitch correction", contrary to its original purpose.
I found the record catchy when I heard it upon release. Cher's 1998 hit "Believe" turns 20 this year. It was written by Brian Higgins, Stuart McLennen, Paul Barry, Steven Torch, Matthew Gray, Timothy Powell, and Cher, and was produced by Mark Taylor and Brian Rawling. It was released as the lead single from the album on October 19, 1998. The (now) highly recognisable tonal mangling occurs when the pitch correction speed is set too fast for the audio that it is processing and it became one of the most over-used production effects of the following years. "Believe" is a song recorded by American singer Cher for her 22nd album, Believe (1998), released by Warner Bros. Records. (imago stock&people) Schrill und künstlich: Als Cher 1998 "Believe" veröffentlichte, klang ihre Stimme wie von einem anderen Stern - dank der Software Autotune. An der Produktion von Believe waren vier Produzenten beteiligt, wobei Mark Taylor und Brian Rawling an der Produktion von insgesamt sechs Titeln beteiligt waren.