auto tune

Grammy Winner David Bottrill on Balancing Auto-Tune and Authenticity

Auto-Tune revolutionized vocal production when it burst onto the scene in 1997, enabling independent pitch correction and ushering in an era of vocal perfectionism. But is flawless Auto-Tune appropriate for every genre and artist? Grammy-winning producer David Bottrill weighs in.


With over 20 million albums sold collaborating with icons like Peter Gabriel, Muse, and Smashing Pumpkins, Bottrill has cultivated expansive studio knowledge across rock, alternative, and hard rock. In a recent interview, he shared philosophies on editing and tuning vocals. His approach centers on preserving each singer’s unique tonality and character.


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Bottrill advises against over-sanitizing vocals with Auto-Tune: “Unless it’s an uncomfortable flatness or sharpness, I tend to leave things because that’s the humanity of how the singer sings.” This varies by genre, as heavy Auto-Tune is integral to some artists’ styles like Travis Scott or Daft Punk. But for rock, the human touches matter most.


Citing The Crown Lands’ album White Buffalo, Bottrill kept the singer’s inhales, grunts, and throat clearances intact: “You feel them, and that brings humanity to the vocal performance.” Though subtle, these organic moments make the difference in connecting with listeners.


In the end, Bottrill sees vocal production as an art of balance. While modern pitch tools open new creative doors, retaining a singer’s distinctive essence and “moving moments” remains paramount. As genres and technologies progress, the craft evolves, but vocal humanity endures.


So when wielding vocal-perfecting tools like Auto-Tune, take care to weigh precision against emotion. Sometimes imperfection rings most authentic. The little things reveal the big picture. Have a look at the interview by clicking here.


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Image credits: Antares



- DJ/Producer from the Netherlands. - Graduated from the Conservatory in Amsterdam. - Currently working as the technical writer at We Rave You