Half the comment sections on the internet preach that its existence is a scourge on today’s music. There are Facebook groups protesting the tool. T-shirts that read “Auto-Tune blinds us from the truth”, and articles investigating its negative impact on the music industry. Auto-Tune has become a dirty word. I really don’t understand the hate. Vocal editing and pitch editing have been around for decades.

The common belief is that Auto-Tune is some sort of power-up. That it’s an add-on, transitioning an otherwise redundant construct of bones with a lack of vocal chords into a planet-dominating superstar. The tool’s main purpose, after-all, is for pitch-correcting imperfect vocal tracks.

With pitch editing software, I can tweak the pitch of an incredible vocal full of emotion and tone and soul. I can’t inject emotion and tone and soul into a lifeless, lacklustre vocal that happens to be in tune.

It has always struck me as strange that people still believe that the success of a song or singer is down to a vocal tuning software program. It doesn’t take a genius to understand that Adele didn’t write Hello and Someone Like You because she put her voice through Auto-Tune – the talent for that comes from her brain.

You are misinformed if you believe Auto-Tune is a replacement for talent.