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Mar 17, 2018  T Pain Effect Plugin Crack. Auto-Tune Pro, Auto-Tune Artist, Auto-Tune EFX+, Auto-Tune Access, Harmony Engine, Mic Mod and more. Home of the Auto-Tune plug-in, the music industry standard for pitch correction and vocal effects. Shop and learn about the best plug-ins for pitch correction, vocal. Dec 06, 2011  T-Pain was one of the first of those artists to feel the success and also the inevitable backlash of auto-tune. Critics said the technology was disingenuous and destroyed any.
Technology has permanently changed the way we listen to music. One of the artists credited (or blamed) for that shift is T-Pain, the perpetually auto-tuned R&B and rap hit-maker.
Some years ago, auto-tune was inescapable. Every rapper seemed to have an auto-tuned hook or run. The tacky technology was originally used by producers to help correct notes that an artist couldn't hit or hold. The hope was that listeners wouldn't be able to tell the difference.
In the mid-2000s, auto-tune broke onto the hip hop and R&B scene with producers and rappers exaggerating the effect to extremes. T-Pain was one of the first of those artists to feel the success and also the inevitable backlash of auto-tune. Critics said the technology was disingenuous and destroyed any need for vocal talent. Auto-tune wasn't just decried by music purists and angry bloggers — celebrated artists such as Jay-Z came out against it, and even released a song on his 2009 album The Blueprint 3, titled 'D.O.A. (Death of Auto-tune).'
Well T-Pain survived the barbs and is currently riding another wave of auto-tune success with the release of an iPhone app, novelty microphone and a brand new album, rEVOLVEr, released in 2011. The app, I AM T-Pain, lets users auto-tune their voice by singing into an iPhone, whereas the microphone, called the 'I AM T-Pain Mic,' is a stand-alone toy dedicated to auto-tuning.
Mashable had a chance to speak with T-Pain about auto-tune, his app and microphone and the future of music in the age of technology.
The Road to the App Store
T-Pain has always had a mind on technology and saw a perfect opportunity to get into the app game when other celebrities, such as Britney Spears, Pink and Lil' Wayne, started releasing their own apps.
'I said, 'Well, I guess I'm so famous for the auto-tune, I guess I should make an app.' And it's just been flying off the shelves,' T-Pain, born Faheem Najm, says. The app was a smart move. It has been downloaded more than 2 million times since its launch in 2009, according to T-Pain's team. That was just the start: 'You know I had pretty good projections with the mic and a lot of adults buy it, like, pretending they're buying it for their kids .. Adults would call me saying they're tired of their kids slobbering all over their phones,' T-Pain says of his decision to create a mic version of his auto-tune app.
T-Pain insists that the mic is all about making music fun. 'I don't do the whole, 'Put my name on it, make me famous' thing,' Pain told us, although there is a video on T-Pain's site in which he says of the mic: 'I mean, we're just, we're milking this thing baby. We're milking it.' Regardless of the intent, T-Pain's mic is selling well.
It's hard to stay mad at T-Pain, who swears by a type of music he calls 'Hard & B.' It's more about process than genre. 'Basically it’s the hard way of doing music,' T-Pain says. 'I write my music. I produce my music. I sing it. I damn near record all of it myself and you gotta go out and perform it. It’s a hard way of making music. On the other hand, [some artists] get someone to write and produce it and you just sing it in the middle like a puppet.'
In that sense, auto-tune is less a way for T-Pain to hide his voice but to create music in a different way. 'My dad always told me that anyone's voice is just another instrument added to the music. There was a time when people had seven-minute songs and five minutes of them were just straight instrumental,' T-Pain says. 'I got a lot of influence from [the '60s era] and I thought I might as well just turn my voice into a saxophone.' He credits the core of his music and lyric style to R. Kelly and Cee Lo Green, two R&B artists known for their expressive — and unfiltered — voices.
After years of success, however, T-Pain still enjoys talking about the tech he applies to his voice as a way of educating people on how it works. T-Pain says he studied the technology behind auto-tune to better understand his craft.
Auto-tune, it turns out, is actually sort of hard to pull off: 'You know, because it was made to correct bad notes and stuff, of course people say you just slap it on your voice and anyone who's tone-deaf can make a half-decent song.' It also turns out that T-Pain is a decent singer even without the tech. 'The crazy thing is .. there's always a song [on my albums] with no auto-tune and those are always the songs that go overlooked,' T-Pain says.
Social media has helped alleviate some of that frustration thanks to massive support from T-Pain's followers. Although he has more than 700,000 followers on Twitter, he tries to stay humble: 'I don't know man, because you look at someone like Soulja Boy and all these other people and they have millions of followers and I'm proud to even have two follows; my mom and my dad .. The way that people show me love on Twitter? I don't know man. It's amazing.'
T-Pain has a busy year ahead. After our phone call, T-Pain had a day of interviews with press before heading to Jimmy Kimmel Live! to perform 'Drowning Again' on piano and without auto-tune. Through the madness, his iPhone app and auto-tuning microphone continue to sell to legions of would-be crooners and lotharios practicing their Hard & B.
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To be a man in his twenties, it’s mildly amusing to think of T-Pain as reinventing his career-it just started in 2005. The Tallahassee, Florida artist instantly became a star because, quite simply, he knew how to make hits. Pain’s experimentation with the Auto Tune pitch corrector just seemed to work with every lyric he came up with. He had the formula for club bangers down to a science with tracks like, “I’m Sprung” and “I’m N Luv (With a Stripper).”After a while though, the masses grew somewhat impatient with Pain’s use (or for some-his overuse) of the vocal tool. T-Pain’s signature Auto Tune-tinged hits had somehow become a sort of parody of itself, inadvertently inspiring a substantial number of knockoffs in those first years. The influx of robotized hooks on the radio finally pushed one very respected emcee to create the song that would publicly denounce Auto Tune, pushing it from its gold plated pedestal in hopes of fatality.
Everyone can certainly agree that T-Pain’s music has a distinctive finger-popping quality that even the most stubborn Hip Hop head can’t resist. More than that though, he provides the genre with yet another dimension, whether or not it’s loved by all. After three years of reflection and brainstorming, Pain is back with his fourth album,rEVOLVEr. The LP is the product of his new found determination to benefit from his own ideas: making good music and creating his own lane in the music software market- AutoTune be damned.
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DX had the opportunity to talk with T-Pain about the difficulties behind shaping his fourth album, battling Kevin Hart, and how he plans to kill AutoTune.
HipHopDX:rEVOLVEr is your first album in three years. The longest you’ve gone without dropping an LP was the couple of years between your debut Rappa Ternt Sanga and the second Epiphany. Did you have some difficulty nailing down what you wanted for your fourth album?
T-Pain: Yeah. I actually did have some difficulty with it, but you know, it was more of me wanting to get out what I wanted to get out [and] make the songs how I wanted them to sound – how I heard them in my head. Because every other time I did it on any other album, it was like, “Ah, well this sounds close enough. So let’s put it out…” Then boom, every time I heard it, it bothered me so this time I actually sat down and got it out the way I heard it in my head.
DX: So you developed into a perfectionist on this one?
T-Pain: Yeah. Pretty much. That ‘s pretty much what was going on.
DX: What’s the significance behind the stylization of rEVOLVEr‘s lettering?
T-Pain: Basically, it’s just don’t judge a book by its cover. Usually, when people hear the name of the album’s rEVOLVEr, they’ll think of guns and violence and stuff like that, then when you see the title, you see it’s all about evolution and evolving and getting better. It’s not just the title of the album.
DX: What was it about that Lily Allen sample that made you want to implement it on “5 O’ Clock”?
T-Pain: Man, that was just a sweet song. I had only heard it one time before I sampled it. And that was over the phone. I think it was just the chords on it, the way she sounds, I thought it was pretty damn dope.
DX: Did you hear that she said she wanted to be a part of the video?
T-Pain: Yeah, yeah… She definitely wanted to be but she could not ‘cause she’s preggers.
DX: What are you thinking of for the next single?
T-Pain: Right now, we’re just going with the flow. We’re not even thinking of the next single right now. It’s kinda an album full of singles. I mean, I recorded 86 songs for this album. We just picked 17 of the best ones. It’s a gang of singles on this album, so we’re just waiting on it to come out and we’ll see whatever ones ones people like and boom, that’ll be what it is.
DX: You dropped five singles over the past year or so, but the only one to make the album is the Chris Brown-assisted “Best Love Song,” why choose that particular one to include?
T-Pain: That was the only one I was recording for the album. [Laughs] With the other ones it was just like, “I need to put a song out real quick…” and just record that song and we put it out. “Best Love Song” did so well on the charts and did so well on iTunes, I think people would be pissed off if it wasn’t on the album.
DX: You’ve publicly announced that you’re done with Auto-Tune, and have moved on to “The T-Pain Effect.” What are the differences between the two? Also, it’s available for consumers, right?
T-Pain: Well, with The T-Pain Effect you get more. You get my whole thing, everything that I use in the studio. You get my reverb and of course you get the pitch correction, the EQ, you get the delay… Everything all in one package. And you can record right onto the Effect and you can make beats on the Effect and it’s just like this whole studio for $100. Just trying to give something back to the people instead of them getting a pitch corrector for $500.
DX: Did you guys end up having any legal problems with Auto Tune at all?
T-Pain: Nah, not at all. We tried to do a deal with them. They were greedy. We said ‘no,’ so hey…
DX: The freestyle between you and Kevin Hart a/k/a Chocolate Drop was a hilarious way to promote your album. You’re not necessarily known for going “off top,” neither is Kevin. Was it a way to sort of thumb your nose at “serious” rappers? Who came up with the idea?
T-Pain: [Laughs] It was just something that I thought of, man. Something that we could have some fun with. Me and Kevin [Hart] always want to shoot something, but we never have the time to, but he had some time that day and I was like, “Man… We gotta shoot something.” And so we just kinda came up with that, so you know, we shot it in like, an hour, but it came out pretty dope. It was something we were just having fun with. I had a hard time not laughing. It was dope though, came out great.
DX: What’s next for your Nappy Boy label?
T-Pain: We doing a Nappy Boy Takeover Tour right now taking all of our artists out and creating a little bit of buzz. We got Joey Galaxy who just jumped and we’re trying to get him fully all the way out there. We got Shawnna, doing her thing. We got Travis from Gym Class Heroes, he’s definitely doing his thing. One Chance ‘bout to go on tour with me.
DX: What the one thing in your career that you’d say you’re most proud of?
T-Pain: [Chuckles] I think the thing I’m most proud of right now is that I have a career. ‘Cause there are a lot of people that are gone real fast.