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Music is not a sport. There is no cheating. Everything is fair.Before Auto-Tune, in-tune singing was an ability that had to be earned through extensive practice. However, singing through Auto-Tune is comparatively effortless. This fact makes many musicians uncomfortable, or even outraged. In the world of digital manipulations like Auto-Tune, anyone can sound like a “virtuoso,” so what place is left for “genuine” (earned) virtuosity? The question is a moral one as much as anything, particularly in the United States, with its strong Protestant work ethic. The words “virtue” and “virtuosity” share a common root, the Latin virtus, connoting moral excellence and manly courage (McDonnell 2006). Can one still have virtue in a world without virtuosity?The singer Neko Case argues the widely held opinion that Auto-Tune is intrinsically not virtuous:I’m not a perfect note hitter either but I’m not going to cover it up with auto tune [sic]. Everybody uses it, too. I once asked a studio guy in Toronto, “How many people don’t use auto tune?” and he said, “You and Nelly Furtado are the only two people who’ve never used it in here.” Even though I’m not into Nelly Furtado, it kind of made me respect her. It’s cool that she has some integrity (quoted in Dombal, 2006).Case decries the assistive use of Auto-Tune, its intended purpose as a covert corrective for poor singing. But not all Auto-Tune usage is secretive. The Cher Effect is an overt, “explicit” use (Strachan, 2017), quite different in its effect from “natural-sounding” pitch correction. Rappers have embraced the Cher Effect, in keeping with their broader spirit of defiance, which “takes pleasure in aggressive insubordination” (Rose 1994, 80). The comedians Chris Rock and Tracy Morgan satirize this defiant stance in their (2010) performance of Simon and Garfunkel’s “Scarborough Fair,” accompanied by Paul Simon himself. After Simon criticizes Rock and Morgan’s inept harmony singing, Rock responds, “Let’s do some Auto-Tune.” They then sing the song with full Cher Effect, and Rock says, “Oh yeah, we nailed that sh—,” to Simon’s mock chagrin.In its explicit usage, Auto-Tune’s effect goes far beyond quantizing pitches, radically changing both the timbre of the voice and its musical content. Phase vocoding tends to smooth out the individual characteristics of the voice, much like airbrushing does in photography (Strachan 2017). Some producers embrace this homogenizing effect and push it to extremes. On “Lost In The World” (2010), Kanye West layers the singing of Justin Vernon, Charlie Wilson, Kay Fox, Tony Williams, Alicia Keys, Elly Jackson and himself into an Auto-Tuned mass of sound, making all of these very different singers sound indistinguishable. While critics lament the way that contemporary pop singers “all sound the same” (e.g. Reiss 2016), musicians like West turn that supposed flaw into an intentional aesthetic statement.Because the Cher Effect breaks pitch slides and melisma into audibly discrete “stairsteps,” Auto-Tune can therefore add new rhythmic elements to vocal performances. A quick fillip to a neighboring scale tone that might normally pass unnoticed by singer and listener alike will take on new musical significance when exaggerated by Auto-Tune. If a vocalist sings a pitch that falls between the “permitted” notes, the Auto-Tune algorithm becomes uncertain as to what the intended note is, and its output fluctuates wildly between the two closest choices. This exaggerated warbling, which Frere-Jones (2008) calls “the gerbil,” no longer reads as a smoothing out of the voice, but rather as a new kind of aggressive roughness. “Often the use of Auto-Tune in R&B and hip-hop is less about digital perfection in pitch than a highlighting of, and engagement with, identifiably ‘black’ vocal traits. The extreme use of Auto-Tune is often employed to work against conventions in vocal delivery. In the digitized melisma, Auto-Tune works to clash against vocal flourishes in order to create a kind of digital growl” (Strachan 2017, 157). Skilled pop vocalists now sing “in between” notes intentionally to maximize Auto-Tune’s warbling effect.African-American vernacular music is not the only form that uses extensive pitch sliding. Melisma is the cornerstone of North African raï and Berber singing as well. These communities have embraced Auto-Tune as enthusiastically as American rappers and R&B singers. In her song “Lkit li Nebghih” (2013), the Algerian/Moroccan singer Cheba Djenet uses her ability to flutter quickly around the notes to produce extreme Auto-Tune warbling (Clayton 2009). A technology that was intended to reduce the need for vocal skill has unexpectedly created a new form of virtuosity. This example should make us skeptical of the idea that technology’s effects are always deterministic (Katz 2010).The applications of Auto-Tune and its various imitators go beyond pitch correction. Since it is possible to shift pitches by any amount, software can also create artificial harmony in real time. Musicians can specify the desired notes using MIDI input, or the computer can simply generate it automatically according to any desired key, mode, and intervallic structure. On her song “Hide and Seek” (2005), Imogen Heap used a Digitech Vocalist effects unit controlled by a MIDI keyboard to perform real-time harmonization of her voice (Powers 2006). In Chance the Rapper’s song “All We Got” (2016), Kanye West sings as a kind of artificial one-man choir, and is answered by the more organic harmonies of the Chicago Children’s Choir, making for a startling juxtaposition.Technology is never purely technical. It comes enveloped in cultural epistemologies, local and culturally specific ideas about the proper way to communicate scientific and technical ideas. As Théberge (1997) argues, “the digitization of music is essentially a story of values, not inventions” (215). Auto-Tune appears to threaten the “artisanal knowledge” (Jackson 2004) of singers by applying an impersonal technology with roots in industry. Pitch correction software is a cornerstone of the digital perfectionism pervading mainstream pop production (Strachan 2017). Does this mean that technology has removed an essential piece of the human artistry of singing? Or has it simply shifted the locus of artistry to vocoder sequencing or melismatic warbling?The recorded voice has always been mediated through technology. Early recordings were low-fidelity and noise-laden. As fidelity has improved, it has become conventional to enhance recorded sound using compression and equalization. These effects are so prevalent in music that unprocessed voice recordings sound stranger and less natural than processed ones to most listeners (Sterne & Rodgers 2011). Younger listeners find nothing remarkable about extreme dynamic range limiting or lossy audio compression codecs, and they have never experienced a world without Auto-Tune.The Cher Effect has taken on particular emotional and cultural connotations in pop: it suggests youth, euphoria, and optimism (Strachan 2017). We can draw an analogy between “incorrect” Auto-Tune use and the sound of distorted, overdriven tape recorders and amplifiers. Just as distortion infused analog technology with youthful expression in the rock era, so too does extreme phase vocoding act as a “contemporary strategy for intimacy with the digital… a duet between the electronics and the personal” (Clayton 2009). By eliminating our flaws, Auto-Tune obscures some of our humanity. But by making it impossible for us to sing anything “wrong,” the software also invites playfulness and confidence. Auto-Tune can oppress us or liberate us creatively. How we use it is up to us.Excerpted from a longer piece of writing in progress about the vocoder and Auto-TuneReferencesClayton, J. (2009, May). Pitch perfect. Frieze Magazine.Clayton, J. (2016). Uproot: Travels in 21st-century music and digital culture. New York: FSG Originals.Dombal, R. (2006). Neko Case. Retrieved October 9, 2017.Frere-Jones, S. (2008, June). The gerbil’s revenge. The New Yorker, 128–129.Jackson, M. W. (2006). Harmonious triads : Physicists, musicians, and instrument makers in nineteenth-century Germany. Cambridge, MA: MIT Press.Katz, M. (2010). Capturing sound: How technology has changed music. Berkeley: University of California Press.Marshall, W. O. (2017). Tuning in situ: Articulations of voice, affect, and artifact in the recording studio. Cornell University.McDonnell, M. A. (2006). Roman manliness : virtus and the Roman Republic. Cambridge University Press.McNamee, D. (2010). Hey, what’s that sound: Auto-Tune. Retrieved October 27, 2017.Powers, G. (2006). Imogen Heap. Electronic Musician. Retrieved October 26, 2017.Reiss, J. (2016). How a mining engineer’s invention made pop singers all sound the same. The Conversation. Retrieved October 30, 2017.Rock, C., Morgan, T., & Simon, P. (2010). Night of too many stars. United States: Comedy Central.Rose, T. (1994). Black noise: Rap music and black culture in contemporary America (1st ed.). Hanover, N.H.: Wesleyan.Sterne, J., & Rodgers, T. (2011). The poetics of signal processing. Differences, 22(2–3), 31–53.Strachan, R. (2017). Sonic technologies: Popular music, digital culture and the creative process. London: Bloomsbury Publishing.Théberge, P. (1997). Any sound you can imagine : Making music/consuming technology. Middletown, CT: Wesleyan University Press.DiscographyChance the Rapper (2016). All We Got. On Coloring Book [streaming]. Self-released. (May 13, 2016)Cher (1998). Believe. On Believe [CD]. New York: Warner Music Group. (October 22, 1998)Djenet, Cheba (2013). Lkit li Nebghih. On Ilabesah Omri Tebghini [streaming]. Saint Crépain. (June 21, 2013)Heap, Imogen (2005). Hide and Seek. On Speak for Yourself [CD]. New York: RCA Victor. (July 18, 2005)West, Kanye (2010). Lost In The World. On My Beautiful Dark Twisted Fantasy [CD]. New York: Roc-A-Fella/Def Jam. (November 22, 2010)

It’s important to fully understand MA gun laws to understand whether or not this could lead to confiscation.Massachusetts has an assault weapons ban that mirrors the federal ban that lasted from 1994 to 2005. That federal ban outlawed semi-auto rifles that had certain combinations of features. Without getting too in the weeds, a person could legally own an AR15 if that AR15 had a fixed (non collapsible, non folding) stock, no bayonet lug (to prevent mass bayonettings) and no flash hider.In 1998, MA copied the federal law and enacted it as a state law with no sunset clause. From ’98 until July of 2016, everyone in MA abided by that law including the manufacturers, distributors and licensees. That last one is very important here and I’ll explain that in a bit. Tens of thousands of AR15s and similar rifles were sold in MA that were feature compliant with the MA AWB. Three prior attorneys general and every police department in the state was fully aware of this as the state records all sales, both dealer and private in a state database (yes, MA has gun registration).In July of this year, AG Healey issued a statement that she is going to reinterpret the MA AWB legislation in such a way as to ban AR15s altogether, even if a given rifle does not have the features that define it as an assault weapon per the statute. She also said that it was a felony to have sold and purchased these rifles over the preceding 18 years. However, she has also said she will not prosecute those based on her discretion. I’m not a lawyer but it’s pretty obvious she’s trying to avoid someone having “standing” (just cause) to challenge her in court.Back to the licensing piece. MA requires all legal gun owners to first obtain a license and renew that license every 6 years. The licensing authority is the local police chief where the applicant resides or owns a business. That police chief has discretion over whether or not the applicant is worthy of a license and the police chief can rescind that license if he or she decides the licensee is no longer worthy. The justification for this authority was that the chief would know the person and would be aware if that person were arrested for something like DUI or domestic violence and could rescind the gun license immediately. Of course, you’ll note that there’s no due process here as it can be rescinded prior to a conviction.Now, the AG has stated that these feature compliant AR15s should not have been sold and that they are really “assault weapons”. Further, under state law, possession of a post ban assault weapon is a felony. Further still, the state has full records on these being sold.This means that a police chief can simply search that database, look for evidence and rescind a gun license based on that evidence. Once the license is rescinded, the police will confiscate any firearms, ammunition and magazines.So you tell me if you consider that confiscation or not.

Yes, The moratorium is applicable for all term loans like personal loans, home loans, auto loans, educational loans etc. Also, the home appliance loans taken for purchasing ACs, fridge, mobile phones will also be covered.But be cautios while opting out to pay your EMI. The interst will continue to accrue. You will have to pay the interest for this non-payment period.